As is known from his book “Painter’s Toy Box” (published by Bunka publishing in 1984), the painter Genichiro Inokuma always kept things that touched his tastes close to him and used them as food for his life and work.
Many of them were encountered in Paris, where I lived before the war, and in New York, where I was based after the war, and especially the Early American collection includes valuable items that could be displayed in specialized museums. However, expensive antiques, household goods, and even small pieces picked up on the road were indistinguishable to Inokuma, and each one was a “good friend” and a “lover.” Currently, these enormous collections are stored in the Marugame Genichiro Inokuma Museum of Contemporary Art.
This time, stylist Miyoko Okao carefully selected over 100 items from these collections, and photographer Takashi Homma took pictures one by one. The spread contains a single photo and a conversation between Honma and Okao that was exchanged at the time of shooting. In addition, an essay by novelist Toshiyuki Horie was recorded at the end of the book, and art director Atsuki Kikuchi was in charge of design and editing.
Essay: Toshiyuki Horie, Editing / Design: Atsuki Kikuchi, Supervision: Marugame Genichiro Inokuma Museum of Contemporary Art, Mimoka Art Promotion Foundation
- Release Date:
- July, 2012
- BOOK PEAK
Born in Takamatsu City, Kagawa Prefecture in 1902.
He studied under Takeji Fujishima at the Tokyo Academy of Fine Arts. In the 15th year of the Taisho era, he was selected for the first time at the Imperial Exhibition, and since then he has been selected for the 10th and 14th times.
In 1945, during the period of turmoil in the art world of the reorganization of the Imperial Exhibition, he established a new production group association (currently the new production association) with Ryohei Koiso, Masayoshi Ise, Kazu Wakita and others.
He then studied abroad in France and studied under Henri Matisse. In 26 years after the war, he painted a large mural on the concourse at Ueno Station, and has been involved in many architectural works since then. He used New York as a place of production from 1955 to 1950, and continued to create energetically even after returning to Japan.