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24-611: The Japan Art Academy should not be confused with the Japan Art Institute , which is a completely different organization. The Japan Art Academy was founded in 1907 as the Fine Arts Reviewing Committee ( Bijutsu Shinsa Iinkai ) of the Ministry of Education . It was intended to provide quality standards and a venue for art exhibitions in late Meiji period Japan. The first of the organization's annual exhibitions, called

48-677: A lecture on "An Explanation of the Truth of Art", which was widely circulated and quoted. After eight years at the university, Fenollosa helped found the Tokyo School of Fine Arts and the Tokyo Imperial Museum . He served as director of the latter in 1888. In this period, he helped to draft the text of a law for the preservation of temples and shrines and their art treasures. Deeply influenced by living in Japan, Fenollosa converted to Buddhism ; he

72-718: The Bunten , was held in 1907. In 1919 the Imperial Fine Arts Academy ( Teikoku Bijutsu-in ) was established by imperial decree, first headed by Mori Ōgai . Upon establishment of the Imperial Arts Academy, the Fine Arts Reviewing Committee was discontinued and assimilated into the new organization, with the Bunten exhibition accordingly renamed the Teiten . After a number of structural changes were made to

96-744: The Mitsukoshi Department Store in Tokyo, followed by a tour around Japan for four months, at ten different locations. The sizes of the works which can be displayed is fixed at under 150 x 75 cm for rectangular works and under 106 x 106 cm for square works. The Fall Exhibition is held in September for two weeks at the Tokyo Metropolitan Art Museum , followed by a year-long tour to 10 different locations around Japan. The Fall Exhibition contains larger works, with 225 x 180 cm as

120-575: The Institute is currently devoted exclusively to Nihonga painting. Nihon Bijutsuin should not be confused with the Japan Art Academy or the Japan Academy of Arts , which are different organizations. The most important function of Nihon Bijutsuin is the organization and promotion of the inten ( 院展 ) biennial fine arts exhibitions. The Spring Exhibition is held in early April, for two weeks at

144-610: The Japan Art Academy (日本芸術院, Nihon Geijutsuin ). Its annual exhibition was renamed the Japan Arts Exhibition ( 日本美術展覧会 , nihon bijutsu tenrankai ) starting from the 1946 editions (spring and fall, to make up for the lack of an exhibition in 1945), abbreviated as Nitten (日展). In 1958, there was further re-organization whereby the Japan Fine Arts Academy became a solely academic and consultative body, and

168-625: The New York Fine Arts Building. When he divorced his wife, his immediate remarriage in 1895 to writer Mary McNeill Scott (1865–1954) outraged Boston society. Fenollosa was dismissed from the Museum in 1896. He returned to Japan in 1897 to accept a position as Professor of English Literature at the Tokyo Higher Normal School at Tokyo. Lafcadio Hearn considered Fenollosa a friend; and Hearn almost believed that he visited

192-465: The art of Nihonga through a biennial exhibition, the Inten Exhibition. The Nihon Bijutsuin was founded by Okakura Tenshin in 1898, together with a group of artists, including Hashimoto Gahō , Yokoyama Taikan , Shimomura Kanzan , Hishida Shunsō and several others, in response to Okakura being ousted from the Tokyo School of Fine Arts . Nihon Bijutsuin moved with Okakura to Izura, Ibaraki (now

216-403: The calligraphy section of the fiscal 2009 show. It was the first time since 1958, when the organization became a nonprofit corporation, that none of the prizes were awarded. Japan Art Institute Nihon Bijutsuin ( 日本美術院 , lit. "Japan Visual Arts Academy" ) is a non-governmental artistic organization in Japan dedicated to Nihonga (Japanese style painting). The academy promotes

240-657: The city of Ibaraki ) in 1906. However, Okakura was soon recruited by Ernest Fenollosa to assist in his efforts to introduce Chinese and Japanese arts to the western world via the Museum of Fine Arts, Boston , and soon lost interest in guiding the new organization. When Okakura died in 1913, the group dissolved. Nihon Bijutsuin was resurrected a year later in 1914 under Yokoyama Taikan, who relocated it back to Yanaka , Tokyo. In 1920, separate sections were established for Japanese sculpture and for western-style ( yōga painting ), These separate sections were abolished in 1960, and currently

264-557: The condition that it go to the Museum of Fine Arts in Boston. In 1890 he returned to Boston to serve as curator of the department of Oriental Art. There Fenollosa was asked to choose Japanese art for display at the 1893 World Columbian Exposition in Chicago . He also organized Boston's first exhibition of Chinese painting in 1894. In 1896, he published Masters of Ukiyoe , a historical account of Japanese paintings and ukiyo-e prints exhibited at

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288-407: The largest combined art exhibition of its kind in the world, attracting a great number of fans and art critics . The exhibition consists five art categories: Nihonga and Western Style Painting, Sculpture, Crafts and Calligraphy. During each exhibition, works of the great masters are shown alongside works of the new but talented artists. For ninety-nine years the exhibition (under its various names)

312-452: The noted British sinologist . Concentrating on Japanese art before 1800, it was published in two volumes in 1912. Fenollosa offered Hokusai 's prints as a window of beauty after Japanese art had become too modern for his own taste: "Hokusai is a great designer, as Kipling and Whitman are great poets. He has been called the Dickens of Japan." Arthur Wesley Dow said of Fenollosa that "he

336-678: The organization in response to criticism of its relevance and politics, it was eventually reorganized into the Imperial Art Academy (帝国芸術院, Teikoku Geijutsuin ) in 1937, and the annual exhibition was renamed the Shinbunten . After the end of World War II , the dissolution of the Empire of Japan , and the start of the American occupation of Japan , the Imperial Art Academy was restructured as

360-604: The organization of the Nitten annual exhibition was handled by a separate private company, the non-profit corporation Nitten (社団法人日展, Shadan Hōjin Nitten). The Japan Art Academy consists of a maximum of 120 members, who are appointed for life. The Academy's membership is divided into the categories as follows. Section I: Fine Arts Section II: Literature Section III: Music, Drama, and Dance The Japan Fine Arts Exhibition ( 日展 , Nitten (Nihon bijutsu tenrankai) ) claims to be

384-603: The professor's home too often. In 1900, Fenollosa returned to the United States to write and lecture on Asia. He died of a heart attack during a visit to in London in 1908. His body was briefly interred on the eastern side of Highgate Cemetery , in London, but later cremated. According to his wishes, his ashes were returned for burial to the Hōmyō-in chapel of Mii-dera (where he had been tonsured), high above Lake Biwa . His tombstone

408-485: The upper limit. Ernest Fenollosa Ernest Francisco Fenollosa (February 18, 1853 – September 21, 1908) was an American art historian of Japanese art , professor of philosophy and political economy at Tokyo Imperial University . An important educator during the modernization of Japan during the Meiji Era , Fenollosa was an enthusiastic Orientalist who did much to preserve traditional Japanese art. Fenollosa

432-719: Was able to rescue many Buddhist artifacts that would otherwise have been destroyed under the Haibutsu kishaku movement. For these achievements, the Emperor Meiji of Japan decorated Fenollosa with the Order of the Rising Sun and the Order of the Sacred Treasures . Fenollosa amassed a large personal collection of Japanese art during his stay in Japan. In 1886, he sold his art collection to Boston physician Charles Goddard Weld (1857–1911) on

456-600: Was born in 1853 as the son of Manuel Francisco Ciriaco Fenollosa, a Spanish pianist born in Málaga in 1818, and Mary Silsbee, a member of a prominent family in Boston. He attended public schools in his hometown of Salem, Massachusetts before studying philosophy and sociology at Harvard College , where he graduated in 1874. He studied for a year at the art school of the Boston Museum of Fine Arts , during which time he married Elizabeth Goodhue Millett (1853–1920). In 1878 he

480-628: Was gifted with a brilliant mind of great analytical power, this with a rare appreciation gave him an insight into the nature of fine art such as few ever attain". At a Harvard lecture of 2011, Benjamin Elman refers to the Epochs of the Chinese and Japanese Art (1912) where Fenollosa compares "degeneration" of the late imperial Chinese art to that which befell the high antique art of Europe in Byzantium ("the poorest of

504-504: Was given the name Teishin. He was also granted the name Kano Eitan Masanobu, placing him in the lineage of the Kanō school , who had served as painters to the Tokugawa shoguns. While resident in Japan, Fenollosa conducted the first inventory of Japan's national treasures . This resulted in the discovery of ancient Chinese scrolls, which had been brought to Japan by traveling monks centuries earlier. He

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528-569: Was held at the Tokyo Metropolitan Art Museum (東京都美術館 , Tōkyō-to Bijutsukan) in Ueno , but from the hundredth year in 2007 the exhibition venue was changed to the National Art Center Tokyo (国立新美術館, Kokuritsu Shin-bijutsukan) in Roppongi . The Japan Fine Arts Exhibition decided not to award any of the top prizes in any of the 5 sections for 2013, following the revelation of fraudulent judging in

552-534: Was invited to Japan by American zoologist and Orientalist Edward S. Morse . Fenollosa taught political economy and philosophy at the Imperial University at Tokyo . There he also studied ancient temples, shrines and art treasures with his assistant, Okakura Kakuzō . During his time in Japan, Fenollosa helped create the nihonga (Japanese) style of painting with Japanese artists Kanō Hōgai (1828–1888) and Hashimoto Gahō (1835–1908). In May 1882 he delivered

576-512: Was paid for by the Tokyo School of Fine Arts. Fenollosa's widow entrusted his unpublished notes on Chinese poetry and Japanese Noh drama to noted American poet Ezra Pound . Together with William Butler Yeats , Pound used the notes to stimulate the growing interest in Far Eastern literature among modernist writers. Pound subsequently finished Fenollosa's work with the aid of Arthur Waley ,

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