丸山恒雄美術館
TSUNEO MARUYAMA
Art Museum
画家 丸山恒雄
Artist TSUNEO MARUYAMA
Language:
画家 丸山恒雄
Artist TSUNEO MARUYAMA
年譜
1945
岡鹿之助 師事
春陽会初出品 以後毎年出品
1974
1985
chronological record
1945
Studied under Yoshio Nakanishi
1947
Exhibited at the Nihon Independant Exhibition
1953
First exhibited at Shunyo Art Exhibition; continued to exhibit every year thereafter
1964
Associate member of Shunyo-kai Art Society
1966
1971
Full member and judge of Shunyō-kai Art Society
1974
Exhibited at Yasui Prize Exhibition
1985
自己紹介
私達人間自身の放った、文明という巨大な怪物は、日ごとに猛威をふるい、我々の精神生活にまで容赦なく介入してきます。私達がかつて経験したことのない急速なリズムで、破壊と建設のメカニズムが交錯し、幾多の絶望的な公害をもたらし、昨日まで住みなれた環境をすら一挙に跡形なく変貌させてしまいます。こうした高速化の中にあって、ともすれば自己を見失いがちな今日の文明社会にあって、年一回の春陽展は、たとえ前近代的なところがあっても、私にとっては、改めて人間性の基盤の問題を自分自身に問いかけてくれる貴重な機会の様に思われます。
毎年春陽展に上京するたびに美術館の食堂で、先輩の先生方にお会いする度びに「今年もまた蟹ですか」と半ばあきれ顔で問われます。「ハイ馬鹿の一つ覚えでして……」とお返事しておきます。
変転とどまるところを知らぬ多様化の現代にあって、懐古的かつ感傷的だと理解されるかも知れないが、私は私なりの小さな貝殻の中にたてこもって、外部の喧騒から逃れ、もろもろの情念を、隠れ蓑「蟹」にたくして、明確に今日の生の証しを、たとえ華やかでなくとも、自分なりの拙し言葉で、ボソボソと語り続けていきたいと思っております。(丸山恒雄「自己紹介」『春陽』 1971.26号)
The massive monster of civilisation, which we humans have unleashed, grows more powerful by the day, mercilessly intruding even into our spiritual lives. With a speed we’ve never experienced before, the mechanisms of destruction and construction overlap, bringing about numerous despairing forms of pollution and swiftly transforming the environment we were once accustomed to without a trace. In this high-speed age, where we risk losing our sense of self in the chaos of modern civilisation, the annual Shunyō Art Exhibition, though perhaps somewhat pre-modern, offers me a valuable opportunity to reflect on the foundation of our humanity.
Every time I travel to Tokyo for the Shunyō Art Exhibition and meet the senior members in the museum cafeteria, they ask me, half in disbelief, “Crabs again this year?” I reply,“Yes, just a fool repeating the same thing…”
In today’s constantly changing and diverse world, I may be seen as nostalgic or even sentimental. Yet, I retreat into my small shell, seeking refuge from the noise of the outside world. I hide my emotions behind the symbol of the “crab” and, though it may not be grand or spectacular, I want to continue quietly expressing, in my own clumsy words, the proof of life as I see it today. (Tsuneo Maruyama, Self-Introduction, Shunyō No. 26, 10 October 1971)
わが道 My way
丸山さんは、日本農民美術と自由画教育生みの親、山本鼎氏の有名なアトリエがあった旧神川村大屋に育った。近くに山本鼎氏の親友で、春陽会創設者の一人、洋画家倉田白羊氏がいた影響もあって、十七歳の時から油絵を始め、戦後は自由美術研究所にも一年通った。
間もなく赤松新、中西義男両氏をはじめ、上田の洋画を学ぶ人たちが、東京の岡鹿之助画伯(文化勲章受章者・春陽会)を講師に一週間、洋画講習会を開いた。丸山さんも受講者の一人だったが、やがて回を追うごとに作品の研究会へと変わって行った。丸山さんが岡画伯に師事したのは、その時から。二十六年には、読売新聞の「日本アンデパンダン展」に五十号の『赤いリポンをつけた牛たち』を出展、非凡な画才を認められた。
二年後、春陽会展に五十号の『ストープのある静物』を出展、それ以来、春陽会展に毎年作品を出展、六年前会員に推され審査員になった。この間、赤いカニを描き続け、渡欧。四九年の秋、春陽会から推薦されて八十号の大作『三つの蟹(かに)』を安井曾太郎賞展に出品、好評を得た。この作品は、一本の赤い水平の線で三つのカニを表現した感覚的な絵。師岡画伯から「秀作」と激賞された。(『我が道』掲載誌不詳)
Mr. Maruyama grew up in Ōya, the former Kangawa Village, where the atelier of renowned painter Kanae Yamamoto, the founder of Japanese peasant art and free art education, once stood. Influenced by the presence of Hakuyo Kurata, a close friend of Kanae Yamamoto and one of the founders of the Shunyo-kai art society, he began oil painting at the age of seventeen and, after the war, attended the Jiyū Bijutsu Kenkyūjo (Free Art Institute) for a year.
Before long, prominent figures such as Akamatsu Arata and Yoshio Nakanishi, alongside others studying Western painting in Ueda, organised a week-long Western painting workshop with Shikanosuke Oka, a recipient of the Order of Culture and a member of the Shunyō-kai, as the lecturer. Maruyama was one of the attendees, and over time, these sessions evolved into study groups for discussing works of art. It was from this point that Maruyama began studying under Oka.
In 1951, Maruyama exhibited a size 50 painting titled Cows with Red Ribbons at the Nihon Independant Exhibition, hosted by the Yomiuri Shimbun newspaper, where his extraordinary talent was recognised. Two years later, he exhibited Still Life with Stove (size 50) at the Shunyō art exhibition. From then on, he exhibited works at the Shunyō art exhibition annually, and six years ago, he was elected as a full member, which also made him a judge.
During this time, he continued painting red crabs and made a trip to Europe. In the autumn of 1974, Maruyama was recommended by the Shunyō-kai art society to exhibit his large-scale work Three Crabs (size 80) at the Sotaro Yasui Prize Exhibition, where it received high praise. This piece, characterised by a red horizontal line depicting three crabs, was a sensory-driven painting and was highly acclaimed by Master Shikanosuke Oka, who called it an “outstanding work”. (My Way, published in an unidentified newspaper)
春陽会と信州上田
大正年間に当地で発祥した自由運動、農民美術の創設者、山本鼎、倉田白羊両氏は共に春陽会の創立会員。五十年の歴史を持つ彫塑研究会は講師石井鶴三氏亡き後も記念講演に中川先生を招き健在。戦後は赤松新を中心として、上田に関係の深かった、小杉放庵氏を介して岡先生を講師に仰ぎ二十二年に鹿苑会が発足、今日迄に会員五準会員三会友数名を送り出している。こうした因縁深い土壌に育った、無類の幸を感謝、明日への責任を感じる。（丸山恒雄「春陽」32号）
During the Taishō era, the free art movement and the creation of peasant art originated in this area, led by Kanae Yamamoto and Hakuyō Kurata, both of whom were founding members of the Shunyō-kai art society. Even after the passing of lecturer Tsuruzō Ishii, the Sculpture Research Society, with its fifty-year history, remains active, inviting Professor Nakagawa for commemorative lectures. After the war, in 1947, under the leadership of Arata Akamatsu, and through the deep connection to Ueda held by Hōan Kosugi, Oka-sensei was invited as a lecturer, and the Rokuen-kai workshop was founded. To this day, the society has produced five full members, three associate members, and several affiliates of Shunyo-kai art society. Growing up in this deeply rooted soil, I feel an immense gratitude for the unparalleled fortune I’ve had and a sense of responsibility for the future. (Tsuneo Maruyama, Shunyō, No. 32, 28 April 1976)