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
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.
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.
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
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
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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