Event gallery of Teruo Sato

Mouseion chose a Japanese called Teruo Sato (1926-2003) as the first painter to feature at above-mentioned original "event gallery". It was not just because the founder of Mouseion had personal acquaintance with Sato.
  It actually arises from deep insight of picture history. The arts including picture is distinguished as the peculiar Homo sapiens culture, and as developmental phenomenon in the frame of so-called fine arts such as architecture and sculpture. The purpose of these fine arts dwells in creative reorganization of space for new self-expression on the basis of grasp of human's life space.
  If somebody wants to have fine arts totally as his own property, he must understand and practice this essential purpose. He, with the understanding of the mutual relationship among architecture, sculpture and picture, should recognize the space underlying throughout these fine arts, and the meaning of reorganizing it.
  These are grasped uniformly through the synthetic sense. In other words, the mutual relationship among fine arts and meaning of space are recognized just like two sides of the same coin. For this reason, fine arts are also called spatial art. It is architecture that, among fine arts, brings out the attribute of space to the full. Therefore, architecture is comprehensive and fundamental form centered in the spatial art. Also, reorganization of space is formal essence of fine arts: on the other hand, above-mentioned object and setting are substantial essences.
  In spatial art, the beauty dwells first in architecture; picture and sculpture only receive its reflection. However, story directly acts on picture. Architecture prescribes situation and contents of picture and sculpture. Mona Lisa, if put in barn, would look differently in Louvre. Wall relief at shrine, leveled and colored, would turn into a wall painting. The contents of relief or wall painting and its derivatives are prescribed by structure of shrine. It may be said that the cave picture of Lascaux would not have been drawn at anywhere else other than deep stalactite grotto, which has a special meaning. For the Cro-Magnon, stalactite grotto might have been regarded as natural architecture.
  As far as we can observe from the remained monument, it was Egyptians and Greeks that reached the uniform grasp of fine arts first in the Homo sapiens. There is high possibility that the Sumerian and the Akkadian those who made the Mesopotamia civilization understood it as well. However, it has not been proved due to lack of historical materials which archaeologically support it.
  Egyptians, founder of a great civilization, were in some aspect exclusive. They did not spread their own civilization beyond the Nile basin. Meanwhile in Greece, their civilization was highly open and universal because of repeated migrations. Then, as the Alexander's Empire expanded, the synthetic spatial art originated in Greece was propagated extensively to east and west. As well known, Egyptian art was incorporated into it. Consequently, the arts created by human can be divided into two areas: ones underwent baptism of Hellenism, and ones did not.
  The former includes Egypt, Rome, Persia, India (including South East Asia), Central Asia, and Western China. And the latter is East Asia including China, Korea, Japan. (Import of fragment Hellenistic works gave influence on these areas to some degree, too. Incidentally, the native civilization of South and Central America was not baptized or influenced by Hellenism at all.)
  In the areas of Hellenism propagation, more or less, the meaning of mutual relationship among fine arts and spatial grasping is somehow or other understood. However, it's not the same thing in non-Hellenistic areas, where picture is regarded as mere picture and a different type of art from sculpture. Except for Buddhist statue, sculpture is a kind of curio and is put under the category of decorative arts. Most of all architectures are not even thought as an art.
 
Picture and sculpture were regarded as separate expert workmanship, even if they had been housed in the same building, it was the result of owner's collection and the building functioned just as repository. This repository building was seldom thought as exhibition place open to the public.
  In these areas, products of fine arts were accidentally located and only arranged according to the same personal taste. They seldom connect or conflict each other under some circumstances, or insist its uniqueness.

  To be specific to the field of picture, it rarely tries to gain solidness of sculpture or to create similar architectonic space in edifice. A simple plane is expressed without doubt, and natural products and sceneries are lightly brought into wall painting. There hardly happens that cubism emerges as a result of a severe struggle or that construction is drawn in wall painting.
  Japan is situated in the East Asia, one of non-Hellenistic areas. Therefore, the mutual relationship among fine arts and the significance of spatial grasp are not well known there. Nevertheless, Sato who grew up in such environment had exceptionally firm sense of spatial grasp. Of course, compared with European picture where Hellenistic art progressed to the utmost, it is much weaker, but far more remarkable than that of other painters in Japan.
  The new development of arts in the 21st century will be brought about by fusion of those in Hellenistic areas and non-Hellenistic areas. (Here lies the significance of our naming of Mouseion representing Hellenistic art.) In Hellenistic area, Starting with Gogh's and Claude Monet's attention to Japanese Ukiyoe, Paul Gauguin's devotion to primitive art as the first instances, through popularity of Fauvism, at one corner of the West Europe in the 20th century, fusion of the two arts has brought about a result to some degree. However, in non- Hellenistic areas, only products of Hellenistic art are imported. They hardly contacts traditional art but just are grafted on it. Traditional art is introducing Hellenistic art technique superficially as well.
  In Japan, Hellenistic art has become the mainstream of academism only in the impressionist pictures. In architecture and sculpture, a traditional creating technique has been succeeded just as it was while adopting new materials, or West European technique was directly imported. Artists have never been aware of the mutual relationship among fine arts.

  As well known, the impressionism lies in the center of Japanese "Youga" academism is a special style formed under the influence of Japanese Ukiyoe on the side of West Europe; it cannot be called orthodox Hellenistic art. In other words, Japanese encountered products in which their own style is projected in foreign countries. They found homogeneous mind in them, imported without anxiety, put a label of the West Europe, making them a "brand" to authorize themselves.
  In such a country, Sato placed his picture basis on the styles of Gustave Courbet's tableau and Edgar Degas's dessin. Courbet was precedent painter to the impressionist. Also Degas preceded the impressionism, although his tableau work is sometimes related to the impressionist, his dessin is placed on the genealogy of Jean-Auguste-Dominique Ingres who also preceded impressionist. In other words, Sato modeled himself on West European pictures in the first half of the 19th century. As a consequence, he could have clearer spatial perception than the impressionist. Then, he could touch the tip of orthodox Hellenistic art.
  This can become the first step which leads to spatial grasp created by Hellenistic art in non-Hellenistic area, or the East Asia. That is, going ahead through the door which Sato opened, picture may come to insist itself at homogeneous dimension of architecture and sculpture while clearly confronting with them. When successful, it will also be able to prospect the relationship among fine arts sooner or later. Sato is the exceptional artist in the East Asia's art history on the ground that he can be the first painter opens a way to the fusion of Hellenistic art from the side of non-Hellenistic area. Thus there is special meaning to make his "event gallery" in Mouseion.
  Sato's "Event gallery" is composed of above-mentioned objective analyses. But, the style analysis is unnecessary because he was self-educated and isolated painter, and is dead without leaving successor. Therefore, three analyses on work, person, and technique are the frame of his "event gallery".
  In addition, the picture list which also takes on a role of his work exhibition is posted as auxiliary material of these three analyses. These are combined to compose "The museum of Teruo Sato" as a whole. This museum becomes "customized gallery" of Sato's works, too.

  Mouseion will sell Sato's original works possessed by his inheritor or Mouseion itself. As for some of Sato's works which are possible to be sold in Mouseion, we introduce them at our specially organized corner. Sato's works have never been sold through picture dealers since the first half of the 1990s, hence the current market price is obscure. The unit (aforesaid "gou") price of oil painting which Sato himself calculated based on manufacturing cost and his inheritor's recommendation is 50,000 yen. (Approx. 450 dollars or 380 euros, converted on the exchange rate as at the end of 2003) (In case of pastel, half price) The sum of unit price multiplied by the number of "gou", or the area unit of work, is the selling price.

  For example, Sato's oil painting portrait with the size of 60.6 cm ~ 72.7cm ? the area of which is 20 "gou" in Japan - its selling price is 1,000,000 yen. (Approx. 9000 dollars or 7500 euros. Converted in the same way as above.). (In case of landscape, even in the same "gou" number, the size of canvas is a little different. [More details are in another table])
  If Sato's work becomes a "brand" in America or France, its unit price in Japan may rise several times. For example, in the case that its selling price becomes three times higher, increase in unit price is 100,000 yen (Approx. 900 dollars or 760 euros. Converting way is same as above.). (In case of pastel, it is 50,000 yen. [Approx. 450 dollars or 480 euros. Converted in the same way as above.]) This is entirely the result of "brand" making.
   Mouseion is prepared to pay the whole amount of increase in selling price as reward to the picture dealer who contributed to make Sato's work a "brand" successfully (on condition that inheritor of Sato possesses the said work, we shall deduct thirty to forty percent of the sum as a share for the inheritor.)
  Works to be possessed by Mouseion are announced at the sales corner. Incidentally, since Mouseion is not a corporation at present, when Mouseion sells picture, the sale is legally executed in the name of Taketoshi Murayama and/or Sachiko Katano, founder and representative of Mouseion.
   As for the works which Sato's inheritor possesses, the inheritor becomes a sales party; Taketoshi Murayama and Sachiko Katano become the sales agent of the inheritor.



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