Title モダン と 伝 統 を 生 きた 日 本 画 家 谷 口 富 美 枝 (1910-2001 年 ) Author(s) 北 原, 恵 Citation 待 兼 山 論 叢. 日 本 学 篇. 48 P.1-P.25 Issue 2014-12-25 Date Text Version publisher URL http://hdl.handle.net/11094/56624 DOI Rights Osaka University
1 1910 2001 1943 2 1 1930 2012 2
2 (1) 出 生 から 青 龍 社 時 代 モダンな 女 性 像 と 華 やかな 画 壇 での 注 目 1910 43 8 2 3 4 1928 1930 9 2 20 1 34 1930 1932 4 2 1933 1 3 2 4 5 1930
1910 2001 3 1933 35 1933 3 6 1934 9 7 1935 10 8 1973 40 9 1930 40 1934 6 10 35 5 6 6 7 Y 11
4 1935 [ ] 12 1927 1936 1
1910 2001 5 1920 30 1918 1925 1934 1936 1936 3 13 14 1936 7 8 9 Y 15 1937 10 9 11 16 17
6 18 19 7 12 (2) 青 龍 社 脱 会 ~ 渡 米 まで 1938 2 1 20 12 21
1910 2001 7 22 1930 23 1937 38 1933 36 1937 40 1938 4 19 4 26
8 6 1938 5 6 1938 4 3 7 13 3 24 1938 1938 5 p.77 9 25 1939 5 1 4
1910 2001 9 1 14 15 26 27 1 1939 1 5 2 7 1940 2 6 1 5 16 17
10 28 29 1940 1941 2 1934 30 1942
1910 2001 11 2 74 1943 2 25 50 1943 3 10 19 110 31 1943 9 120 9 12 2014 16 32
12 18 8 19 1942 4 33 1942 10 34 35 20 36 37 44 7 1944 1 11
1910 2001 13 38 70 45 8 3 3 1946 39 47 5 49 1953 7 9 1955 57
14 3 3 4 1967 75 10 40 41 1996 2001 1 Bubble Boy 2001 2008 3
1910 2001 15 2012 4 2015 2 1 2013 2013 1930 50 1930 1950 2001 2 3 2012 1 31 2014 6 6 2013 2 5 7 3 4 1931 7 1934 4 : 1996 1999 5 9 5 1933 6 p.43.) 6 3 1933 9 3
16 10 3.00 p.31 7 9 1934 4 22 5 9 10 1935 4 28 5 17 8 13 1933 11 9 17 1973 9 p.96 7 1968 9 17 10 3 11 12 10 1935 10 p.47. 12 11 4 1935 4 p.19. 13 12 3 1936 3 14 p.53. 15 12 10 1936 10 13 10 1936 10 11 10 1936 10 12 10 1936 10 16 12 10 1937 10 p.35. 17 13 10 1937 10 18 13 10 1937 10 p.28 14 10 1937 10 19 p.35.
1910 2001 17 20 1 1938 2 7 6 21 13 12 1936 12 p.55. 22 14 3 1938 3 pp.42-43 23 2013 vs 24 14 5 1938 5 p.42. 25 1974 19 1974 9 p.20 30 K 26 15 7 1939 7 pp.60-62. 27 26 6 pp.10-11. 28 16 7 1940 7 p.45. 29 16 8 1940 8 p.62. 30 16 1973 3 p.84. 31 1943 3 12 4
18 32 4 33 6 1968 3 p.97 34 2 12 1942 12 p.45 35 2013 4 29 36 1951 2 28 37 1972 9 29 5 38 6 1968 3 p.104 39 2012 1938-1949 2010 40 4 1967 3 5 1967 9 6 1968 3 7 1968 9 16 1973 3 17 1973 9 18 1974 3 19 1974 9 20 1975 3
1910 2001 19 ( ) 20 1975 3 1965 1986 16-22 1998 41 5 1967 9 1965 73 2014 8 23
20 1910 8 2 1928 1930 1985-1966 2 1931 1932 4 1933 1 2 1934 9 6 1935 7 Y 1936 8 Y 1937 9 1938 1 1939 2 5/1-4 1 1940 6/1-5 2 1941 4/27-5/6 2 1942 10 1 1943 2 9 1944 7/3 1945 8/3 1947 5/13 1948 3 1949 1 53 1953 7 9/18 1955 1957 1967 1974 1970 1996 3 Keiro Retirement Home 2000 Bubble Boy 2001 8 11 2008 8
1910 2001 21 1941 1 1930 2 2 1931 4 3 1933 1 4 1933 2 5 1935 3
22 6 1935 7 7 1936 4 8 9 1936 8 10 1937 5 11 1937 9
1910 2001 23 12 1938 1 13 1938 6 14 1939 1 15 1939 1 16 1940 2
24 18 1943 17 1940 2 20 1943 19 1943 1 5 10 1930 10 2 8 9 1932 9 3 9 4 1933 5 4 9 5 1933 6 5 1936 6 1996 7 1936 7 p.16 8 9 12 10 1936 10 10 13 5 1937 5 11 1996 12 1939 13 14 5 1938 5 14 15 26 1939 6 p.15. 16 17 18 19 20
25 SUMMARY Japanese Painter, Taniguchi Fumie, Living in both Modern and Tradition (1910-2001) Megumi Kitahara Taniguchi Fumie is a Japanese woman artist, who belonged to Seiryu-sha organized by Kawabata Ryushi and attracted attention of Japanese art world by her modern images of women in 1930 s. But her prewar glamorous paintings were forgotten, and her postwar life remained almost unidentified even to her family. The purpose of this essay is to introduce her life and arts, seeing the article of newspapers and magazines, my interview with her family, and her works which were recently found. Taniguchi Fumie was born in Tokyo in 1910 as the second daughter of Taniguchi Sei and Tokujiro who worked for the photo department of Asahi Shinbun. Learning paintings in the Girls Arts School, she submitted a work, Baku-shu, to the Second Seiryusha Exhibition at only twenty years old. She won the Y-shi prize for modern girls images, Yosoou Hitobito (1935) and Umi no Ikoi and Yama no Ikoi (1936). However Taniguchi tried to find a new way of life outside the conventional gender roles in women who were active well outdoors, critics continued to demand her to be feminine as an artist. After withdrawing from Seiryusha, she participated in the Women Artists Public Service Corps(1943-45) which were supportive for militarism, and moved to Kure city with her husband, Funada Gyokujyu in last years of war. After the WW she emigrated to the U.S.A. after divorcing Funada. While keeping working as a waitress at restaurants or a seamstress in a sewing factory in Los Angeles, Taniguchi often contributed the autobiographic novels on seamstress labor or her own experience to a coterie magazine Nanka Bungei which was published in California for Japanese Americans. The donation of her art works to Kure Municipal Museum of Art which were restored in an individual s house in 2012 led to gradually investigate her unknown life history by a local newspaper reporter, curators and her family.