ISAMU NOGUCHI AND BAISHI: 1930 AND : BEIJING 1930 5 Continents Editions The Isamu Noguchi Foundation and Garden Museum This publication is produced in conjunction with the exhibition Isamu Noguchi and Qi Baishi: Beijing 1930 Editorial Coordination Editorial Coordination Laura Maggioni Amy Hau Tour dates Art Direction and Production Editing University of Museum of Art Annarita De Sanctis Coleman and Amy Hau May 18 – September 1, 2013 Layout Copy Editing The Noguchi Museum Daniela Meda Kathleen Baxter, Stephanie Salomon September 24, 2013 – January 24, 2014 Editing Translation Frye Art Museum Timothy Stroud Lynn Zhang February 22 – May 25, 2014 Colour Separation Studio Pixel, Milan, Italy This publication is produced in conjunction with the Printed and bound in Italy in March 2013 exhibition Isamu Noguchi and Qi Baishi: Beijing 1930, organized by Gra!che Flaminia, Foligno (PG) by the University of Michigan Museum of Art in collaboration with for 5 Continents Editions, Milan The Isamu Noguchi Foundation and Garden Museum, New York. Lead support for the exhibition and publication is provided by the Terra Foundation for American Art, the National Endowment for the Arts, the W.L.S. Spencer Foundation, and The Freeman Foundation, with additional generous support from the University of Michigan Center for Chinese Studies.

All rights reserved Distributed in the and Canada The Isamu Noguchi Foundation and Garden Museum by Harry N. Abrams, Inc., New York Distributed outside the United States and Canada, excluding © Copyright 2013 by 5 Continents Editions for the present edition and Italy, by Abrams & Chronicle Books Ltd UK,

No part of this book may be reproduced or utilized in any form The Isamu Noguchi Foundation or by any means, electronic or mechanical, including and Garden Museum photocopying, recording, or any information storage and retrieval 32-37 Vernon Blvd. system, without permission in writing from the publisher , NY 11106, USA ISBN: 978-88-7439-639-9 www.noguchi.org

5 Continents Editions Piazza Caiazzo, 1 20124 Milan, Italy www.!vecontinentseditions.com TABLE OF CONTENTS

9 Foreword Jenny Dixon and J oseph Rosa

11 Preface Alexandra May

13 Isamu Noguchi in : Sotokichi Katusizumi, Qi Baishi, and the Reinvention of Abstraction in the Peking Scroll Drawings Natsu Oyobe

35 The “Discovery” of Qi Baishi – Re#ections on Isamu Noguchi and Qi Baishi Lang Shaojun

57 Qi Baishi and Noguchi, Square and Circle Britta Erickson

79 Grabbism: 1930 Jo-Anne Birnie Danzker

95 A Sculptor’s Brush with Ink: From the Flight of the Dragon to the Pool of the Inkstone Bert Winther-Tamaki

109 Notes 115 Chronology 121 Suggested readings 123 Credits 125 Index F OREWORD the in the account into take exhibition’sand the viewpoint broaden to us Urging . in place took tic exchange between China, the East, and European , and the related discourse that titled exhibition an developed Danzker , in Stuck Villa the of Director as serving while 2005, Danzker,In Museum. Art Frye the of Birnie Director Jo-Anne with conversations of result a as picture the entered partner third A development. further of worthy lap with the growing attention and scholarship surrounding Qi Baishi, suggested rich areas of over Marking Noguchi’s documentation. original little very was there which for area artists—an two the between ship relation the of began period the on recently focused exhibition Museum an developing jointly Noguchi of idea the The explore to at team the and Oyobe, Natsu Art, Asian of Curator Associate UMMA Drawings. Peking two including Noguchi, by paper on works forty-six chased or Scrolls Peking the as Peking Drawings, and ten Qi known Baishi to UMMA in 1949. The prior be year UMMA had pur to came which drawing, Noguchi one donate to on went Katsuizumi Michigan of University the of alumnus An artists. both by works acquired and 1931 to 1925 from Beijing in YokohamaBank the Specie for worked He Baishi. Qi to Noguchi duced Katsuizumi was in the early stages of what would become a distinguished paci career when he intro and author, economist, Japanese The ago. years sixty over (UMMA) Art of Museum Michigan of University the of collection the to gift a of out developed exhibition This Noguchi workedin1927. studio whose in Brancusi audiences—Constantin Western to familiar more far one is life his out 1930. exhibition the for springboard a teacher,”as served have a as “adopted he whom Baishi, Qi with meeting his and Beijing in time his describing ography this period had a signi six months* from August 1930 to January 1931 in Beijing where he met Qi Baishi. Although short, in to on gone has Noguchi turn in who and practice, artistic in have who artists explore to continues which interestMuseum, of Noguchi subject The a for been long has Baishi Qi painter ink Chinese The # The only other artist Noguchi held in such esteem and continued to reference through reference to continued and esteem such in held Noguchi artist other only The uence of modernism on Chinese artists working during the period in which Noguchi and Noguchi which in period the during working artists Chinese on modernism of uence ! rst visit to the East since leaving as a teenager, this period, coupled coupled teenager, a period, as this Japan leaving since East the to visit rst ! cant impact on both men. The few brief paragraphs in Noguchi’s autobi Shanghai Modern: 1919 Modern: Shanghai # uenced the development of Isamu Noguchi’s Isamu of development the uenced Isamu Noguchi and Qi Baishi: Beijing Baishi: Qi and Noguchi Isamu # uence. The young Noguchi spent Noguchi young The uence. – 1945 , which surveyed the artis the surveyed which , ! st Sotokichi Sotokichi st ------

9 10 Joseph Rosa Jenny Dixon come tofruition.Ourdeepgratitudegoeseachofthem. of our wonderful Museum colleagues, the Without guidance and support of our respective governing boards along with the teamwork and related publication. exhibition this toward contributions generous their for Studies Chinese for Center Michigan of the Arts, the W.L.S. Spencer Foundation and The Freeman Foundation along with We are also most grateful to the respective practicesofeachartist.We thankallofour contributors. the and relationship, East/West the of nature together,the spent Baishi Qi and Noguchi time Britta Danzker, Birnie Jo-Anne scholars Erickson, Natsu Oyobe, Lang Shaojun, from and Bert Winther-Tamaki. subject Each has written expertly of the the of considerations thoughtful such catalogue accompanying the in include to opportunity the have to fortunate extremely are We himself giftedtoMr. Katsuizumi. gift Circo for their critical insight throughout the planning of the exhibition along with their generous Andrew husband her and Circo Crew Katsuizumi’sSharlynn appre Sotokichi granddaughter to sincereciation our share we addition, In community. art Chinese the within prominence his knowledge of Noguchi and insights into the life and work of Noguchi’s “teacher,” Qi Baishi, and her shared and project, the on consultant key a as served who 1990, to 1985 from tor direc associate Museum’s Noguchi The May, Snyder Alexandra to thanks special extend We Subsequently, theFryesignedonasitsthird venue. researchexhibition. broughtprior our she her to acquainted, enthusiasm became and Baishi Qi

of one of Noguchi’s most personally signi , Director TheIsamuNoguchiFoundationandGarden Museum , Director UniversityofMichiganMuseumArt

Terra Foundation for American Art, the National Endowment of Isamu Noguchi and Qi Baishi: Beijing 1930 ! cant Peking Scrolls of a seated monk that Noguchi would not have

the University ! rst-hand - - PREFA C E Alexandra May traveling artist,IsamuNoguchi.Thesequestionswere theseedsofthisexhibition. Japanese-American young the and master Chinese the between relationship the about arose nent modern ink-and-brush painters. With light shed on Qi and his great body of work, questions China’sof one is Baishi Qi that learn preemito teachers, adopted his as greatartists to way his Noguchi’s teacher, Qi, grew. It should not be surprising, given Noguchi’s instinctive ability to about curiosity my culture Chinese into delved I As awareness. and market art international the interest in China swelled and , both contemporary and traditional, found its way on to In 2004 I moved with my husband and children to . It was a fascinating time as Western in only in a few paragraphs in Noguchi’s autobiography in relation to this six-month period. such as Constantin Brancusi, the artist Chi Pai Shi (Qi Baishi) teachers, self-appointedremained Noguchi’s other Unlike in work.the Noguchi’s matureshadows, to tangential being seemed noted historicalstudio.Theircontexthisrolled-up kept wereothersin many displayedwere worksbut In the years that I worked at The Noguchi Museum (1985–1990), several of Noguchi’s ink-and-brush by Fuller, wouldhavemakemygrandmotherhappy. time. Thispiecenowgracesmy own homein Portland, Maine.Its’presence alongside drawings the of thinkers and writers artists, numerous Fuller,and Noguchi, of friend time long Morgan, ( majestic the therewas Later remember herlamentatthelossofthatscroll inamovetheymadeacross country. beauty.I delicate of love a and eye keen a had Hewlett, grandmother,Anne My resided. they scroll in my grandparents’ dome-home in Carbondale, Illinois, the only geodesic dome in which Noguchi a of memories early in begins exhibition, this of subject the Drawings, Scroll Peking Noguchi’s of appreciation My 1929. my in beginning with Fuller, “Bucky” shared Buckminster he R. grandfather, friendship close the from emanates Noguchi Isamu with relationship My ! g. 1.23), which presided over many dinner parties at the apartment of Priscilla of apartment YorkCity New the at parties dinner many over presided which 1.23), g. , CuratorialAdvisor Mother and Child and Mother , an ink-and-brush drawing signed “Isamu, 1930” “Isamu, signed drawing ink-and-brush an , ! nd -

11 12 Museum ofArt of AsianArt,UniversityMichigan *Associate Curator Natsu Oyobe* I AND ISAMU N T HE PEK T HE N

OGU R E I NG I NVEN C H SC I

I allow himtode guiding the young artist toward a medium that would liberate him from Brancusi’s in paper, and ink brush, in Noguchi’sinterest fueled who Katsuizumi and Qi was it Nevertheless fountains, stage sets, and furniture, and sets, stage fountains, known is who six-month stay in Peking (Beijing) in 1930–1931. in (Beijing) Peking in stay six-month Noguchi’sduring (1889–1985) Katsuizumi Sotokichi Chinese of collector and nessman Chinese ink-and-brush the painter Qi and Baishi (1864–1957), (1904–1988) who were Noguchi introduced by Isamu the Japanese sculptor busi American the between encounter artistic the of Isamu Noguchi and Qi Baishi: Beijing 1930 to encounter mentors at important junctures of his life. his of junctures important at mentors encounter to ( painting formation, whichisusuallyeclipsedbyhisrelationship withJapan. understanding of Noguchi’s work, and provides insight into the importance of China in his artistic the for are they as side, by side seen are Drawings Noguchi’sScroll and Qi’sPeking paintings When of ink-and-brush abstraction. form own his at arrive to him helped that catalyst a as acting artist, an as development his proli hundred ink-and-brush works commonly called the Peking Scroll Drawings ( Drawings Scroll Peking the called commonly works ink-and-brush hundred tions on Noguchi and are regularly on view in the galleries of The Noguchi Museum in New in Museum York,Noguchi The of galleries the in view on regularly are and Noguchi on tions publica and exhibitions solo many in included been have Drawings Scroll Peking impressive ( style mounting formal the scrolls, ing hang as aremounted all and length, in feet) (six meters two exceeding some size, largein very records besides the Peking Scroll Drawings themselves of his creative encounter with Qi Baishi. few are there (1883–1959), Kitaôji artist ceramic Japanese the and (1895–1983), Fuller Rumely (1882–1964), the sculptor Constantin Brancusi, the designer and inventor R. Buckminster known is deal these of greatNoguchi’s many about with relationships a While artist. young determined and ambitious the to inspiration ative Yonepoet Japanese (Yonejirô) creofferedand each encouragement but (1875–1947), Noguchi to need a of out men N CH ROLL TI i asi n Stkci asiui lyd e rls n nrdcn Ngci o Chinese to Noguchi introducing in roles key played Katsuizumi Sotokichi and Baishi Qi ! ON OF 3 their importance is often overlooked because they are considered oddities in his long and c career.c ! I g. 1.3,). Noguchi’s biographer Masayo Duus has written that Noguchi was fortunate was Noguchi that written has Duus Masayo Noguchi’sbiographer 1.3,). g. NA: D RAW 4 ! While it is true that two-dimensional works wereworks two-dimensional that Noguchi, true for is focus it central While a not rst and foremost for his sculptural works and second for his designs of gardens, of designs his for second and works sculptural his for foremost and rst ! ne anewapproach tointerpreting thehumanform. A S BS O I ! NGS T ll the emotional void created by the absence of his biological father, biological his of absence the by created void emotional the ll T OK RA IC ! CTI rst time in this exhibition, it opens up new possibilities for the for possibilities new up opens it exhibition, this in time rst H 5 the Peking Scroll Drawings occupy an important place in place important an occupy Drawings Scroll Peking the I ON ON

! K g. 1.2) in the East Asian literati tradition. Though the Though tradition. literati Asian East the in 1.2) g. is the A T

1 SU In this period Noguchi created more than one than more created Noguchi period this In ! rst large-scale exhibition to focus on the fruits ! gures, who include the educator Edward A. Edward educator the include who gures, I ZUM 6 It may be that he was drawn to these to drawn was he that be may It I , Q I

B A I ! SH g. 1.1). g. I , # 2 uence and Many are Many

- - - - 7

13 14 ducive totheexplorationofanewmedium. con anarchy,”particularly of be state proveto perfect would a that “in one being as described pro-Japaneseborderwhose Manchukuo, fromNoguchi of far city state nota was It Beijing. lords. Northern China was a volatile center of these con con territorial the and States, United the and Britain, Great Union, Soviet the Japan, of interests commercial and military the of combination however,the 1930, to foreignersin due for place safe a not was mer capital city: “If my father did not want me, Peking had heart and warmth to spare.”to warmth and heart had Peking me, want not did father my “If city: capital mer boy.rickshaw a and cook a maid, a house, Noguchi’s China’sby eased was heart tormented for military powerful the of lieutenant Hwang—the Nadine including people, colorful many of acquaintance the made arrived inBeijing,thecitycaptivatedhimsomuchthatheremained untilJanuaryof 1931. stay temporarily while en route to , but now he started to contemplate a longer recognizewouldBeforeson.notplaceNoguchistay.a this,planned abeen Chinahadas hadhim to Once he his father that altered his plans: wrote that he refused to see Noguchi in Japan, and Railroad.monthstwoParisawaitingfortransitWhileinreceived visa, a heshocking a letter from hedecided instead tovisit China and Japan, intending totravel toAsia via and the Siberian Asiaextendedforan period. hadhopedHevisitto , butconcerned aboutepidemics there, an abstractartthatblendedEasternandWestern aesthetictraditions. from Brancusi’s in erary tradition to the West in the late 1890s and early 1900s,1918, became a beacon Noguchiof the journey. hopedJust as Yonethat Noguchi had intried to Asia,introduce the East Asian farlit removed identityaspersona and artist. His father, with whom hehad had nocontact since leaving Japan in Fellowship, which allowed him to study in Paris between 1927 and 1929. VisitingAsia hadbeen inIsamu Noguchi’s mind since 1927 when he THE LU to live whenitwasempty there? feltI myself tooyoung andinexperienced forabstractions: wouldI have other hand, I was too poor inside to insist upon it. How to presumeabstractions, to onlyexpress a recognition something offrom inadequacy within on my part, I was poor to andstruggled could not afford it. On the hewas hesitant to create abstract ; Brancusi had cast a long shadow over Noguchi and he he was forced to make sculptural portraits of wealthy clients to earn afellowship, Noguchi moved living,back to New York, butwhere his desire evento go to Asia intensi in his free time in strongly apprenticeBrancusi,toproducedalsohighly andownabstracthis stonemetaland of Noguchi has said that his six-month stay in Beijing was marked by fortuitous events. He soon By the spring1930NoguchitheofearnedByhad enough from portrait his commissions traveltoto ! rst.” R E O # uenced by the great modern master ( master modern great the by uenced 9 The subsequent visit to Asia, especially Japan, seemed to free Noguchi to establish his ! F # ndhisown voice. Inhismemoir, Noguchi said, “There wasnever deniala ofmaking

icts among the Communists, Chiang Kai-shek’s Kuomintang, and numerous war numerousKai-shek’s and Chiang Kuomintang, Communists, the among icts A S # uence and the concerns of everyday life, he would be able to forge a path toward I A ! gure Zhang Xueliang, and some fellow Americans—and easily found a found easily Americans—and fellow some and Xueliang, Zhang gure ! g.1.4). When he was denied an extension of the # icts; by 1931, Japan would establish the ! rst applied for a Guggenheim 8 There he served as a studio ! ed. In New York 10 11 China - - - - 1 3 1 Collection ofTheNoguchiMuseum New York Drawing |

Isamu Noguchiwith atDemotteGallery, , 1932 Peking Scroll 2 courtesy ofSharlynnandAndrew Circo From theKatsuizumiCollection, Katsuizumi (left)inBeijing |

Qi Baishi(right)andSotokichi 2 , c.1930 3 courtesy ofTheNoguchi Museum Photo byAtelierStone, in hisParisstudio (not extant)andothersculptures |

Isamu Noguchiwith , 1928 180% Foot Tree

15 16 EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K < 4 to intensifyin1929,hesenthisfamilybackTokyo. to its Beijing of bank’sYorkthe New of by hired was he Michigan, of University the expansions into Europe, America, and Asia. After receiving a master’s degree in economics from that exchange foreign in specialized bank have him go to Japan without his father’s aid; yet to have him make an enjoyable stay in Japan.” to assistance my extended I “so said, Katsuizumi known,” had ever I fellow lonely most the was combination of frustration, anger and yearning Noguchi expressed toward his father: “[Noguchi] way through hard work. Katsuizumi, lonely while away from his wife and daughter, recognized the own his making man, young a as States United the to voyage a made similarly father,had who Although Chinese. Katsuizumi was fourteen years younger than Yoneno Noguchi, knew Noguchi saw him as an image of his who and thirteen of age the at Japan left he since declined had skills language Japanese whose Noguchi, for help big a was which English, impeccable spoke much is known not about their Although relationship Noguchi. Yone than older was sixty-eight at who Baishi, Qi of home the visited Katsuizumi expressing hisdesire tosomedayvisithis oldfriendsinJapan’s capital( Plant Banana a on Perched Bird Solitary entitled painting a in him to farewell a inscribed Tokyo,Qi to returnedKatsuizumi before and of 1931. of January late in Japan for Beijing left Noguchi until lasted friendship intimate the gap; age year mutual friend, he was living alone and they immediately became very close despite their ! artist. the from directly works medium-size and small purchase to able was he acquaintedbecame they after butKatsuizumi, for expensive too were Qi’spaintings1925.large of fall the in Katsuizumi to introducedhim who works his of collector TansôincludingBeijing,major in a livingJapaneseItô, to paintings his sold QiJapanese. many JapaneseChineseTokyo,andartistsbitionofin throughQi’swhich byknown be tocameworks organizedgroupBeijing aexhi in friends Japanese China, in unknown still was he when 1922, In Baishi. By then Qi was an established artist in Beijing, but he had Qi by works thirty including artists, Chinese contemporary by paintings fan and leaves, album bathhouses. public Japanese-style visited rejection. but also provided the support that he needed during the emotional crisis prompted by his father’s months at most. at months two about probably was Qi with Noguchi’sstudy of period entire winter,the in occurred them 35.0 x40.0inches from theKatsuizumiCollection of Andrew andSharlynnCirco The NoguchiMuseum,gift Hanging scroll, inkonpaper Seated MaleFigure 4 rst meetingthattheirmutualinterest inartbondedtheminstantaneously: |

I SAMU After the initial introduction through Katsuizumi, the twenty-six-year-old Noguchi frequentlytwenty-six-year-old Noguchi the Katsuizumi, throughintroduction initial the After Katsuizumi was very interested in Chinese art and had amassed a collection of hanging scrolls, Baishi Qi introducedto him only not who Katsuizumi, Sotokichi met also Noguchi Beijing, In N 14 OGUCH Noguchi and Katsuizumi frequently took long walks, ate in Japanese restaurants, and restaurants, Japanese in ate walks, long took frequently Katsuizumi and Noguchi 12 Katsuizumi was a banker working for Specie Bank, a Japanese national Japanese a Bank, Specie Yokohama for working banker a was Katsuizumi I

! , c.1930 ce. As the con 19 Though they could not communicate verbally, Katsuizumi recognized at the at recognized verbally,Katsuizumi communicate not could they Though

# icts between foreign forces and Chinese political factions began 18 , since Katsuizumi recalled that the ( ! 15 g. 1.5). On at least three occasions, Qi sent letters to letterssent Qioccasions, threeleast at On 1.5). g. Unlike most Japanese living in Beijing, Katsuizumi Beijing, in living Japanese most Unlike # ourished in tandem with Japan’s ambitious trade ambitious Japan’s with tandem in ourished 13 17 WhenNoguchimetKatsuizumithrough a Katsuizumi and Qi became good friends good became Qi andKatsuizumi ! rst become successful in Japan. ! ce, and in 1926 transferred 1926 in and ce, ! rst meeting between ! g. 1.6). ! fteen- 16 -

17 18 5 6 26.7 x13.1inches 1949/1.196 Art, giftofSotokichiKatsuizumi, University ofMichiganMuseum Hanging scroll, inkonpaper Plant Solitary Bird Perched onaBanana courtesy ofSharlynn andAndrew Circo From theKatsuizumiCollection, dated September13,1932 to SotokichiKatsuizumi, 5 | |

Letter from QiBaishi Q I , c.1930 B A I SH I

6

19 20 2.3 x1.1inches The NoguchiMuseum Marble forIsamuNoguchi 7 Qi once said to painters. an or interviewer, literati scapes pine trees in of the manner traditional works based on close observation of nature rather than representing lofty ideas through land create to was which art, to Qi’sapproach to drawn instinctively been have must Noguchi ter, ated Central with the literati painting tradition. China Hoping to learn ink-and-brush technique (now from the mas Arts of Academy Beijing’s from Academy ofFineArts),sincehehadnointerest inthetraining,style,orsubjectmatterassoci those and home at him with studying he best could onhisown. as them copy to try then and studio the in brushstrokes Qi’smasterful study intently the like were lessons subsequent their that presumed is It 7 |

Q and attentionforawhile.Inoticed,hehadmastered thetrick! paint some.Themasterobeyedwithoutanyresistance. To thishisdiscipleconcentrated his energy paintings. TheMastershowedhimhispaintingsgenerously …AfterawhileheaskedtheMasterto other mattersitwouldhavebeenadumbshow. IsamuNoguchiaskedthemastertoshowhis they bothseemedtounderstandeachotherquickly—great mindsruninthesamechannels—for A quitestrangethinghadhappened.Theydidnotneedtogetacquaintedeachother. …Here Noguchi must have stood out among Qi’s many students during this period, both those those both period, this during students many Qi’s among out stood have must Noguchi I B A I SH I

, c.1930 80.0 x18.5inches The NoguchiMuseum Hanging scroll, ink and color on paper Daffodils 8 |

Q I B A I SH , c.1920 I

20 ! rst encounter: Noguchi would would Noguchi encounter: rst - - - 8 > EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K

21 22 and the life elements.” life the and surfaces inner the view to earthy,thus very the of part nature—a of truly part a to more once as become nature of unity the of study the in himself submerged thoroughly so has artist the an as man ignore to and […]—a veneration. eyes, special for nature’sobject through nature view to desire my is “It Fellowship: Guggenheim the for application 1927 his in Noguchi by used language to similar strikingly is “To draw what you do not usually see, rather than to draw what you usually see, is like to to like is see, usually you what grotesque.” something draw create to to and truth ignore than rather see, usually not do you what draw “To ture exudes the energy and determination of youth through the through youth of determination and energy the exudes ture Glad Day this time Noguchi also created a small, full- ( shading without or with lines contour simple of arecomprised nudes, stay. male previous and female of his combinations during and nudes female studied single had including he drawings, crayon These which at school art the Chaumière, Grande la de by the human fascinated be to continued Noguchi Asia, to visa transit his for waiting while Paris in Back piece. a sculptural generated a how sitter’s personality contemplate him made sitters of these the dancer and choreographer and R. commissions, he worked on portraits of his close friends, including such charismatic ration from the highly abstract sculptures he had created under Brancusi’s in this period rather negatively in his memoir, the situation redirected his attention back to remembers Noguchi Although well. so sold that busts and went heads he portrait the making Brancusi, to back for working after 1929 in York New to Paris from returned Noguchi When THE P to Noguchi’s, orhisown,relationship withnature ( inscribed “Who says that plants have no passion; sometimes the opposite can happen,” alluding daffodils,of is painting a them, of One him. to dedications and inscriptions have which of some Qi, by paintings four least at acquired also Noguchi Qi. by esteem of gesturethus extraordinary an was student American his to seal a Gifting painting. a of elements integral and persona painter’sthe signatures,areof hand-written theypart and inscriptions creator;with the along of signi just not are painting) single a on seen be can seals multiple (sometime seals painting, as a painter, created and presented Noguchi with a seal of his own ( student relationship with the young American artist. Qi, who was known as a seal maker as much found theembodimentofhisidealinQi’s work. he had felt have He must this. achieve he could so that mind his cultivate and to train intended Although he left no record of their encounter, there is evidence that Qi valued the master- the valued Qi that evidence is encounter,there their of record no left he Although L AY O ( ! ! g. 1.16). Inspired by William Blake’s famous painting of the same name, the sculp F gure, incessantly working on drawings in front of actual models at the Académie Académie the at models actual of front in drawings on working incessantly gure, F I GU R A TI 22 O In the application, Noguchi said that his journey to East Asia was was Asia East to journey his that said Noguchi application, the In N A N D AB S ! TR ne balance of spirit with matter can only concur when when concur only can matter with spirit of balance ne AC ! TI gure bronze sculpture based on an actual model, model, actual an on based sculpture bronze gure O N !

g. 1.8). IN 21

This emphasis on empirical observation observation empirical on emphasis This T

Buckminster Fuller; the strong presence presence the strong Fuller; Buckminster HE PEK IN G ! ! S gure’s extended arms and and arms extended gure’s g. 1.7). In East Asian literati C R O ! gs. 1.9–1.15). During During 1.9–1.15). gs. LL

DR # uence. Between Between uence. A WIN ! GS gures as gures ! ! gu ers - - 9 16.9 x21.9inches museum purchase, 1948/1.304 University of Michigan Museum of Art, mounted onboard and brown chalksoncream paper Sanguine crayonandsanguine Two SeatedNudes 10.8 x17.3inches museum purchase, 1948/1.318 University of Michigan Museum of Art, Black crayononwhitepaper Crouching Nude 11 11.7 x18.1inches museum purchase, 1948/1.324 University of Michigan Museum of Art, mounted ongraypasteboard Black crayononoff-white paper Reclining Nude 10 |

I | |

SAMU I I SAMU SAMU N N N OGUCH OGUCH OGUCH , c.1929–30 I , c.1929–30 I I , 1929

11 10 9

23 24 22.0 x18.1inches museum purchase, 1948/1.325 University of Michigan Museum of Art, mounted ongraypasteboard Black crayononoff-white paper Standing Nude 12 12 |

I SAMU N OGUCH , with ArmsRaised I

, 1929 28.1 x22.1inches museum purchase, 1948/1.298 University of Michigan Museum of Art, mounted ongraypasteboard Black crayononoff-white paper c. 1929–30 Seated Nude,withHandoverFace 13 |

I SAMU N OGUCH I

, 17.4 x10.6inches museum purchase, 1948/1.291 University of Michigan Museum of Art, Sanguine onwhitepaper Seated Nude,BackView 14 |

I SAMU N OGUCH I

13 14 , c.1929–30 17.2 x10.5inches museum purchase, 1948/1.316 University of Michigan Museum of Art, Black crayononwhitepaper Two StandingNudes 15 |

I SAMU N OGUCH I

, c.1929–30 15

25 26 state. In Japan, he encountered he Japan, In state. human of movement or postures Brancusi’s,like polished and static not form, a fromthe is extracted emerge. It animated, to but become almost independent of the contours of the bodies, emerging as abstracted forms. of a mother and baby ( highlighting the intersections of multiple models or a movement of a body, as seen in his drawings Noguchi became more adept at controlling large brushes, his ink washes became more con createusedvolume,tosensewashisof a just shading likethe Western in academic drawing. As male tumbling a of drawing the in seen be may brush thick large banana leaves and the tiny bird using the sides of the brush. Noguchi’s attempt to master the sit for the artist. the for sit and streets the into out go would servant His pairs. in or alone babies, and 16 In the over gesting itwascreated aftertheirencounter. and the swiftness of his movement. This work bears a seal that Qi Baishi made for Noguchi, sug ( string a with playing boy little a of drawing a in lines the contrast, In shading. as almost serves wash ink the areand contours rigid the very arecrayons; they or if pencils as brush and ink the uses Noguchi be identi may often works pre-Qi Qi, with studied he after or beforecreatedwere works individual which that seeing Qi’s work made him ashamed of his limitations. his of ashamed him made Qi’swork seeing that ence in Noguchi’s skills with a brush before and after studying with Qi, and Noguchi himself said differ the see easily may one Drawings Scroll Peking the in that observed has Katsuizumi ures. East Asian painting was executed on a table or not limited in the sizes of these drawings; while Western academic drawing was done on an easel, tion—standing, sitting, reclining, wrestling and performing acrobatics. And, unlike in Paris, he was posi possible every in models his drawn have to seems Noguchi robes. loose in draped are who Collection ofTheNoguchiMuseum Gelatin silverprint Isamu Noguchiwith ! incrediblyNoguchi’sbeautiful[Chinese]ofmeans paper”becamethe human explorationthe of expressionist and brushes “fantastic Instead, materials. of lack the of because ers ( plaster dental of out girl Chinese a sculptureof smooth, polishedsurfaceofNoguchi’s abstractsculptures inspired byBrancusi. legs, gure. | Solitary Bird Perched on a Banana Plant Banana a on Perched Bird Solitary

B It was through such experimentation that Noguchi’s own sense of abstract form Manyofthe Peking Scroll Drawings have broad sweeps ofink wash applied with thicka brush When Noguchi When Noguchi carried with him to BeijinginteresthumanNoguchibody.histhetocarriedhim within createdsmall Therehea ER ! NI 23 rm muscles, and unyielding gaze. The modulated muscles are a departure from the the from departure a are muscles modulated The gaze. unyielding and muscles, rm CE Unlike inParis, hewas free tochoose his models and their poses: women, men, children, !

! A necontour lines of the bodies; this brush technique was asignature of Qi Baishi’s work. ed by their rather stiff brushstrokes. In a BB OTT ! g. 1.19) are 1.19) g. 24 Glad Day, The modelswereThegenerally portrayed exceptionsonlynude,the being monks, ! rst encountered Qi Baishi he was already seriously engaged in drawing in engaged alreadyseriously was he Baishi encounteredQi rst ! g. 1.22) and a baby alone (

c. 1930 # uid and very minimal, capturing both the softness of the boy’sthe of softness the body both capturing minimal, very and uid 6.5 x19.512inches The NoguchiMuseum Plaster Chinese Girl 17 haniwa ! gures and conveying the model’s personality and emotional model’sand the personality conveying and gures |

I SAMU N , highly abstract prehistoric mortuary prehistoric abstract highly , OGUCH ( , 1930 ! g. 1.5), for example, Qi masterfully paints the dark,masterfullyexample,the paintsQi for1.5), g. # I oor, allowing him to create almost life-sized works. ! g. 1.17), but he found it dif it found he but 1.17), g. ! ! g. 1.23). The broad brushstrokes in these works gure drawing of a boy ( ! gure( 25 Although Noguchi did not note not did Noguchi Although ! gs.1.20, 1.21) in which the ink ! ! ! g. 1.18), for example, nd peoplend willing to cult to produceoth to cult ! gures buried in buried gures # ourishesupon ! nally began ! dent, ! g - - - - - 16 17 > EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K

27 28 18 35.0 x29.9inches The NoguchiMuseum Ink onpaper Peking Drawing(boywithstring) 18 19 |

I SAMU N OGUCH I , 1930 26.0 x22.8inches gift of Sotokichi Katsuizumi, 1949/1.190 University of Michigan Museum of Art, Hanging scroll, inkonpaper Baby: Scroll (Kakemono) 19 |

I SAMU N OGUCH I , 1930

29 30 22 21 20 26.1 x32.1inches museum purchase, 1948/1.302 University of Michigan Museum of Art, on off-white laidpaper Brush andinkoverblackcrayon Reclining MaleNude 22 41.0 x76.3inches The NoguchiMuseum Horizontal hanging scroll, ink on paper Peking Drawing(mansitting) 21 43.7 x81.0inches The NoguchiMuseum Horizontal hangingscroll, ink onpaper ankles crossed) Peking Drawing(tumblingmale, 20 | | |

I I I SAMU SAMU SAMU N N N OGUCH OGUCH OGUCH , 1930 I I I

, 1930 , 1930 23 97.0 x44.0inches Collection ofAlexandraandSamuelMay Ink onpaper Mother andChild |

I SAMU N OGUCH I , 1930

23

31 32 EX 44 x1615.5inches Whitney MuseumofAmericanArt (two elements) The Queen 24 again, his stay there and encounter with Qi Baishi had made a lasting impression. of brush, learn how to be with nature, how to live”; although he never traveled to Beijing or China Noguchireminisced that he had hoped to return to Beijing after a short absence “to learn the art seventies,his in was he Whenabstract. highlyNoguchi’s become 1940s, sculptureshad the By Drawings. Scroll Peking the in seen technique ink-and-brush abstract the of some echo forms works, such as racotta sculptures made in in 1931. In subsequent years he would create abstract sculptural the between stage crucial a ni con life. human on based be should it object, aesthetic an just than more be should similarly sculpture modern to came I tombs. As he said, “through my journey to 24 with some terracotta some with along Drawings Scroll Peking the showed Noguchi Japan, Yorkfrom New to returned he after Queen ! T |

cant role in the development of Noguchi’s artistic identity. The Peking Scroll Drawings represent I His six-month stay in China may have begun as an accident, but the experience played a sig a played experience the but accident, an as begun have may China in stay six-month His SAMU E ! dence inhisaccomplishmentChinaandJapan. N ( N D ! , 1931 OGUCH g. 1.24), a stack of cylinders and a sphere in terracotta inspired by ! T 26 nd the abstraction of ancient Japan”. These ancient These Japan”. ancient of abstraction the nd HE At the studio of ceramic artist Uno Ninmatsu (1864–1937), Noguchi created Noguchi (1864–1937), Ninmatsu Uno artist ceramic of studio the At I Miss Expanding Universe GR EY ! gures at two galleries. two at gures B ACKG ! gural portrait heads made in New York in 1929 and the abstract ter abstract the Yorkand New 1929 in in made heads portrait gural 50.0 x35.0inches The NoguchiMuseum Ink onpaper Peking Drawing 25 R |

I SAMU OU (1932) and and (1932) N N OGUCH ! D nd my own roots, I started from abstraction in Paris, 27 , 1930 The large-scale presentation suggests his strong his suggests presentationlarge-scale The T I O Death (Lynched Figure) RI 25 GH T A N D ! 88.7 x31.822.1inches The NoguchiMuseum Monel metal,steel,wood,andrope Death (Lynched Figure) 26 gures made him realize that realize him made gures L |

I E SAMU FT (1934, (1934, N haniwa OGUCH I ! g. 1.25), whose

! gures. Soon , 1934 The - - 26 > C L EA N

T HE B ACKG R OU N D 150%

33 Lang Shaojun THE “ DI S C OVERY” OFQ The word “discover”issigni for him. In the Frenchartist’sthe In Beijing.” him. in for Baishi “discoveredQi out: stands comment résumé,a seal Claudot a make to artist Chinese the asked and him of portrait a painted he that so much Beijing Art College], Art Beijing [National Xuexiao Meishu Beiping Guoli of director the (1900–1991), Fengmian Lin artist when and calligrapher (also called Zhu Da) (ca. 1626–1705). It was not until 1926 to 1927 in the of imitative was time this at Qi’sstyle life. of sense active their and works his of personality strong the despite community painting the from tion of paintings freehandlarge his painting religious subjects and portraits on commission. on portraits and subjects religious painting carving craftsman village a as career his began (1864–1957) century,Baishi Qi twentieth the in painting Chinese traditional of masters the of one as Recognized 2.1] [Figure drawn to classical European realism and nineteenth-century art. nineteenth-century and realism European classical to drawn was Xu , and , , especially art, European contemporary to professor. appointed was University,and Peking at Studies) Painting of Yanjiuhui(Institute Huafa of dean (1895–1953), Beihong Xu artist by time this again, discovered was Qi 1928 In department. ing painter André Claudot (1892–1982) as a teacher.a as (1892–1982) Claudot André painter ated, independentlyofoneanother, Qi’s work. conservative tendencies prevalent in contemporary painting circles in Beijing, and both appreci dark, in a Western style that was commonly found in the coastal regions of China. regionsof coastal the in found commonly was that Westernstyle a in dark, which hewoulddipapaperstickintocharcoal aswellink. of use his is work Qi’searly of feature tinguishing grass] and of depictions his and photographs, on sometimes and drawings and Iwasgreatly movedby it. Asia, whohaddoneworkthatimpressed him,Iwasforemost. Thiswasawonderfulcompliment, painters withwhomhehadcomeintocontact,whetherfrom China,Japan,India,orSoutheast A French teachernamed Claudot toldmethatafterhecametotheEast,ofallnumerous [Figure 2.2 and Figure 2.3] In 1917, in his mid- While Lin was director of the National Beijing Art College, he recruited the French expatriate 6 2 Both and had studied in France. While Lin was attracted was Lin While France. in studied had Beihong Xu and Fengmian Lin Both are distinguished by his use of chiaroscuro, the strong contrast between light and light between contrast strong the chiaroscuro, of use his by distinguished are I

B A I SH 5

! rst discovered Qi Baishi and appointed him chair of the Chinese paint Chinese the of chair him appointed and Baishi Qi discovered rst I ! cant. Inhisautobiography, QiBaishiwrites: 10 # owers and birds, people and landscapes, did not garner atten garner not did landscapes, and people birds, and owers ! fties, Qi Baishi moved to Beijing. Here, however, 8 Claudot also appreciated Qi Baishi’sso Qi appreciatedwork, also Claudot tanbi caran tanbi 1 His early portraits, based on charcoal on based portraits, early His # uential seventeenth-century painter seventeenth-century uential 4 [draw shading with charcoal], for charcoal], with shading [draw 7 Both men were critical of the of critical were men Both caochong/chongcao ! ne furniture and furniture ne 3 Another dis Another [insects - - - - 9

35 36 When Hejzlar When Arts (CAFA) in Beijing, also met Qi and became an adoring and enthusiastic proponent of his work.side of China. In the 1950s, Josef Hejzlar, a Czech student of art history at the Central Academy of Fine 8.6 x10.9inches gift of Sotokichi Katsuizumi, 1949/1.193 University of Michigan Museum of Art, Hanging scroll, inkonpaper Rural Village Qi’s paintingsinEurope manytimes. painter who discarded the old restraints on painting, and who has his own “a style,” Chytil as exhibited him Describing Qi’swork. admired especially Chytil Czechoslovakia. to back brought he which paintings Chinese of number large a acquire to dealer,Beijing art to returningan of role (1876–1970) and Xiao Qianzhong (1883–1944). Between 1928 and 1935, Chytil often assumed the know a number of Chinese painters, among whom the most prominent were Qi Baishi, Chen Nian an adjunct faculty member (honorary professor) of the National Beijing Art College and came to artist valuedhispaintingssohighly. European the why understand not did he Claudot, from praise such by pleased was Qi While 27 frequent, and another collection of works by Qi’sby works of collection another frequent,and assembled. was work in Prague 27 |

Q From 1921 to 1926, Vojteˇh Chytil, a Czech diplomat and painter posted in China, served as served China, in posted Vojteˇhpainter 1926, and to diplomat 1921 Czech From a Chytil, [Figure1950sthe2.4]1960s,Inand cultural contacts between Czechoslovakia Chinaandwere I B A I SH 13 I

, c.1930 has more than one hundred paintings by Qi, one of the largest collections of his work out work his of collections largest the of one Qi, by paintings hundred one than more has ! rst visited Qi and mentioned that he was from Czechoslovakia, Qi cupped his hands

11

12 Today the National Gallery - 28 translated andpublishedaspecialeditionoftheartist’s ie y i wih ee ey el eevd n sl fr od prices. good for sold and received well very were which Qi, by nine two books about the Chinese master— Chinese the about books two an arrangement of a large number of exquisite small paintings by Qi. He told me that he had written 17.9 x19.3inches Anne andJohnChew, 1994.107 San DiegoMuseumofArt,gift Hanging scroll, ink and color on paper Old ManwithaDoubleGourd 28 and shouted: “Chytil!” a number of exhibitions of contemporary Chinese art. Chinese contemporary of exhibitions of number a CR) Jn hn (8812) n Ce Sieg (1876–1923). Shizeng Chen and (1878–1926) Cheng Jin (CPRS), werein the of members two by Japan to accompanied China from paintings The artists. Japanese by paintings seventy-nine with shown were Beijing and Shanghai from artists sixty by paintings hundred Four Achievements. Manufacturing and Commercial for Awards of TokyoInstitute the Prefectural at 1922, 15, May to 1 May from place important bi-national exchange, the second |

Q Although Qi never traveled outside China, I B A I SH I

14 When this author visited Hejzlar in Prague in 2002, his living room contained , 1927 87.5 x27.8inches by exchange,1978.255 gift ofMr. andMrs.David M.Levitt, The Metropolitan MuseumofArt, Hanging scroll, ink and color on paper c. 1930 Portrait oftheImmortalLiuHaixian 29 |

Q I B Qi Baishi Qi A I SH I Sino-Japanese Joint Painting Exhibition 15 he became increasingly known in Europe through and Qi Baishi and His Famous Students Famous His and Baishi Qi Poetry oftheHeavenlyPond 16 # In Japan his work was introduced in an in introduced was work his Japan In uential China Painting ResearchPainting China uential Society 29 , 17 mn te anig were paintings the Among 18 n i autobiography, his In . , which took —and had

37 38 30 39.8 x13.5inches Collection ofTsao Family Hanging scroll, ink and color on paper Red Camellias 30 |

Q I B A I SH I

, c.1930 42.5 x13.4inches Collection ofTsao Family Hanging scroll, ink and color on paper c. 1930 Autumn LandscapewithCormorants 31 |

Q I B A I SH I , 31

39 40 more than seventy paintings by Qi, Korean andJapanesemodernism already familiartohisfellowcountrymen,KimbelievedthatQi strongadvocate of Qi’s literati painting and his teacher’s large, freehand style. studied1936,KimBeyond paintingtoQi’s1932 at the country,everyhomehomeweekend.forms his In a of was Kim atFuJenCatholic University inBeijing (then known astheCatholic University ofPeking). Between art. Qi’sof collector and enthusiast an Trautmannbecame East.” the of Cezanne Paul the sidered ambassador to China, Dr. Oskar P. Trautmann, to whom he reputedly said that “Qi could be con Yo ˘ ng-gi (Ch’o˘ ng-gang, 1911–2003), ng-gang, (Ch’o˘ Yo˘ ng-gi served in China in a variety of capacities between 1927 and 1937. 8.3 x13.0inches courtesy of Sharlynn and Andrew Circo From theKatsuizumiCollection, Album leaf,inkandcoloronpaper Wisteria 32 encouragement ofChenShizeng,whohadadvisedhimtochangehispaintingstyle. the to attributed be could Tokyoexhibition the in success his of much that acknowledged Qi 32 [insects andgrass]paintingsasQi’s work. he was born, by the 1940s Trautmann was able to recognize even unsigned |

Q 22 tendency inWestern artfor Fauvismtomanifestsubjectivedevelopmentofstyle. brought thefreehand styleofoldliteratipaintingintomodernpainting,andthisisthesameas [Fig.2.5] Qi’s growing reputation also spread to in the 1930s through Korean painter Kim Qi’sof collector Japanese important most The Yakichirodiplomat was works had who Suma, I According to Ma Bi, a disciple of Qi Baishi and close friend from the village in where B , c.1930 A I SH I 99.0 x26.4inches The NoguchiMuseum Hanging scroll, ink and color on paper Chicken andGourd Vine 33 24 21 a student in the the in student a |

and recommended his work to others, including the German Q I B A I SH 23 I

! ne arts department in the college of education , c.1930 20 During that time he acquired caochong/chongcao 25 19 -

33 > EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K

41 42 34 35 53.6 x13.1inches Collection ofMichaelGallis Hanging scroll, inkonpaper Seal Script 35 54.2 x13.2inches gift ofSotokichiKatsuizumi,1949/1.191 University of Michigan Museum of Art, Hanging scroll, inkonpaper Pine andBamboo 34 | |

Q Q I I B B A A I I SH SH , 20thc. I I

, c.1930,

American art well. art American States in the 1920s and befriended American painter Mark Tobey, knew Chinese art and modern encing nature and life. The artist Teng Baiye (1900–1980), for example, who studied in the United strong personality, a distinct sense of have form, innovation and Both creativity,painting. Westernand a unique modern way of experi of those to, identical, or similar,are that elements have others) and Binhong of those as well (as Qi’spaintings Second, Qi’s work.. interpreting when knowledge and experience own their by bound therefore are and traditions artistic and degrees, misread Qi’s works.Howcanweexplainthismisreading? ous manifestations, such as impressionism, expressionism, and fauvism. And each has, to varying vari its in Westernpainting of, modern fond and others—werewith, and familiar Fengmian, Lin Yo˘ng-giKim Koreanpainter Suma, collector Japanese Claudot, (Ch’o˘ng-gang), painter Chinese key the painter Frenchall Chytil, painter fact, here—Czech mentioned Qi’sIn work of advocates mistaken. and interpreters similarly often are 89 of age the at Binhong Huang by works of Interpretations expressionism. of or art baroque of agitation and restlessness the of festation mani a Qi’sas of work, misreading obvious an in this, interpreted Hejzlar deteriorated. writing themes of Qi’s paintings diminished greatly, his calligraphy and painting lost form, and his hand ( manifested emotionalexpressionism. clearly that works of emergence the represented and art baroque of agitation and restlessness the displayed years three last his in works Qi that commented also He passion. and heroism, the joys of home, childhood, nature, and the world, as well as the spiritual qualities of boldness, re inspiration” of “sources Czibulka—as and Filla artists Czech as well as Picasso, and understanding of Qi Baishi in Europe. Hejzlar saw Qi—like Cézanne, Van Gogh, Gauguin, Degas, the accelerated had and Czechoslovakia in art modern appreciate better to countrymen his for In a not dissimilar fashion, Hejzlar argued that appreciation for Qi’s paintings had paved the way tions of Qi’s work as “misreadings”. I am offering an insuf ! g. 2.6 & 2.7) After 1954, due to declining powers in his old age and a trembling hand, the hand, trembling a and age old his in powers declining to due 1954, After 2.7) & 2.6 g. paintings ofQihasalsoappeared intheworksoffamouslandscapepainterHuangBinhong. on paintings of his later years. It is interesting that the expressionism like that manifested in the in themidstofanintensebattle.Therough penforce ofexpressionism isre about bytheforce ofthe but ‘atyphoon,’a profoundly unhappy. A seem tranquil.Hisgrapevines,grapeleaves,and what the brush conveys remains the force of a pen, the force is very rough, and certainly does not Their ink touches seem to be so deep, and so, dark, that is almost impossible to penetrate. Although First, I believe, that Western artists and critics lack a deep understanding of Chinese cultural Chinese of understanding deep a lack Westerncritics that and believe, artists I First, 27 ! He once referredonce Art. He expressionismChinese to in erce galethatbrutallytearsthrough its ! erce wind blows through his favorite peonies—this is not ‘a gentle breeze,’ ! erce wind, endlessly shaking, bent down to the ground, like banners waving # owering tea trees seem thoughtful, but also # owers and leaves. The peonies are tossed ! ciently accurate explanation—although # ected in the annotations 28 By denoting interpretadenoting By 26 # ecting - - - - -

43 44 37 36 22.1 x18.1inches gift ofSotokichiKatsuizumi,1949/1.199 University of Michigan Museum of Art, Album leaf,inkonpaper Crabs 37 11.8 x12.4inches gift ofSotokichiKatsuizumi,1949/1.194. University of Michigan Museum of Art, Hanging scroll, inkonpaper Fish 36 | |

Q Q , c.1930 I I , c.1930 B B A A I I SH SH I I

creativity was motivated by pastoral memory. His mental training and habits of mind did not did mind of habits and training mental His memory. pastoral by motivated was whose creativity one society, its and village home his for feelings deep with painter a was Qi painting. Western versus painting “Chinese and painting, Chinese in innovation painting, literati lution, associations.” community.artsstated“Thosethatthatwithoutpainters’thesealtalentall join a had fact,he In activitiessocialparticipatedassociationsof neverthealmost inand Qi 1949, and between1927 tions, Qi rarely went far from his door. In Beijing, except for intermittent teaching at art institutions to see relatives, a tour of in 1936, and visits to Nanking and Shanghai in 1946 for art exhibi warandchaos, andremained there forthe rest ofhislife. Except forfewavisits tohishometown forty, Qi traveled through most of China with the assistance of friends. of Qipainting movedthe studied to Beijing to avoid (1847–1914),Qinyuanhevillage,Hu home royaltyhis from ofpainter a ofsupport the tothanks twenty-seven,of year.age the a halfAtattended privateforschoolonly had whoartistfolk and interms ofhis birth and experience. Until hewas twenty-seven, Qiwas anengraver, woodworker, misreadings iswidespread, andhasnowbecomean inseparablepartofarthistory. such of phenomenon The feelings. on foremost based is that response a phenomenon, artistic an of grasp ill-formed but intuitive an essentially is what rationale—for and basis a have does it 15.1 x19.5inches gift ofSotokichiKatsuizumi,1949/1.202 University of Michigan Museum of Art, Album leaf,inkonpaper Duck 38 38 |

Q Qi did not care to participate in the debates of the art world of his day,his revoof art world the art as the such of debates the in participate careto not did Qi [Fig. 2.8] Within the context of twentieth-century art in China, Qi occupies an extraordinary role , c.1930 I B A I SH I # owers and birds, along with ancient poetry and songs. After the age of agesongs.thebirds,ancientAfter withpoetryalongandand owers

- -

45 46 EX T E N D T HE GR EY 158% B ACKG R OU N D A R OU N D T HE W O R K < 40 39 68.0 x32.0inches The NoguchiMuseum Hanging scroll, inkonpaper Peking Drawing 39 |

I SAMU N OGUCH , 1930 I 41 87.1 x38.1inches The NoguchiMuseum Hanging scroll, inkonpaper c. 1930 Peking Drawing(slouchingmonk) 40 |

I SAMU N OGUCH I , 91.5 x40.3inches The NoguchiMuseum Hanging scroll, inkonpaper 1930 Peking Drawing(twonudewrestlers) 41 |

I SAMU N OGUCH I

,

47 48 33.5 x63.3inches museum purchase, 1948/1.332 University of Michigan Museum of Art, Horizontal hangingscroll, inkonpaper 1930 Seated MaleFigure: Scroll (Kakemono) 42 42 ship between Isamu Noguchi and Qi Baishi in Beijing, and Qi did not mention Noguchi in his in Noguchi mention not did Qi and Beijing, in Baishi Qi and Noguchi Isamu between ship artistic his of peak the at and time, the at old years sixty-six was Qi Beijing. in living was descent, American and dently, andinisolationfrom theartcommunity. indepen working began Baishi Qi all, Above recognition. broad, and increasing, gained style manner.unique a in art distinctive folk His of strongcolors and matter subject the with painting literati merged that approach independent an developing and predecessors his of styles and doors painting,engravingseals,andwritingpoems( historical about poems chronicles and wrotetopics related to he painting. In other art, words, Qi on spent most of articles his time behind writing closed of Instead individualistic. and daring be to nevertheless able was Qi road, lonely his guarded jealously who man A art. of language clear straightforward, a and forms art concise simple, to importance attached he Instead, ism. those painters who wereTianshou, conscious of national identity and aware of cultural national Pan or Beihong, Xu Binhong, Huang like not was He West. and East of opposition the include |

I From June 1930 to early 1931, twenty-six year-old American artist Isamu Noguchi, of Japanese From 1919 to 1927, Qi reformed his method, abandoning the imitation of the themes, forms, SAMU N OGUCH I creativity. There is little documentation little creativity.is There ,

29

! g. 2.9). in Chinese literature on the relation the on literature Chinese in - - - 51.3 x48.5inches The NoguchiMuseum Ink onpaper reclining onleftarm) Peking Drawing (woman nursing baby, 43 of senior a Daofan, Zhang when 1946, In him. to bow and up line to had they apprentices, poet Zhao Xianyu, and dramatist Fang Wenxi. According to tradition, when Qi formally accepted Yanfaof Abbot Beijing; in Arts Fine of Institute Jinghua directorthe Shiming, of Qiu Monastery; well-known include passage same the in mentioned Disciples Speaking abouttheperiodof1930to1931,inhisautobiographyQiwrote: apprentices. accepting was Baishi Qi Beijing, in arrived Noguchi when 1930, autobiography.In 43 |

I considered metobetheirteacher. When Iwasaprofessor attheCollegeofArts,inadditiontocollegestudents,manyothers SAMU N OGUCH I , 1930 ! gures such as Rui Guang, the Guang, Rui as such gures ! cial

49 50 44 218% 75 x41.2inches Collection ofTheLannanFoundation Ink onpaper Mother andChild 44 |

I SAMU N OGUCH I , 1930 my disciple,youmustkowtow.” of the Nationalist government, wanted to become an apprentice, Qi told him, “If you want to be Isamu Noguchi seal made (see made seal Noguchi Isamu of amotherholdinganinfant: the end of of the decade. In 1938 Noguchi made the following inscription on one of his paintings relationships with Japan. This search became especially troubled when Japan attacked China at encouraged him to seek cultural roots in China, a country that traditionally had racial and cultural tion in Beijing in 1930 because his Japanese father did not want him to come to Japan, perhaps Noguchi’steacher). their copied isola his and American, half and Japanese half as identity dual directly apprentices and disciples Qi’sChinese of non fact, (in Qi mimic not did Noguchi skill, Noguchi’s works have no direct correlation to Qi’s paintings and in terms of the level of technical expressions of nostalgia for childhood? What is certain is that the themes and human subjects of or life, new to mother,odes his or about songs Werethese infants? nursing mothers of images Asian, one can presume that he used Chinese models. Why did Isamu Noguchi repeatedly paint ( infants nursing mothers young of are viewers on landscape interventions,andindicatehispreference forlarge spatialscale. of Noguchi’s paintings, two to three meters in width, hint at the future scale of his sculpture and ing rickshaws, his most daring works were portraits of nudes. Furthermore, the large dimensions concise brushstrokes in his sketches of Qi’sadopt did Noguchi While sitting. or down lying toddlers cassocks; wearing monks them; sport, in engaging women and ! of depictions the from differ period this from subjects tic painting withQiandthatthisrelationship hadanin Qi’swas Noguchi however,is, disciple formal signi as not records, it is unlikely that Noguchi was a disciple of Qi but rather a guest of ink painting. Whether he would call traditionalmaster-apprentice non-apprenticewhompaintingrelationship,taught ofstudents Qi Qi’s records and he never mentioned the names of his non-Chinese apprentices. In addition to the issue as to whether Noguchi too was required to bow to Qi). Apprentices' names do not appear thein raise it apprentice, doesteacherand(nor of one wasNoguchirelationship and betweenQi nd in Qi‘s paintings. Noguchi was fond of using ink to portray the human body: young men young body: human the portray to ink using of fond was Noguchi paintings. Qi‘s in nd children ofgreat China!You livein themostdif the Asiancontinent,forgetting theirculturalroots. Idon’t wanttoforget myart’s teacher. Oh I amafollowerofgreat China andIhavelearnedfrom itsgreat art.Today intruders are attacking The only physical evidence that we have of the relationship between Qi and Noguchi is the isNoguchi andrelationship Qithebetween of have we thatevidencephysical only The [Fig. 2.13-2.18] Of these rarely seen works, the ones that have left the deepest impression deepest the left have that ones the works, seen rarely these Of 2.13-2.18] [Fig. artis His Beijing. in paintings ink of number a completed Noguchi 1930 In 2.12] – 2.10 [Fig. men ke or “guest” (as he sometimes also called his disciples). Considering the lack of ! ! 30 ghting, and dancing; young mothers holding infants or nursing or infants holding mothers young dancing; and ghting, g. 1.6) by Qi, by 1.6) g.

! gures, such as wet nurses holding babies and men pull ! 31 cult oftimes,yetyoucanstillnurture peaceand but this seal does not necessarilythe notthatprovedoes seal this but # uence ontheartNoguchiwouldproduce. ! g.2.19). As his subjects appear to be East be to appear subjects his As g.2.19). ! cant as that he came to know and study # wr, id, net, and insects, birds, owers, ! h we sh - - -

51 52 EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K S 77.0 x22.0inches Private collection Hanging scroll, inkonpaper Mother andChild 45 < 47 45,46 |

I SAMU N OGUCH I , 1930 117.0 x51.0inches The NoguchiMuseum Hanging scroll, inkonpaper one behindthenext) Peking Drawing(three 46 |

I SAMU N OGUCH I , 1930 ! gures,

53.8 x104.2inches The NoguchiMuseum Ink onpaper Peking Drawing 47 48 |

I SAMU N OGUCH , 1930 I 70.3 x37.3inches The NoguchiMuseum Ink onpaper Peking Drawing 48 |

I SAMU N OGUCH ( robed monk I ), 1930

53 54 36.5 x67.5inches The NoguchiMuseum Ink onpaper Peking Drawing(femalereclining) 49 special the inspirationalsensethuscanstrokeseffect.delicate,preciseand full, areOne andmellow inand pro the wider sense Noguchi had of Chinese culture, and an acknowledgement of his peopleteacher as they enduredQi Baishi.disasters. From the single phrase “my art’s teacher,” we can comprehend Noguchi’s deep affection for Chinese culture and his sympathy and strong support for the Chinese [Figure2.20] Under his name was the Isamu Noguchi seal Qi created. This passage demonstrates 49 a form-like body and its shadow, a shapeless non-shadow, andan destroysisomorph the originalof a sketch.tangled The consciousnational intertwining identity. of these two different methodssketching creates is superimposed on precise, delicate,with associated realisticrealism plastic a images.of constraints A layerthe to of subject abstractionnot uninhibited, deconstructs generous, dense, and light ink to his remained essentiallyWestern. Especiallyworthy of noteis that, in manyof his works, Noguchi adds even further stylistically from Qi’s. This dissimilarity is not strange, as the basis ofporaneous Noguchi’s works paintingby French painter André Claudot and Chinese modernistcontem resemble closely more Interestingly,paintings principles. ink Linand his tastes, Fengmian,his or method which are andthe line modeling method ofpainting, but heeither did not accept, orunderstand, Qi’s brush calligraphicbrushstrokes. Noguchi’s interest obviously lay inthe tools and materials ofink painting |

I ! Isamu Noguchi,1938,March 9,N.Y. resist violentattack;youare themakersoffuture andbuildersofanewChinesedestiny. Inexamining Isamu Noguchi’s Beijing works one see that his use of brush and ink on paper was [Figs. 2.21-2.24]QiBaishihasbeen“discovered” manytimes,includingbyIsamuNoguchi. SAMU cientandunhindered, coming close totraditional Chinese ink-and-brush sketching. Hisbrush N OGUCH # uidity and suppleness of Eastern art Eastern of suppleness and uidity I , 1930 43.5 x90.0inches The NoguchiMuseum Horizontal hangingscroll, inkonpaper holding head Peking 50 ! 32 |

I ne pen sketching of human subjects. His sketches are free and SAMU

Drawing (reclining female nude, N OGUCH ), c.1930 I

33 . These lines are much differentmuchTheselinesare. fromQi’s thick ! ne lines.ne Heavyink - 50 > 157% EX T E N D T HE GR EY B ACKG R OU N D A R OU N D T HE W O R K

55 56 Britta Erickson Q I

B A I SH I AND N OGU contributed to the unique understanding of space, and of dark and light, that characterizes characterizes that light, Noguchi’s and mature oeuvre. dark of and space, of understanding unique the to contributed have thus may Qi and with training positive of Noguchi’shalf-year Qi’s of oeuvre. in apparent space appreciation negative sophisticated the incorporating ink, and brush with mentation Noguchi’snurturedby space of conception a experi at hints paintings these of consideration groupof a is remain teacher. does the by What corrections with marked paintings or motifs, or brushstrokes paper of sheets example, survived—for have to known are hand Noguchi’s by works student obviously no and autobiography, his in mention of worthy student not did Qi interactions. their regarding survives information Scant disciple. short-term youthful his Noguchi and star rising rapidly a was Qi life: in later them afforded the accolades accrued yet had Neither months. six for student ink-painting his as (1904–1988) Noguchi Isamu sculptor Japanese-American great the took century, past the of painters famous most in subtly brie artists century’sgreatest twentieth the of two of paths the 1930 in Thus, Excerpt from Mr. SotokichiKatsuizumi’s (1889–1985)lettertohisgranddaughter, SharlynnCirco and the old man were quite intimate in spirit even though they do not share a mutual language.” — return in the future. Qi Baishi said he would be delighted. When we two bade him goodbye, Isamu how to use them. [Figures 3.3-3.5] Isamu was very interested in seeing them all and asked if he could welcomed us very cordially, ushering us into his studio and showing us his painting tools as well as were able to reach the artist’s gate very early in the morning.... [Figures 3.1 and 3.2] He appeared and fetched a bicycle, and came to me before the dawn. Since I too had a bike, we pedaled hard and by variousquestions,and he said, “This is the real act. Is the artist living?” I said, “Yes.” Then he asked if I knew him, [followed When he saw a small scroll of cabbage and mushrooms his eyes sparkled and, approaching it closely, enthusiastically. Then [we got to some contemporary black and white paintings] all by Qi Baishi. him my collection of Chinese paintings and drawings.... He nodded at each one . . . but not very civil war. I brought him to my home quite frequently. One evening he stayed after dinner. I showed and I was alone myself because my family was away in Japan avoiding the danger of the Chinese Isamu [Noguchi] stopped in Peking knowing nothing to do. At that time I happened to meet him, C # H uencing the direction of the younger’s oeuvre. Qi Baishi (1864–1957), one of China’s of one (1864–1957), Baishi Qi younger’soeuvre. the of direction the uencing I , ! nished ink studies created by Noguchi during this period ( period this during Noguchi createdby studies ink nished SQ UARE ANDC ! nally] “Can I see him?” to which I replied “Yes.” [...] He went home, I R C LE 1 ! lled with repetitive practice practice repetitive with lled ! gs. 3.6, 3.7). Careful Careful 3.7). 3.6, gs. # y intersected, intersected, y ! . 2 nd his his nd -

57 58 exhibition he had numerous new clients: foreigners, Liulichang antiquities dealers, and people and dealers, antiquities Liulichang foreigners, clients: new numerous had he exhibition Japanese the following that noted Qi Paris. in exhibition an Qi’sfor chose paintings exhibition was there Furthermore, some talk of making a Japanese dollars. silver 250 to 100 of price unprecedented the for selling ings appreciationgreatso was Qi’spaintings with Chinese out, the sold for exhibition the that paint Chen’sof in (1922), perhaps chosen to go because he had studied in Japan two decades previously. Because ble for accompanying paintings to Tokyo for the second responsithreemembers the society of one was He 1920. in Researchfounded Painting Society expressive brushworkinthebold highly with strong, and energetic through, came spirit personal his now but circles, art Beijing adhered too closely to the ancient masters, no doubt encouraged in this by the conservatism of had works Qi’searlier restrained. and spare been had it before where style robust and lush a ( saw Qi’s list and admired the seals af seals the admired Qi’sand saw list 1876–1924) (Shizeng, Hengke Chen painter The customers. new reach to artists for means mon Totrade. the of tools other and paints, brushes, com a was examples with list price a such post paper,with ink, artists supplying and antiques and books selling shops many its for famous still streeta Liulichang, in Shop Paper Southern the in list price a hung had He life. his changed that even thansealcarving. undertaking self-motivated poetry, elevated a more write to able was he entirely when apogee its His reached education painting. to superior considered landscape. carving, genre, seal elite mastered most Qi the Next to arts of humble most the from path steady a represents ter to to Opportunities living. a make learn bird and could artist itinerant an which from genre a portraiture, ied volumes published 1679), and began to learn from it how to paint. Beginning in 1888, he stud a partial copy of the woodblock printed book, the across came he occurred: event changing life a 1882, later,in years Five carver. wood a under work to transferred he that talented so proving soon carpenter, a to apprenticed was he 1877 the complete to unable was but 1870, in school local the in education formal only his received Qi province, Hunan in district, dif been had artist an as and phase mid-career his in age, of years sixty-seven was Baishi Qi Noguchi, Isamu met he When Q ! g. 3.8) Upon Chen’s advice, Qi developed his painting manner in a new direction, resulting in resultingdirection, new a in manner painting his Chen’sdeveloped Upon Qi 3.8) advice, g. I BA Chen Hengke was a member of the most important ink painting society in Beijing, the Chinese Qi Baishi traveled to Beijing for the for Beijing to traveled Baishi Qi ! nally gaining well-deserved widespread recognition. As the child of peasants, his path path his peasants, of child the As recognition. widespread well-deserved gaining nally ! I SH ne wood carver to portraitist, then painter of birds and I ’S # TR uence, Qi Baishi’s works were included in the exhibition. The Japanese audience’sJapanese The exhibition. the Baishi’sin Qi included wereuence, works # A ower painting and landscape painting followed. His progression from carpen ININ G A N ! cult and slow to start. Born in 1864 in Xingdoutang (Star Pond), Pond), (Star Xingdoutang in 1864 in Born start. to slow and cult D EA ! RL xieyi lm about Qi and Chen, and, even better, French visitors to the Y CA ! (writingtheidea)manner. xed to it, whereupon he sought out and befriended Qi. befriended and out sought he whereupon it, to xed ! R rst time in 1903 but it was his second sojourn, in 1917, in sojourn, second his was it but 1903 in time rst EE ! rst year because his family could not afford it. In In it. afford not could family his because year rst R Mustard Seed Garden Painting Manual Sino-Japanese Joint Painting Exhibition # owers, then landscape painter painter landscape then owers, ( ! rst rst - - - - - 3

51 of somewhat elevated taste all came to request paintings, so business improved day by day.by day improved business so paintings, request to came all taste elevated somewhat of orthodox tradition traced back to the of the seventeenth century and, through through and, century seventeenth the of Wangs Four the to back traced tradition orthodox manner.( this Society,exemplify Painting Research Chinese the of member a Chen like (1878–1926), Cheng Jin of works The paintings. ( painted combining at paper,by the or of edge composition the the short cutting by example, for this, did It art. of work and relationship viewer old between comfortable the challenged that compositions in based quality edgy new embodied a often it addition, In forms. calligraphic ancient from derived brushwork superb of satis also it appeal, obvious an held thus and birds as such subjects popular or fresh innovative rendered typically an painters School Shanghai supporting scene. art patrons well-educated and wealthy with metropolis, international steadily had Shanghai emerged as China’s center of artistic creativity,mid-1800s, and by the 1920s was the Since conservative. were circles arts visual twentieth its early century, the in turmoil political and foment intellectual of site a was Beijing Although BE former diedin1923. Unfortunately, Chen’s friendship and encouragement of Qi’s career ended prematurely when the 8 April2012 51 ! g. 3.10) Beijing, by contrast, favored a gradual evolution of classically rendered landscape landscape rendered classically of evolution gradual a favored contrast, by Beijing, 3.10) g. |

Wall and gate of Qi Baishi’s house, I J IN # owers or mythological or owers G A RTI S TI C LI MA T E ! gures in bold lines and bright colors. ( colors. bright and lines bold in gures 52 8 April2012 |

Gate ofQiBaishi’s house, ! ! ed demanding connoisseurs via the employment employment the via connoisseurs demanding ed g. 3.11) Such landscapes were landscapes Such 3.11) g. 52 # owers with the rubbing of a bronze vessel. vessel. bronze a of rubbing the with owers # ! ourishing as an exciting exciting an as ourishing g. 3.9) While their work work their While 3.9) g. ! rmly rooted in an an in rooted rmly 4

59 60 67.5 x32.7inches The NoguchiMuseum Framed, inkonpaper right view) Peking Scroll (standingmonk, 53 53 |

I SAMU N , 1930 OGUCH I

90.5 x43.0inches The NoguchiMuseum Hanging scroll, ink and color on paper female) Peking Scroll Drawing(standing 54 |

I SAMU , 1930 N OGUCH I

54 55 Beijing. in school art important most the at teach to (1895–1953) Beihong Xu successor his and 1991) (1900– Fengmian Lin directors by invitations to led him accorded respect new The circles. art and birds and originally had manual included that printed volumes four to expanded subsequently was but landscape on focused woodblock seventeenth–century This studied. had Baishi Qi the through notably also but paintings, earlier codi The constraints. these identi were within made but generally were appreciated easily Innovations of predecessors. group small a of” manner the twentieth-century “in early painting to and claim lay nineteenth could painters that so masters, great particular to history through landscape painting to codi had reduced artists these of terms, In the simplest to back the Yuanthem, (1271–1368). dynasty 55 ducing art that was less elitist and easier to understand. Like Xu, Lin had studied art in Europe, in art studied had Lin Xu, Like understand. to easier and elitist less was that art ducing ( awkward. be could that example, by creating the illusion of three dimensions via shading—into ink painting, with representationalism—forresults Western of aspects import to sought Beihong Xu China. new the in 5.9 x4.7inches Harvard-Yenching Library Gelatin silverphotograph Artist QiBaishiPainting |

H News of Qi Baishi’s international activities contributed strongly to his rising pro rising Baishi’shis Qi to stronglyof contributed News activities international 189% EDDA 5

Interestingly, Lin and Xu represented differing views of the direction art should take should art direction the of views differing represented Xu and Lin Interestingly, M ! ORR ed compositions and brushstrokes were transmitted not only through copying of of copying through only not transmitted were brushstrokes and compositions ed I SO # N (1908–1991) owers. , 1933–46 ! g. 3.12) He believed artists could better serve a broad public by pro by public broad a serve better could artists believed He 3.12) g. ! ed forms and brushstrokes. The brushstrokes could be traced back be traced could The brushstrokes and ed brushstrokes. forms 4.3 x5.9inches Harvard-Yenching Library Gelatin silverphotograph Artist QiBaishiPainting 56 |

H EDDA

M ORR I SO N Mustard Seed Garden Painting Manual Painting Garden Seed Mustard

, 1933–46 57 56 4.3 x5.9inches Harvard-Yenching Library Gelatin silverphotograph Painting withhisSeal Artist Qi Baishi Stamping an Inscribed 57 |

H EDDA

M ORR I SO N ! , 1933–46 le in Beijing in le ! , which which , gures, gures, ! able able -

61 62 58 70.7 x37.4inches Tsao FamilyCollection ofModern Hanging scroll, ink and color on paper 1923 Banana, Bamboo,Rock,andAmaranth 58 |

C HE N

H E N GKE , 71.2 x37inches Collection The Reverend Richard Fabian Hanging scroll, ink and color on paper Flowering Vine 59 |

W U

C HA N GSH , early20thc. I (1844–1927) 59

63 64 37.2 x21.4inches Collection The Reverend Richard Fabian Hanging scroll, ink and color on paper Bronze, Plum,andBamboo 60 60 |

X UGU (1824–1896) , late 19th c. 61 34.6 x18.4inches The Reverend Richard FabianCollection Hanging scroll, ink and color on paper 1913 Autumn ClearingataFishingVillage |

J IN

C HE N G (1878–1926) , 36.4 x22.5inches Chinese Painting Tsao FamilyCollection ofModern Hanging scroll, ink and color on paper Harvesting Hay 62 61 |

X U B E I HO 178% N G , 1949 62

65 66 trees and grape vines provided shade in the summer.the in shade provided vines grape and trees Willow bat. the as fortune good of symbols such including beams, painted and carved complex gateway main a pillars, wooden windows, carved with adorned was home Qi’snew Beijing, of bricks grey ubiquitous the from alley,or an onto open houses courtyard rows, in together home—joined a such of walls the outside place takes typically life walled compound composed of rooms surrounding an open courtyard. While a busy communal Temple of Heaven. ( City,the fromForbidden far the not of and south directly almost walls, city old the of south just 63 14.9 x12.32inches gift ofBarbaraJ.Myers Asian ArtMuseum,SanFrancisco, Ink andcolorsonpaper Mother andChild Alley). (Cross-Cart Hutong Kuache 13], no. [now 15 no. at house courtyard-style comfortable a purchased he 1926 of winter the in visit, temporary a intending person single a for convenient nunneries, and monasteries of cession suc a in residing stay.After to opted Baishi Qi that 1919, in Beijing, to trip third his on was It Q and endearingrural of baskets insects, vine, the on gourdsQi’sfrom including life, peasant early drawn subjects and artists) Shanghai some of approach the to (similar color bold as elements art brought together conservative high standards for brush-and-ink technique with such popular His painting. Wangs,ink Four for the path of forgednew lineage had viable the and a including ( painting. to approach modernist or expressionist more a advocating China to returned he but food stalls. Noguchi wrote that: “Without doubt there is no greater city than Peking.... A house A Peking.... than city greater no is there doubt “Without that: wrote Noguchi stalls. food and barbers, as such service-providers performers, by frequented were streets the addition, In emonial sites such as the Temple of Heaven, numerous Buddhist temples, and commercial areas. cer ancient palace, the of west the City,to Forbidden lakes vast the reach could he bicycle his on even or rickshaw a With life. of way long-established a and architecture ancient of wealth a Ancient ( the from meters 500 Alley), and wall, city old the and WoolObservatory Hutong(Great Dayangmao 18 at lived Noguchi NOGUCH Qi’s newfamilyofHuandasuccessionchildren. ( care(1902–1944)—to Baozhu wife—Hu courtyardthe soon and Beijing, in him for was to Hunan in home fromtheir came wife his Hutong, Kuache in settled had Qi was just two kilometers away, convenient for purchasing art supplies and books. ( ! ! g. 3.13) Both artists recognized that Qi Baishi understood the great tradition of ink painting, ink of tradition great the understood Baishi Qi that recognized artists Both 3.13) g. gs. 3.17, 3.18) Although not as international as Shanghai, it was nevertheless a lively city with city lively a nevertheless was it Shanghai, as international as not Although 3.18) 3.17, gs. I | BA

L IN F I SH E N GM I I ’S HOME I

A IN N

, 1991orearlier BE I J IN ! ! IN g. 3.14) A dwelling typical of old Beijing, the courtyard house was a private gures. G BE I J IN G hutong # anked by stone guardians and with a tile roof supported by supported roof tile a with and guardians stone by anked —within the walls Qi found the peace for painting. Built painting. for peace the found Qi walls the —within 6 ! The house is located in the area called Western Beijing Western called area the in located is house The ve kilometers, or an hour’san or kilometers, Baishi’sve fromQi walk, house. ! g. 3.16) 7 Adding to the house’sthe to Liulichang Adding charm, ! ! sh, water buffalo, water sh, nd him a second a him nd ! g. 3.15) When ! lled with lled - - 63

67 68 3.1 x4.3inches Harvard-Yenching Library Gelatin silverphotograph 1933–46 Dong bianmen,CityWall, Moat H 64 EDDA |

Old Beijingcitygateandwall

M ORR I SO 66 65 64 N

180% 180% , Scroll Painting (right)Around a DryingBoard (rear), a andViewing Paper To aScroll (left),Moving Showing MountersApplyingBacking Interior ofaScroll-Mounting Shop H 65 EDDA |

Liulichang

M ORR I SO N

3.1 x4.5inches Harvard-Yenching Library Gelatin silverphotograph 1933–46 a MountingTable Calleda 67 68 380% 325% da an, 4.7 x6.4inches Harvard-Yenching Library Gelatin silverphotograph and FiveChildren Artist QiBaishiwithhisWife 66 |

H EDDA

M ORR I SO , c.1937 N

occupied Beijing in 1937, Qi Baishi devised ruses for avoiding painting requests by Japanese Japanese by requests painting avoiding for ruses devised Baishi Qi 1937, in Beijing occupied Japan’s forces When temporarily. city the left Qi Beijing: threatening were troops 1932 by and Manchuria, occupied Japan 1931 In China. and Japan between relationship the drastically alter to began expansionism Japan’s before aggressive but Qi’s of paintings, reception enthusiastic Japan’safter was it Japanese: the towards disposed well was Baishi Qi when period short-lived spending on art exchanges as a possible means of soothing concerns. The Sino-Japanese Sino-Japanese The concerns. soothing of exhibitions were partofthisprogram. means possible a as exchanges art on including power, spending soft mobilized had government Japanese The China. in intentions Japan’s regarding suspicions China’s well-founded allaying with concerned was Japan understanding. passionate obviously was Sino-Japanese to He contribute to duty his house. been have Noguchi’smay career,it his given from also, but art far about not was wall, branch city old Beijing the whose of Bank, north Specie Yokohama just the of employee an as Beijing in living their of appreciation af in friendship, artist the from gifts as Katsuizumi to inscribed some were collection his in Qi by paintings many the Among relationships. interpersonal to inherent responsibility of weight the brought he work, and sensitivity materials. for particular respect a and tools of understanding an shared have may they so penters, car to apprenticed time a spent had Both artist. an become to him determined driving the self-motivation and beginnings adverse man’s young the with kinship sympathetic a felt he background Noguchi’s of learning upon perhaps or Noguchi, in talent recognized Qi Perhaps their of end the by spirit in attuned were Noguchi and Qi that letter his in mentioned Katsuizumi (1894–1961). Lanfang Mei reasons, performer opera other for celebrity the him to example, for interest of were who people taught Qi painters, great become to potential the with men young Besides instruction. for in students Qi took calligraphy, and ings Isamu take to Noguchi come as a student? Baishi In orderQi to did supplement his how income from and Katsuizumi, sales of paint Sotokichi by introduction their Following Q was tomakethatimpossible. 2.9 xinches Harvard-Yenching Library Gelatin silverphotograph 1933–46 xiang tai[ancientobservatory] Astronomical InstrumentsatGuan 67 families.” their houseboy,and a appeared [...], a cook appeared, speaking and cooking French as well as Chinese; a rickshaw boy, how to be with nature, how to live.” learn brush, the of art the learn to return would I which after Peking from absence temporary a study,painting ink of only months be six would just it “resolvedincluding that he months, eight I | BA

H Fortuitously for Noguchi, 1930, the year of his introduction to Qi Baishi, fell during the the during fell Baishi, Qi to introduction his of year the 1930, Noguchi, for Fortuitously It is dif is It EDDA I SH

M I ORR A ! cult to weigh the importance of Katsuizumi’s introduction. As a collector of Qi’s of collector a As introduction. Katsuizumi’s of importance the weigh to cult N I SO ! D ISAMUNOGUCH N rming the closeness of their interactions. From 1925 to 1932 Katsuizumi was was Katsuizumi 1932 to 1925 From interactions. their of closeness the rming , 8 4.3 x3.3inches Harvard-Yenching Library Gelatin silverphotograph Puller, andPedestrians Showing Gate,ShopSigns,Rickshaw Western EndofDashanlanStreet 68 So enthusiastic was he about the city that when he left after left he when that city the about he was enthusiastic So guanxi I 9 |

However, the escalating Japanese aggression toward China H EDDA 10 10

—in Chinese thinking, the mutually binding web of of web binding mutually the thinking, Chinese —in M ORR I SO N , 1933–46 ! rst encounter. encounter. rst - -

69 70 69 70 44.8 x13.3inches 1980.104 in memoryofDr. Tsen Tson Ming, of Madame Fan Tchun-pi and her sons Museum ofFineArts,,gift Hanging scroll, ink and color on paper Li Tieguai 69 teacher.” a as adopted painter I the visited whom I Baishi, when Qi limitations my of was I ashamed How do. to how knew I what was expressionist and brushes fantastic with drawings enormous made I place, the to natural more materials to “shifting then that wrote but plaster in sculpture some created Noguchi Beijing, in arriving On NOGUCH of World War IIin1945. end the through 1937 from lasted War Sino-Japanese The paintings. the upon inscriptions ing of 71 which it is said to “observe.” Although in six months it was not possible for Noguchi to become to in the West as rice paper, though rice is not a primary ingredient) is the ideal match for the ink, in brushstrokes that appear three-dimensional in themselves. Chinese nite shades become possible, and the brush can deploy more than one shade at once, resulting can line brush. In addition, the brush responds to the slightest twisting motion or nuance of pressure: the reloadingthe brushstrokeswithout renderlong to possible is it that so artist, the by demanded as center,it the releasing in ink of well a hold to them allows brushes Chinese of structure The centuries. over honed and developed were which of all brush, paper,and ink, materials, three ! |

Q cers and, when acceding to their requests was absolutely unavoidable, he wrote slyly insult I B A I , 20thc. SH # I uctuate from uctuate I ’S IN # ourishes upon their incredibly beautiful paper. I did K P A INTIN ! ne to heavy in an instant. Through the addition of water to the ink, in ink, the to water of addition the Through instant. an in heavy to ne GS

41.2 x12.5inches Chinese Painting Tsao FamilyCollection ofModern Hanging scroll, ink and color on paper Mother andChild 70 |

Q I B A I SH I 11 hns ik anig novs h itrcin of interactions the involves painting ink Chinese

44.7 x84inches The NoguchiMuseum Hanging scroll (horizontal),inkonpaper resting on (robed man,sittingcross legged, Peking Scroll Drawing: “Ye Kau Jong” 71 ! gure drawings, because that |

I xuan SAMU N paper (often referred ! OGUCH st) , 1930 I ! - -

71 72 72 68.5 x36.5inches museum purchase, 1948/1.331 University of Michigan Museum of Art, Hanging scroll, inkonpaper (Kakemono) Seated FemaleNude:Scroll as such projects, alized Brush Drawing of a reclining Peking his in lines the stronglyecho table Noguchi the of base the forming shapes interlocking well-known the and Noguchi’s later sculpture, for example coreof the relationshipmuch at This of rolealso composition. active is the an in plays blank left is that paper the where painting, ink in element crucial a is space and forms between tionship ing, con painting. A mark once made cannot be withdrawn. Noguchi embraced this corollary of ink paint temporal dimensiontothework. traditional in as paintings, reductive most his with painting: ink of aspect performance the in reveled seemingly the reduced further Noguchi two of forms Child and Mother Noguchi’scompare we If brush. and ink in inherent possibilities the exploits that but tradition, strokes in the latter result from a skilled exploration of brush usage that is not within the Chinese in instance, for space, surrounding to relationship its and volume active an of sense a capturing to ??) X.X (see fromdescription moved concern his but 2.2), human in as a form, essential reducingits to subject for talent Qi’s observing by begun have may He gestures. brush looping a overlaid Noguchi where paintings the bring to imagination ( Noguchi’sin work at principle this see We subject. the evoke fully to them for order in complete be to lines for necessary not is it that realized have to seems Noguchi Qi, with studies his From line. the of thickness the via fold Qi’sin robe,as draped a of folds the rendering of Baishi’smethod Qi studied has he and dramatic, more are tuations farther,in this as pushed he ! three-dimensionality facilitatedby of sense the of advantage take to technique drawing his adapted readily he space, of terms in thinking teacher.to his Accustomed watching from medium the of advantages the understood clearly he practice, of years demands that medium a painting, ink Chinese traditional in skilled ! gs. 1.11, ), already show a sensitivity to the expressive qualities of the line. With ink and brush and ink With line. the of qualities expressive the to sensitivity a show already ), 1.11, gs. g. 2.19), where the breaks in the line result in a sense of movement, and encourage the viewer’s |

I Just as sculpting in stone is a creative method that permits no turning back, so too is ink is too so back, turning no permits that method creative a is stone in sculpting as Just his example, for 1929–30, of drawings Noguchi’scrayon black SAMU N ! OGUCH dently capturingformsinspacethrough brushgesture. Theunderstandingoftherela , 1930 Peking Scroll Drawing (Sleeping Infant) (Sleeping Drawing Scroll Peking ! I gures to essential descriptive lines emphasizing the fusing of the two identities, two the of fusing the emphasizing lines descriptive essential to gures xieyi with Qi’s painting of the same title, we see that where Qi has reduced the reduced has Qi where that see we title, same the of Qi’spainting with Noguchi TableNoguchi painting, the viewer can follow the course of the artist’s brush, adding a adding artist’sbrush, the of course the follow can viewer the painting, Portrait of the Immortal Liu Haixian Liu Immortal the of Portrait Contoured Playground Contoured ! gure to life. A large subset of the Peking Scroll Drawings consists of consists Drawings Scroll Peking the of subset large A life. to gure Peking Scroll Drawing: “YeJong” Drawing: Kau Scroll Peking !

gure. ( ! ua gop o om n mvmn i sae ( space. in movement and form to group gural 26.2 x25.3inches gift oftheJackAndersonCollection Asian ArtMuseum,SanFrancisco, Hanging scroll, inkandcolorsonpaper Lotus PondinAutumn 73 # Li Tieguai Li Peking Scroll (Woman Nursing Baby, Reclining on Left Arm) Left on Baby,Reclining Nursing (Woman Scroll Peking | (in production from 1947). ( 1947). from production (in

uctuations inthebrushline. C ! ! U g. X.XX) Noguchi’s low- sculptures representing unre gural painting made with a small brush with much wider,much with brush small a with made painting gural I Walking Void #2 (The Void) Z IF A N ( ! (1941), also hint at the in the at hint also (1941), g. 3.20) and 3.20) g. , 1994orearlier Seated Female Nude: Scroll(Kakemono) Nude: Female Seated ( ! g. 3.22). The subtleties of the lush brush lush the of subtleties The 3.22). g. ( Old Man with a Double Gourd Double a with Man Old ! g. 2.3), indicating the depth of the of depth the indicating 2.3), g. ! gs. 3.20, 3.21) The angles and angles The 3.21) 3.20, gs. (1970), Crouching Nude Crouching ( ! g. 3.19). There, linear There, 3.19). g. # Energy Void uence of ink painting. ink of uence ! s X X) He XX) X, gs. studies (see studies (1971–72), ( , # ! ! uc g. g. - - - - -

72 73

73 I S

74 RI GH 74 74 professor at the Central Academy of Fine Arts in Beijing upon its founding in 1950, honorary elected an as named the was he honors: of series long a accrued Qi province. same the fromwho came Qi, to letter a sent Mao (1893–1976), Zedong Mao by led 1949 in Beijing entered forces subjects peasants could readily understand, Qi Baishi survived and thrived. When the communist with familiarity personal his and age, advanced his background, humble his of Because scapes. land their to pollution, industrial from red skies or dams hydroelectric as such modernization, China’sof signs adding by persecution avoided painters ink Some hand. of out reject to thing people. In general, they considered traditional ink painting to be feudal or bourgeois, and some the serve should art that idea the propounded they People’s1949, the in ing China of Republic establish and opponents all defeating eventually China, in power in grew communists the As Q and wouldhavebeenliterallysurrounded bythem. appear elsewhere in Asia, but as an adult Noguchi would devices framing architectural and geometry-based this Both square. the Earth, with sacri annual performed emperor the where complex a is it 1918, in public the to Opened Noguchi’sresidence. to near so c.), 16th Heaven, Earth, Moon, and Sun. Geometry is crucial to the layout of the Temple of Heaven (15th– the city wall. To the four cardinal directions sit four temples for imperial offerings, the Temples of rectangle, larger a by surrounded axis, north-south a on sitting rectangle large a within angles rect of series a as out laid is City Forbidden architecture.The ceremonial and ritual Chinese in important is geometry Second, views). framing windows and gates architecture(i.e., Chinese in space and void is through the city’s shaping of spaces. First, framing devices feature prominently # ( 48.7 x72.5inches The NoguchiMuseum Hanging scroll (horizontal),inkonpaper Drawing (sleepinginfant) T ! uctuating brushstrokes.

g. 3.22) The modulated curves and indentations, along with their shadows, suggest shadows, their with along indentations, and curves modulated The 3.22) g. I | BA T

I A secondary way in which Noguchi’s Beijing sojourn might have in SAMU O HAVE I SH N OGUCH I ’S L I A , Peking Scroll T IT E R HO CA ,

1930 R RI EE ZO R A NT N D A INFL L ! O ces to heaven. Its symbolism connects Heaven, the circle, the Heaven, connects symbolism Its heaven. to ces UE R VE N CE RTI CA L ? ! rst have encountered them in Beijing, # uenced his concept of the # owing, - - - - 17.7 x12.9inches The Reverend Richard FabianCollection on paper Hanging scroll, inkandlightcolor Washing theWater Buffalo 75 75 |

L I

K ERA N , 1960s

75 76 2.7 x26.2inches The NoguchiMuseum Bronze Contoured Playground 76 ( 2011). the most famous of these are (1907–1989), Li Kuchan (1899–1983), and Cui Zifan (1915– Among and followers. students numerous Qi attracted ink painting, of traditional development the for path new a showing to addition In Baishi. Qi artist, one only of talent the feared he that 1956, in Nice in met they when (1899–1983), Daqian Zhang to remark apocryphal (1881–1973) Picasso’s Pablo to led master the of hands the in method a such of strength The landscapes. ink his in notably minimum, bare a to compositions and manners brush past to references ing necting with the great masters of the past in a less imitative manner than was au courant, reduc con freshcreatelineage a to possible was it that skeptics convinced he style, painting cursory Prize bytheWorld PeaceCouncilinStockholm(1956). director of the Beijing Painting Institute (1957), and even presented with the International Peace ! 76 the circle, aimingfortheheavens withhispenchantforintangibleabstraction. is contrast, by Noguchi, square. or earth, the with Baishi Qi associate can we experienced, ally person had he things only depict to willingness avowed his and earth, creaturesthe the of and life humble the of appreciation his With three. in diverged then but dimensions, two in sected # simply overwhelmed. bene talented more The avoid. to rst Chairman of the Board of Directors of the Chinese Artists’ Association (1953), made honorary exible enough to learn from the master. The two artists’ intuitions concerning the world inter world the concerning intuitions artists’ master.two the The from learn to enough exible |

I Qi Baishi left a powerful legacy. After initially suffering derision in Beijing for his apparently apparently his for Beijing in derision suffering initially legacy. After powerful a left Baishi Qi It was to Noguchi’s great advantage that he was not only independently brilliant, but also but brilliant, independently only not was he that advantage Noguchi’sgreat to was It SAMU N ! gs. 3.24, 3.25) The weight of Qi’s legacy is impossible for painters in the in painters for impossible Qi’sis of legacy weight The 3.25) 3.24, gs. OGUCH I , 1941 The NoguchiMuseum Walnut andglass Coffee Table (IN-50) 77 ! |

I t from his brilliant innovations, while the less talented are talented less the while innovations, brilliant his from t SAMU N OGUCH I , 1945 77 67.9 x28.333.1inches The NoguchiMuseum Swedish granite Walking Void #2(TheVoid) 78 |

I SAMU N OGUCH I xieyi , 1970 manner manner - - - - 78 > EX T E N D T HE GR EY B ACKG R OU N D T O RI GH T A N D L E FT , A N D T O T HE B O TT OM

77 78 135% Jo-Anne BirnieDanzker G RABB I SM: 1930S Chiang Kai-shekin1936. leader Nationalist the kidnapping for retaliation in arrest house under century half a than more spend later would and Marshal” “Young as known commonly was who (1901–2001), Xueliang fail to attract Noguchi’s attention: She was serving in the army of the Manchurian warlord Zhang cially those by Qi, in exhibitions across Europe.across exhibitions in Qi, by those cially espe painting, Chinese of virtues the extolling was Vojteˇch (1896–1936), diplomat Chytil and painter Czech expatriate, Beijing another (1864–1957), Baishi Qi teacher his of that as bold as 4.2–4.6] [Figs. BO lies, called Beijing), in a household with a French cook, a rickshaw driver, a houseboy, and their fami [Fig. 4.1] Isamu his Noguchi described six months in the ancient Chinese capital of Peiping (now Painters from China and Japan ible!” inexhaust is imagination his of manner the painting, Chinese of history the in boldness singular of is brush “Hiswrote.imagination,” occidentalChytil our ofboundaries transcended“all tions 66-year-oldthe by included “a as master which hecreated “the connoisseur Jean-Pierre Dubosc, Jean-Pierre connoisseur The cultures.across analogies Noguchi’svisual awakened in possibly interest who archivist and scholar of traditional symbols and design, Carl Schuster (1904–1969), a distinguished art historian American the circlewas this Among service. military or researchdiplomatic academic for sue or Noguchi was welcomed by an array of memorable China. within territories concession occupying powers foreign the from independence for people Chinese the among desire passionate restless, a with invasion, war, Japanese civil of of threat the under and the Musée Guimet in Paris. A beautiful young lieutenant known as Nadine Hwang Nadine as known lieutenant young beautiful A Paris. in Guimet Musée the and London in Museum British the as world’ssuch the repositories, of important some most in held pieces found eventually that lacquer Chinese and calligraphy, paintings, dynasty Ming of tion RR One such region was the Legation Quarter,Legation the regionwas such One Do¯ng Jia¯o herethat was It Beijing. in Xiàng, Mín 1 as “splendid living.” 8 O Above all, Chytil praised the virtuosity with which Qi mastered his brush and the manner in WIN G WIT In the autumn of 1930, as Noguchi sought to master ink and brush in a manner a in brush and ink master to sought Noguchi as 1930, of autumn the In H C ! O nest hair-thin lines to passionate brush strokes as wide as a hand.” 5 NFI 2 This privileged existence was, however, taking place in the shadow shadow the in place however,taking was, existence privileged This DE at the , Berlin the at N 3 CE: who was attached to the French Legation, amassed a collec a amassed Legation, French the to attached was who A NE # ood of wildly exultant rhythms of lines.” Qi’slines.” of rhythms exultant wildly of ood composi W

ARTI 6 In his introduction to the catalogue for ! S gures, who had gathered in the area to pur TI 7 C Chytil described the nearly forty paintings V OCA B U L A R Y 4 did not did Modern ------

79 80 The store was a frequent place of exchange for Chinese and Japanese intellectuals, artists, and artists, intellectuals, Japanese and Chinese for exchange of frequentplace a storewas The visitors in two days. 400 than more attracting Shanghai, of concession Japanese Prints Woodblock exhibition the presented Lu Berlin, in accomplishments its lauded Chytil and Beijing, in painting resisted cultural invasion and domination. those who wished to enter the modern age but simultaneously for resource viable a was China classical of heritage aesthetic the whether to as viru artists and intellectuals among the debates lent and time that at China for in vocabularies search artistic urgent new the of aware be to however, failed, have hardly could He exponents. greatest its of one with painting, 79 art inthereform andmodernizationofChineseculture. sions lasting into the present day regarding the role of Western discus polemical unleashed had 1912, in art of function social the of Lu’sproclamation and curriculum, the into art Western of study the of introduction The Science. and Culture Art, for Of 1936), who had been appointed in 1912 to the Social Education them was the renowned writer and revolutionary (1881– Among inspiration. of source a as models Western embraced instead, and, fromtraditions away classical turned had lectuals with illustrated books, newspapers, and journals, and newspapers, books, illustrated with woodcuts and initiated a woodcut training class at Shanghai’sat class training woodcut a initiated and woodcuts Bookstore.renownedUchiyama global brutal, more even second, war. a [Figs.4.7,4.8] of scourge the and dictatorship Nazi of sway the under fall to soon was that continent a of alienation and anxiety, distress, the portrayed that quality oy ltrtr, n piooh i Bri ad edleg ewe 12 ad 1932. and 1929 between Heidelberg and Berlin in philosophy and literature, tory, dispossessed, and disenfranchised his art studied had who the (1909–2000), Shiquan Xu scholar Chinese of the of assistance the with depictions in rich collection, his assembled had He Schmidt-Rottluff. Karl and Pechstein, Max Masereel, Frans Léger, Fernand Kollwitz, Käthe Heckel, Erich Grosz, George Feininger, Lyonel Barlach, Ernst as artists such including art, graphic American and European expressionist of collection |

! Isamu Noguchiin Beijing As Noguchi studied the intricacies of Chinese national national Chinese of intricacies the studied Noguchi As study to chosen had Noguchi The following August, Lu began lecturing on the history of Japanese and German expressionist e f h nwy omd eulc s ed f h Section the of Head as republic formed newly the of ce at a union hall in October 1930 in the the in 1930 October in hall union a at 11 The prints were from the writer’s superb writer’s superb the from were prints The , c.1931 guohua German, Russian, French French Russian, German, 9 Many Chinese intel Ciee national Chinese , 13 Xu had sent Lu woodcuts of exceptional exceptional of woodcuts Lu sent had Xu 10 - - - 79 12 Along Along 14 -

81 18.5 x15.2inches gift ofSotokichiKatsuizumi,1949/1.201 University of Michigan Museum of Art, Album leaf,inkonpaper Grasshopper 80 34.0 x14.4inches Gift ofSotokichiKatsuizumi,1949/1.195 University of Michigan Museum of Art, Hanging scroll, inkonpaper Frog 82 15.0 x15.8inches gift ofSotokichiKatsuizumi,1949/1.200 University of Michigan Museum of Art, Album leaf,inkonpaper Shrimps | |

|

Q

Q Q , 1927 I I B B I B , 1931 A A A I I SH SH I SH I I I , c.1930

82 81 80

81 82 83 84 53.3 x13.3inches Ellsworth, 1986.267.219 in memoryofLaFerneHat gift ofRobertHat The Metropolitan MuseumofArt, Hanging scroll, inkonpaper Five Water Buffaloes 84 77.0 x22.0inches gift ofAnneandJohnChew, 94.106 San DiegoMuseumofArt, on paper Hanging scroll, inkandcolor early–mid 20thc. Two CricketsandPeaPlant 83 | |

Q Q I I B B A A I I SH SH I I ! eld Ellsworth, , c.1937 ! ,

eld

is whatgrounds LuXun’s resolute search fornewtechniques.” global citizen who can freely borrow without the anxiety of cultural contamination or subjugation con “This noted, literature, comparative of scholar a Shih, neurotic who fears the loss of indigenous tradition or enslavement by what is borrowed. Shu-mei con with rowing Pine miuu ad cnrdcoy eoito o atsi ntoaim” y ite f i brh and biography. birth his of virtue by nationalisms” artistic of negotiation “contradictory and ambiguous tious (1875–1947). and poet renowned Noguchi’sfather,the them among writers, “grabbism,” or it called Lu 1930s. the in China in controversy or precedence without not was Lu, and Noguchi its practitionerstobeWestern and“modern.” movement that emerged in China in the 1930s under the tutelage of Lu Xun were considered by woodcut the favoredby earlier,subjects years political thousand and a cosmopolitan China the Reichsminister for Foreign Affairs in Adolf Hitler’s year-old regime and the German Ambassador the included Committee Honorary Its visitors. 13,000 with success resounding a was and ment opinion appliedtoJapanesemodernpainting,wasbeavoided. “super of indication Any Europe. in painting Chinese modern of exhibitions in included be should character” [cultural] own their “express that works those was held in Europe that led Shanghai-based artist and curator Liu Haisu to insist in 1931 that only and culture Japanese which in regard high the was It nation. modern China’srecognitiona of searchfor as their world Europein the alistic in place [Figs. 4.9–4.11] PU tity, tradition,, andsocialresponsibility inculturalexpression. iden on discourse sophisticated a in throesengaged one extremetransformation, of rapid and the in society a 1930s, the in society and culture Chinese to attachment deep his acknowledge re the 296 modern paintings Among London. and Bern, Geneva, Hague, The , Düsseldorf, Hamburg, Berlin, to # R ects neither the boldness of Noguchi’s borrowings nor his global citizenry. It also does not does also citizenry.It global his nor Noguchi’sborrowings of boldness the neither ects ouh’ gabs ad eoue erh o nw ehius a be dsrbd s an as described been has techniques new for search resolute and grabbism Noguchi’s Liu, himself a key exponent of The act of seeking inspiration from outside one’s own cultural milieu, as exempli The exhibition in Berlin enjoyed the highest level of of E A and guohua N Grapes. D 18 This dualistic view of his artistic nationalisms as exclusively Japanese and American and Japanese exclusively as nationalisms artistic his of view dualistic This C 15 exhibition HA s coa Kii hn a ntd atog te odu hd en netd in invented been had woodcut the although noted, has Kuiyi scholar As nalai zhuyi Chinese artists and intellectuals navigated an increasingly militarized and nation ! R dence, like a master who chooses freely according to his needs and not like a like not and needs his to accordingfreely chooses who master a like dence, 22 AC

T E Chinese Contemporary Painting, RI 20 . In the 1925 essay S selected for the exhibition in Berlin TI C: NA xihua, TI O or Western-style Chinese painting, co-curated the ambi N A L PA Upon Seeing a Mirror 16

INTIN yoga, G IN ! which in 1934 traveled in various forms cial support from the German govern or Western-style Japanese painting, Japanese Western-style or

! T dence of the individual writer as a as writer individual the of dence HE ! 17 21 cial westernization”, which in his in which westernization”, cial were two by Qi Baishi, S ! HADO ction writer Yonejiro¯writer ction Noguchi , he de 19

W ! ned grabbism as bor O F WA R ! ed by both Hawk on - - - - -

83 84 EX T E N D T HE GR EY B ACKG R OU N D T O T HE T O P < 86 85 lo nw a Tn Kwei, Teng as known Also phy of Chinese art, and comparisons between Western and Chinese painting. Chinese and Western between comparisons and art, Chinese of phy philoso and history the art, Western on lecturing appointment teaching a on take later would he West.In1924, heenrolled master’sasa student attheUniversity ofWashington inSeattle, where China. took place in Berlin from May 1937 through June of that year, only weeks before Japan attacked elsi ae n tr t oina art.” oriental to turn and age realistic Star The one of which, the undated the which, of one 5.8 x8.7inches The NoguchiMuseum Terracotta Tamanishiki (The Wrestler) 85 Qi Baishi.Itwasnotedintheexhibitioncatalogue: of paintings the and art Dr.contemporary P.China, Chinese Oskar to of Trautmann,collector a one of which was illustrated, artistsAmongtherepresented contentiousthisin exhibition BaishiwerethreewithQipaintings, A government denyingtheallegationscamefrom itsAmbassador, Oskar Rights was signed by, among others, Lu Xun. (A responding letter to the league from Civil the for German League China the from Protest of Letter a 1933, 3, June On place. took Nazi of the earliest international protests exhibition Dresden the or 1933, March in Feininger Lyonel painter expressionist of troopers house storm the as searching incidents censorious earlier such of context the in seen be only can Chinese works characteristic and pure promote to regime Nazi the of part the on desire this While Washington campus. Washington ! Leopold Reidemeister Oskar to belonging paintings Chinese contemporary sixty-seven sented Germany,to Dr.Ambassador T.F.Chinese the preof patronageexhibition the the and Chêng, nger painting in a solo exhibition at the newly founded Henry Art Gallery on the Universityof the on GalleryArt Henryfounded newly the exhibitionat solo a inpainting nger PA |

I A last exhibition to be graced by of by graced be to exhibition last A those whichexpress thatwhichischaracteristicofChinesepainting. From theGermansidewishwasexpressed toseepure Chineseworksandindeedespecially numerous workstohim. by thenumberofpaintingsbutalsofactthatartistsChinahavededicated The closenessofhisrelationship toChinesepaintingisdemonstratednotonly SAMU R A 25 N Under the auspices of the Society for East Asian Art and the National Gallery in Berlin, in Gallery National the and Art Asian East for Society the of auspices the Under LL OGUCH E Degenerate L PA I on Novemberon 17,1927,quotedishe saying, as “People willsoontire this oftoo T H: TE , 1931 33

26 N describedas“anadvocateofChineseart”: 27 G BA in September 1933, a counterpoint is found in Shanghai, where one where Shanghai, in found is counterpoint a 1933, September in 30 28 ! Teng was one of the nger painting nger and the -born artist Teng Baiye (1900–1980) with six paintings, I YE A 10.2 x18.3inches museum purchase, 1948/1.330 University of Michigan Museum of Art, Hanging scroll, inkonpaper 1930 Two Wrestlers: Scroll (Kakemono) 86 |

N I against SAMU D 32 The following June, Teng exhibited both his brush and brush his TengbothexhibitedJune, following The ! M N cial representation from both China and Nazi Germany Nazi and China representationboth fromcial A OGUCH The Demon Slayer Chung Kuei Chung Slayer Demon The the mishandling of academics, writers, and artists in R K TO I B ! EY s Cieeatsst suy cltr n the in sculpture study to artists Chinese rst ,

23

P. Trautmann.) , was also illustrated. also was ,

. rumn, who Trautmann,P. 31 Inaninterview in

24

29 - -

85 86 87 88 53.7 x24.3inches Collection ofTsao Family Hanging scroll, inkonpaper Young EagleonPine 88 52.1 x13.1inches gift ofSotokichiKatsuizumi,1949/1.192 University of Michigan Museum of Art, Hanging scroll, inkonpaper Plum BlossomsandBird 87 57.8 x19.3inches The NoguchiMuseum Hanging scroll, inkonpaper Cabbage 90 90.5 x18.3inches The NoguchiMuseum Hanging scroll, ink and color on paper Grapes andVine 89 | | | |

Q Q Q Q I I I I B B B B A A A A , c.1920 I I I I SH SH SH SH I I I I , c.1920 , 1939 , c.1930

89 90

87 88 lished in the -based journal Chicago-based the in lished Teng had also studied. also Tenghad whereUniversity, Harvard with associated closely institution an Beijing, in University Yenching at Arts Fine of Department the of head as appointment an obtained he where China, to States 16.1 x21.5inches museum purchase, 1948/1.290 University of Michigan Museum of Art, mounted ongraypasteboard Black crayononoff-white paper Crouching Nude 91 Libraries. It is a vivid and moving testimony to the deep friendship between the two men. to Tobey and dated December 16, 1926, is among the Tobey papers(1890–1976), in who hadthe studiedUniversity calligraphy ofunder TengWashington in Seattle. A photograph of Teng, dedicated Teng’sAmong erful calligraphicexpressionism” ofChineseart, ! Kuei Chung Slayer 91 and death struggle on the part of Chinese artists.” life the in idealism of “victory the to it attributed He time. that at Beijing in life cultural of ness military exploitation he found on his return to China and the “mystery” of the extraordinary rich fth largest city in the world. There he lectured on the idealist aesthetic of |

I colors tomakeaform. in contrasttoWestern art,Chinesepaintingislineal…whilstWestern artisthemassingofdifferent Orient” “the sought Noguchi while 1931, spring In SAMU N OGUCH , c.1929–30 I ! rst visitors in Shanghai, in April 1934, was his former student, artist Mark TobeyMarkartiststudent, former his was 1934,April Shanghai,in invisitors rst and 35 39 Geese Two years later, in the extensive article “Art in Modern China,” pub China,” Modern in “Art article extensive the in later,Two years

were touring across Europe, Teng moved to Shanghai, then the then Shanghai, Tengto Europe, moved across touring were Open Court Open 38 , noting, 36 37 Teng wrote of the turmoil, poverty,turmoil, war,Tengthe and of wrote In early 1934, while his ink paintings 34 in Japan, Teng moved from the United Tengthe Japan, from in moved guohua and the “pow Demon - - - “China isskyclimbing,”theyoungAmericanartistobserved: 12, 1934,Tobey notedinhisdiary, his seminalpainting eled to Japan and studied poetry and calligraphy. In 1935, on his returntrav too he later,when weeks TobeyNoguchi few 1934, of A 3, steps June the on in follow towould Britain, Tobey completed Beijing. in Baishi Qi of acquaintance an (1894–1961), Lanfang Mei star Opera Peking renownedthe by performances spectacular attended and exhibitions, art visited friend, his with Quartered with Teng’s family in the city’s elegant French Concession, Tobey continued his studies 35.1 x57.5inches The NoguchiMuseum Ink onpaper Peking Drawing(manreclining) 92 92 |

I ie ouh, oe imre hmef n h rc, ompltn ie f i aotd city. adopted his of life cosmopolitan rich, the in himself immersed Tobey Noguchi, Like of realism isseenasahigher expression ofemotion. movements, thegesture ofemotionallowingforimaginationonthepartspectator. Thelack Mei LangFan[sic]grows more andmore remarkable themore one seeshim,thestylized strains everymuscletowards theday’s bowlofrice.” Broadway isn’t alive[…]thehumanenergy spillsitselfintomultipleforms,writhes,sweats,and Thousands ofChinesecharactersare twistingandturning.[…]Thewholesceneisaliveinaway

SAMU N OGUCH I Broadway Norm , 1930 in a style that has come to be known as “white writing.” 41 40

42 On May On -

89 90 94 93 24.3 x15.8inches museum purchase, 1948/1.329 University of Michigan Museum of Art, Hanging scroll, inkonpaper Infant inArms:Scroll (Kakemono) 94 48.8 x42.3inches The NoguchiMuseum Ink onpaper Peking Drawing(cryingbaby) 93 | |

I I SAMU SAMU N N OGUCH OGUCH I I , 1930 , 1930

global perspective.” global con not should ” era new this of “artists that convinced was 1928, in in Art of Academy National the of and 1926 in College Art Beijing National directorthe appointed of was who Lin, siders reminiscent of one of China’s most distinguished modernists, Lin Fengmian (1900–1991). tate Qi Baishi’s powerful mastery of the brush but favored a distinctive use of line that Lang con regarding Noguchi’s drawings from this period: He does not believe that Noguchi sought to imi 4.13–4.17] [Figs. M common toWestern art,are erasedoroverlaidbythelineal. Noguchi’smask underlying or delineate body.human the and Broadon emphasis an with realism, of presence the Noguchi’s drawings during his studies with Qi Baishi are distinguished by both the absence a by marked Shanghai—is of streets climbing and to his fascination with the thousands of “twisting and turning” Chinese characters in the sky- China. in sojourns respective their tion—to (Lynched Figure) 1934: in produced Noguchi work sculptural a in than clearer nowhere is sophistication, and grace with another to vocabulary artistic one from moving in ease their hybridization, and misreadings creative Their China. in movement woodcut modern the of artists the and Xun, Lu Fengmian, Lin Noguchi, Isamu West: the and East the both in 1930s the of grabbists the unites reading and hybridization.” and reading mis active creativeprocessof longer even an ‘misreading’and of period long “througha went art, asShaojunpointsoutinthisvolume,nowconstitutesanintegralpartofthehistoryart. modern China and the West, the phenomenon of mutual “misreadings” of Eastern and Western between exchange cultural of century a how,after in study fascinating a is Fengmian Lin ernist mod Chinese the of that to or Baishi Qi teacher his of that to spirit in closer is work his whether ing thesurfaceofnature.” freedom of expression and, unlike Western artists at the time, were not mechanically “represent more enjoyed painters landscape Chinese that believed He painting. landscape of practice the in Europe, nevertheless made a sharp distinction between Eastern and Western art, especially in with that of Lin because both shared a foundation in Western art. Lin, who had indeed studied art U It is instructive to compare work by Tobey and Noguchi in the period immediately following immediately Tobeyperiod by the work comparein to Noguchi instructive and is It On his return to the United States from China, Noguchi craved “other means of communica Xu Jiang, president of the in Hangzhou, has suggested that Lin himself and 1930s the from sculpture Noguchi’sand of drawings nature true the about debate The T ! ne their views within national boundaries but “should study the art of all nations with a with nations all of art the study “should but boundaries national within views their ne UA L !

MI nd a way of sculpture that was humanly meaningful without being realistic, at once at realistic, being without meaningful humanly was that sculpture of way a nd S R EAD . ( In his essay in this publication, Lang Shaojun makes a provocative assertion provocative a makes Shaojun Lang publication, this in essay his In ! g. 1.26) IN 44 Shaojun suggests that the work of Noguchi might have more in common morein have might Noguchi of work the that suggests Shaojun GS – 44

45 T I believe that it is this mutual this is it that believe I HE PA T Broadway Norm Broadway H T O ! gures or reduce them to a line: Volume and mass, so mass, Volumeand line: a to them reduce or gures T HE lack M ODE of realism and an insistent lineality,whereasinsistent an and realism of —indebted to Tobey’s study of calligraphy Tobey’sof to study —indebted RN

practice of active ‘misreading’ that ‘misreading’ active of practice ! ne ink brushstrokes ink ne Death and 43 ------

91 92 deeply attached to the to attached deeply so was he whom Twoto Beijing of territory. people and city the its described Noguchi of auction, the before days invasion Japan’s of rejection unequivocal an proclaims he which in 1938 dated Noguchi by inscription calligraphic a has 1930, in made was believes Maeda J. Robert Association. He offered the ink drawing Women’sRelief Chinese the by sponsored 1937, 5, December on Hotel Lane auc Park the an at with tion defense China’s for funds raising in others joined he Nanking, of siege the at Army Imperial Japanese the by citizens Chinese of thousands of massacre the of learning on btat n scal relevant.” socially and abstract China, LiHua’s tice, similar in power and intent to one of the iconic works of the modern woodcut movement in a work of art it is just a little Japanese mistake.” Japanese little a just is it art of work a contorted a with lynching a of study gruesome “The York:New in Noguchi’sGalleries reviewof Harriman a Marie in the McBride at Henry exhibition debt to China.” He recalled, recalled, He China.” to debt satis life—a lifethatseemstoexistinastateofperfectanarchy, unencumbered bythou-shalt-notlaws, in theeveningforpurpletingeonwesternhills.[…]magni for themusicofpigeonsastheypassedoverheadwithwhistlesontheirlegs[…][andlooking] street vendors—theporkman,thewaterbeancurd man.[…][listening]inthemorning the [hutongs]thatwindlikegrayribbonsthrough thedustyhazeofevening.[…]cries 1937, December in York, New In China. to indebtedness his maintained fondly Noguchi ! ed thatbeautyandintelligenceare theessentialvirtuesinacity’s heart. China Roar! New YorkWorld-TelegramNew from 1935. 47 h extraordinary The 49 Mother and Child 48 This mistake was an indictment of social injus social of indictment an was mistake This and again acknowledged “an everlasting everlasting “an acknowledged again and et (yce Figure) (Lynched Death ! gure dangling from an actual rope […] as rope[…] actual froman guredangling ( ! g. 2.20). ! cent 50 The piece, which scholar scholar which piece, The # 51 ow ofthePeiping a dsisd by dismissed was - - 71.5 x36.1inches The NoguchiMuseum Ink onpaper 1930 Peking Drawing(babyincutout) 95 |

I SAMU N OGUCH I , 95 154%

93 94 142% Bert Winther-Tamaki F A ROM

SC UL T PT HE OR’S F L I GH B RUSH W T in Beijing. In Paris, Noguchi gathered with other young artists from all over the world to draw to world the over all from artists young other with gathered Noguchi Paris, In Beijing. in signi have art—would Asian on experts ing experiences—drawing from live nude models in Paris and conversing with one of ’s lead Europeantwo These often.” quite LaurenceMuseum, British the at prints of curator the Binyon, he traveled to London “to study Oriental matters at the British Museum Library,” where he “saw drawing from nude models at the Académie de la Grande Chaumière in Paris. Moreover, in 1928 1930 early and 1928, 1927, in time considerable spent also he but 1927, in Brancusi’sstudio in before hisarrivalinChina.AccountsofNoguchi’s career rightfullyemphasizehisapprenticeship his encounter with Beijing and Qi Baishi, his predisposition for this creative work took form long Although Noguchi’s short intense bout of ink-and-brush F remediations ofinkpaintinginpostwarabstractsculpture. ni sig the assesses painting, ink of discourses twentieth-century early in inspirations and sources identi essay This three-dimensions. into paper on ink of ideals aesthetic are the primary focus of this exhibition, but also including later sculptural works that transformed century discourse of Asian-associated ink art, starting with his 1930 gestural twentieth- this to contributions innovative his are Noguchi Isamu of accomplishments ognized to agendas ranging from modernist self-expression to cultural nationalism. Among the least rec Meanwhile, art historians, critics, and theorists have articulated the relevance of East Asian ink art signi non-mimetic of models for calligraphy ink and brush ied century,mid-twentieth the since photographic And techniques. stud have world the over all painters abstract with imagery landscape monochrome ink of aesthetic the extended and lated in the late nineteenth century and continuing to this day, for example, photographers have emu Starting beyond. and Asia throughout writers and artists numerous of efforts experimental and theoretical the by expanded and altered dramatically was painting ink proponents, its of many Asian traditions of ink painting that prevail today. For despite the antiquarian preoccupations of of views shaped itself century twentieth the profoundly how just however,emerging,of is ness aware new calligraphy.A and painting of practices historical in roots fascinating and deep its for century twentieth the in appreciated typically was ink and brush of aesthetic Asian East The OF LI ! cance of his Peking Scrolls to this discourse, and describes his innovative three-dimensional innovative his describes and discourse, this to Scrolls Peking his of cance GH T O T F HE

IT T HE H INK: INK: H D DR RAGON AGO N T O T HE POOLOF ! cant consequences for his work with brush and ink and brush with work his for consequences cant ! gure painting in 1930 was a product of ! cation and gestural brushwork. gestural and cation T HE INKS ! es some of Noguchi’sof some es ! gure drawings that T ONE ------

95 96 96 97 144% 22.1 x17.2inches museum purchase, 1948/1.295 University of Michigan Museum of Art, Pen andbrushoncream-colored paper Seated Nude:StudyinBlack 96 of Chinese and Japanese painting, namely the “rhythmic vitality” (C: heritage.” ful to wish poetry.I through West, the to East the of interpreter an as known been long 1927 statement of his intention to travel to Asia: “My father, Yone Noguchi, is Japanese and has quoted often his in himself Isamu by embraced further Noguchi’sand Isamu father with ciated of good-will and understanding between East and West.” ( “ambassadors as serve to intended books of series East’ the of ‘Wisdom the of part as 1911 in ing, the primary focus of Binyon’s in But Isamu would also have surely been eager to hear Binyon’s views about Sino-Japanese paint poet. Japanese the of Binyon’sreminiscences hear to curious been have must Isamu thirteen, age at earlier years eleven Japan leaving since father his seen not Having companions.” “jolly his English-language writings, that Binyon was one of several men of “literary genius” who were Asian art history. In 1903 Yone wrote from London to Isamu’s mother, Leonie Gilmour, who edited and their careers paralleled one another for both were well-known poets as well as authorities on of his estranged father, Yone Noguchi. Binyon and the elder Noguchi were near contemporaries the met twenty-four-year-oldNoguchi the When values. artistic of constellation different very a to alluded tobythe surely also came into contact with the style of rapid gestural Noguchi’s Paris drawings demonstrate this more of most While strokes. brushed thicker few a and ink and pen renderedin lines contour precise (see as such drawings by triggered were impressions Rodin’s.”These and note that they had a much more Picasso’s,”as evocative as Ingres’sand as pure “as being for quality line their praise eternal,” New York Times human micvitality, because Chinesein thought, wrote,he thedragon wasspirit“a whichable ispassto and actingonmaterialthings. into passing rhythm spiritual a is towardscreation?It impulse the of essence the is which selves our in principle discovered a such just not it Is rhythm.... as movements of order this recognise rightly We effort. muscular and strength brute of application the effect in surpasses far play which into comes power a followed, and found is this when and, movements; of order related the sixthcenturybyXieHe.Binyonexplained: |

I Binyon’s interpretation of Asian painting for the West stressed one of the fundamental ideals him engaged Noguchi’sMuseum Meanwhile, British the in LaurenceBinyon with interaction The “ The certain a discover must we effect, utmost the to body the of energy the apply to order In SAMU ! ! fty-nine-year-old Binyon in 1928, he was surely aware that the latter had been a close friend g. 5.10), which depicts a female model with deep black patches of moist ink within thin within ink moist of patches black deep with model female a depicts which 5.10), g. N ! gures while observing the poses and physiques of naked hired models. In 1931, the 1931, In models. hired naked of physiques and poses the observing while gures # OGUCH ight of the dragon”—the title of Binyon’s book—was another expression of this rhyth this Binyon’sof expressionof another title book—was dragon”—the the of ight I would admire Noguchi’s Paris drawings for conveying “something universal and New York Times , 1929–30 97 John Murray, Albemarle Street), 1911 The FlightoftheDragon , andwidelypracticedbysubsequentmodernists. # |

uential book, Title PagetoLaurence Binyon, Title ! nished quality than the “notations ! The Flight of the Dragon nished and anatomically precise approach, he (London: ! g. 5.1) This lofty goal was also asso ! gure drawing pioneered by Rodin, Seated Nude: Study in Black in Study Nude: Seated qiyun # ung ‘on the wing,’ like ; J: ,

which was published ki-in ) articulated in ! ll my ll - - - -

97 98 in de in delicate more becoming and elbow, and arm upper his around disappearing temporarily then wherede slightly it darkening and intensity,thickening in changes that line brush a is Rather,this Paris. in pen a with drawn had of the line in lines delineating bodies together with thick abstract brushstrokes. Despite the relative regularity in a network of thin even contour lines, while his Reclining Boy and Man His London. in Binyon discoveredwith had he that brushwork ink Sino-Japanese of types els that he had mastered in Paris, but now he joined this practice to an exploration of the varied In Beijing Noguchi resumed the practice of drawing BE vehement.” and strong, sudden, are strokes his [for] brush the with power his by us “amaze[] which passages as well as harmonies,” “exquisite including range,” “miraculous a of Sesshû’smastery noted Binyon Sesshû. painter, highest Binyon’s But contours. black diversi of sort this for praise thin sharp in delineated are mouth and eyes his while strokes, gray raked softly in rendered is hair his Patriarch’s robe, Zen the of strokes rough and Museum, where Binyon may well have shown it to Noguchi in 1928. In contrast to the thick, dark, dinary repertoire of but the bodies they rendered in ink were rarely if ever painted from life. Even Hokusai’s extraor was to blur this binary, by requisitioning the Asian art of ink painting to render monumental nudes. the nude bodies carved in stone in ancient Greece. Noguchi’s brush drawing in Beijing, however, epitomein itsWesternfound whileEast,art the of art classicalthetouchstone theof was scape culturede Oriental of view a of part was for example, by a sixteenth-century Japanese painting of Bodhidharma of painting Japanese sixteenth-century a by example, for of method This brushstrokes. of types different ing combin by body the of images constructed often painters ink Asian East models, live sketch than Rather effects.” its of capturing spontaneous the and nature of observation direct on than master’smodel, the of copying repetitive the by trained hand, habituated the of skill physical sketched from live models. Hokusai’s “marvelous range and subtlety of tones” of Chinese ink. that the English word “monochrome” was but a “starved and lifeless term” that fails to convey cautioningthespiritualrhythm, of senseelusive realizethis topainting ink Asian ofcapacity unique the praisedBinyon man.” in form own itsresume and world the ofexistences other all into out I To be sure, many Qi notably Asian ink had including Baishi, human painters, painted bodies, J IN ! ning the boy’sthe ning body. continuous This G BR USH D Nude Man and Boy Reclining R

human A WIN ( ! g. 5.11) demonstrates his most controlled mode of rendering bodies rendering of mode controlled most his demonstrates 5.11) g. GS ! ! gures shown working and performing gures in shown and working performing all kinds of poses were not ed brushwork was reserved for the reservedfor was brushwork ed ! nes the man’sthe nes and lightening but eyes, and head, shoulders, ! gures, explains Inaga Shigemi, were Inaga Shigemi, gures, more “based explains on the ! ned in opposition to Occidental culture: Sung ink land ink culture:Sung Occidental to opposition in ned , this is not the unvarying sort of ink line that Noguchi # owing line manifests the kinesthetic qualities often qualities kinesthetic the manifests line owing Huddled Man and Boy ! gures from the observation of posed mod !

gurative ink painting is demonstrated, demonstrated, is painting ink gurative In Binyon’s dualistic thinking, “living ink” ! fteenth-century Japanese ink ink Japanese fteenth-century ( ! g. 5.12) combines dark ( ! g. 5.2) in the British British the in 5.2) g. Nude - - - - 98 30.2 x15.3inches British Museum Hanging scroll, inkonpaper 2nd halfof16thc. |

Bodhidharma , unsigned, 98

99 100 100 99 37.5 x66.0inches The NoguchiMuseum Ink onpaper reclining) Peking Drawing(nudemanandboy, 99 artist has added a broad ribbon of wash, not with any realistic intent, but as a sort of counterpoint the success of his addition of the thick expressive brushstrokes to his the United States where they were exhibited in the early 1930s, critics were divided with regard to abstract linesseemstovisualizeanenergy thattranspires betweenthem. Boy and Man shelter.tender In this within peacefully rests who boy the for safety of den cave-like a homoerotic image of father-son harmony. In almost an his with rejection of this redress rather, projectionthey Or rejection. the paternal of be experience personal to seem studio, his in pose to hired Noguchi who residents Beijing local from renderedpair, though boy and man the of drawings brush the circumstances, these Given known.” had ever I fellow lonely most “the as well him knew who one by perceived was Noguchi Beijing, in drawing brush of months his during that surprising not is it Thus, Noguchi. name the using Japan to come to not him telling Japan in father his from Moscow in letter a he prolonged his stay in Beijing instead of proceeding as planned to Japan because he received account, Noguchi’slater to Accordingown tragic.” almost is This West. Extreme the to belong desires, earthly your and intestines your including functions, physiological your of Most Orient. of number limited a Only East… Far the for desire your interpret to how know “...I 1930: in Isamu to wrote mentor presumptuous rather mother.One American European a and father Asian an of son the as status denigrated often con sometimes was duality East/West this however, Noguchi’scase, Isamu In Binyon. Laurence and father, his Noguchi, of aims the articulate to used rubric East/West the in noted already thinking dualistic the to parallel esting to Binyon’s “ sweeps, as though seeking to visualize some force pulsing through their bodies, something akin carefullythe of contouredlogic extreme the new overriding a by to disjunctiveness this takes Noguchi body.But same the of details different delineating sages pas delicate or light to passages thick and dark or roughfrom of transitions the in impressionabruptness an the have may works such of viewers sometimes and brushwork, of sorts ferent dif radically combined often paintings ink Asian East above, noted As drawings. brush Beijing the for appearance ofthemodelsposedbefore him. the as much as outlays brush subsequent impacted brushing of process the during paper his senses the movement of the artist’s body and how his response to the emerging brush paths on admired by connoisseurs of gestural contour line drawings of the sort pioneered by Rodin. One |

I WhileNoguchi’s Beijing brushdrawings were generally wellreceived thevariousin venues in inter an suggests drawing this in systems differentbrush markedly two of juxtaposition The Huddled Man and Boy SAMU Nude Man and Boy Reclining Boy and Man Nude ! gures in the former exempli former the in gures N , c.1930 OGUCH # , these , ight ofthedragon.” I ! gures come together in a circular composition of unity,of circularcomposition of a overlay in the together guresand come may well have been drawn from the same models as those who posed 55.5 x90.8inches The NoguchiMuseum Horizontal hangingscroll, inkonpaper in circular tumble) Peking Drawing(manandboy 100 ! ,

es one of the most unusual and experimental aspects of his of aspects experimental and unusual most the of one es but Noguchi’s addition of thick abstract brushstrokes onto brushstrokes abstract thick of addition Noguchi’s but |

I SAMU ! gured as a poignant and even painful statement of his of statement painful even and poignant a as gured N ! OGUCH bres in your nervous system belong to the Extreme the to belong system nervous your in bres Nude Man and Boy Reclining , 1930 I

! guresbroom-likestormy with ! gures. One noted that “the , the man’s body forms Huddled - - -

101 102 Noguchi returned to this investigation of the sculptural possibilities of ink-and-brush calligraphy and brush sketches as illustrations for the catalogue of his 1949 Egan Gallery exhibition. ( Moreover, Noguchi rendered the forms of some of his slotted stone sculptures in calligraphic ink character.Sino-Japanese multi-stroke a of structure combinational the resembles shapes stone curved of interlocking perpendicular the indeed, and sculptures these of some creating while ters. ( curved shapes and slotted together, a scheme suggested in part by the forms of Chinese charac of theinkpainter. world remotefromthe forms and materials in aesthetic two-dimensional this of qualities of tion remedia his of terms in interesting particularly is painting brush-and-ink of exploration intense career were in the three-dimensional media of sculpture and design. Thus the afterlife of his early pro ing, or planning or illustrating concepts and forms for sculpture and design projects. Despite the brush painting, later works in this medium were typically focused on recording sights while travel brush-and-ink on returnand periodically ink did to he Though models. live of intently observation the on based drawings so focus again never would Noguchi 1930, in Beijing leaving After TH their basisinsketchinglivenudemodels. of source Paris the obscuring while techniques, and materials creation, their of locus Asian the ing his brush drawings as essential to the enjoyment of their delicate and subtle effects.” By defying this view and present the of recess the in singly,suspended viewed best vantage when exhibited in numbers strung along the walls of [an American] museum. [They] are dif be to believed word Japanese the with eration gen this of others and Binyon by texts English in to referred scroll, hanging the indeed, And iconographies, are “necessarily linked to [...] culturally speci be attributed to their hanging scroll format. Painting formats, perhaps even more than styles and strokes seem to diagram vectors of the child’s dynamic exertions of budding strength. melding the bursting energy of the child with large cursive calligraphic strokes. These wet gray ink of case the In force. disruptive a 101 1996), page69, Kitaoji (Tokyo: Sezon Museum of Art, Illustrated in Isamu Noguchi/ Rosanjin 6.7 x3.5inches Ink onpaper Egan DrawingofAvatar in strokes abstract matter,the indeed only dragged in.” seem To that be sure, perhaps shadingsdue to emotional tension provoked of by the subject intervention “the criticized another while composition,” central the to R | Noguchi’s Noguchi’smay with drawings associated brush Asianness Beijing of impression the of Much !

I EE-D SAMU ciency of his early drawing in Paris and Beijing, the primary accomplishments of Noguchi’sof accomplishments primary the Beijing, and Paris in drawing early his of ciency ! g. 5.3) Noguchi reportedly had a photograph of a work of in his studio N I OGUCH ME ! gure D-41. N ! I rst major postwar sculptures took the form of thin marble sheets jigsawed into jigsawed sheets marble thin of form the took sculptures postwar major rst S I O ! , 1948 N cult to export from Japan: “work in “work Japan: from export to cult A L

R kakemono EMED Huddled I kakemono A 78.5 x3323inches Bronze Avatar 102 Toddler with a String String a with Toddler TI for public exhibition in the United States, Noguchi asserted | O

I SAMU , 1947–80 N

S O Man and Boy and Man N , even when associated with a Chinese painting, was painting, Chinese a with associated when even , OGUCH F

IN I K tokonoma intrude on the on intrude ( ! kakemono g. 1.19) g. ! c spaces and patterns of behavior.” , or alcove. A certain seclusion is seclusion certain A alcove. or , , however,in succeedsNoguchi form is seen to much disad much to seen is form ! gures with something of something with gures ! g. 5.4) ------101 102

103 104 82 incheshigh Bronze Shodô Hanging 103 example, For bronze. in cast then were which arrangements, planks from the soft light-weight material of balsa wood and composed them in abstract spatial curved sliced Noguchi Now 1940s. the of pieces stone slotted his than explicitly more strokes in the 1960s with a group of sculptures consisting of elements that resembled calligraphic brush 103 a series of aluminum sheet works in which Noguchi sought to endow this material with poetic with material this endow to sought Noguchi which in works sheet aluminum of series a 5.6) titled sculpture Noguchi’s1959 in accomplished was feat unlikely this but ink, and where real gravitycanonlybeheldinbalancebycontendingwiththelawsofphysics. sense of balanced weight that the operates in import the virtual to space of attempted calligraphy on works paper into Such sculpture ground. the to falling before midair suspended parts its sionalized brushstrokes that hover in space as though a calligraphic character had collapsed and ( suggests title its | Aluminum would seem to be a surprising material for contemplating the Asian art of brush of art Asian the contemplating for material surprising a be to seem would Aluminum

I after the after SAMU N OGUCH , 1962 ! I fteenth-century ink painter Laurence Binyon admired. This sculpture was part of part was sculpture This admired. Binyon Laurence painter ink fteenth-century shodô being the Japanese word for “calligraphy”), consists of three-dimen of consists “calligraphy”), for word Japanese the being 108 incheshigh Anodized aluminum Sesshû 104 | 104

I SAMU , 1959 N OGUCH I Shodô Hanging Shodô ,

( ! g. 5.5) g. Sesshû

much as much ( ! g. - - of ink in the puddle of an inkstone. Amidst the rough protruding areas and polished and areas protruding rough the Amidst inkstone. an of puddle the in ink of brick the rubbing by making” ink of “ritual the through spiritually” yourself “preparing called painter one what with associations various ponder to continued Noguchi sculpture. making in itself stone of grinding the and whetstone, a against blade steel a of sharpening the to gous analo is inkstone an of slope wet the against ink of brick the painter’sgrinding the of Thus act ie tee adcp tbe rsml iktns n hi bak tn mtra a wl a their as 1968 the of surface stone well black the relief.Indeed, horizontal as material stone black their in inkstones resemble tables landscape these size, larger their Despite forms. landscape suggesting depressions and protuberances various with carved granite of slabs horizontal table-like low as sculptures creating began Noguchi 1960s, later,the years in Many ink. liquid of concentrations different obtain to used water the holding reservoirfor a with stone of slab small a on cake dry froma ink groundhis have would Noguchi 1930, in Beijing in painters, ink other Like table. landscape stone the sculpture,namely abstract tural and aesthetic qualities of this object were critical to one of Noguchi’s most fruitful genres of treasured tools of the East Asian ink painter was the inkstone (J: dearly most the of one Nonetheless, painting. ink-and-brush to irrelevant seem might material that whichHasegawareported uponcontemplatingSesshû’s painting. to similar experience aesthetic an to conducive be to seem would sculpture aluminum abstract wards.... Then, as I mull over that aftertaste, it softens my heart with a after pleasant sense.” lingers Noguchi’sand chest my in resonance a with hits that quality sorrowful a possesses “it gray: Sesshû’sto response subjective his characterize to proceeded and tone” grey blurry dull “a as Sesshû’sdescribed previoushad The Hasegawa 1950. year in Japan of exploration aesthetic ink his during Noguchi for culture Japanese to guide a as served had who Saburô, Hasegawa writer and artist Japanese the friend, his surely was tonalities Sesshû’sgray appreciatingNoguchi’s for of sources One ink. in obtained Sesshû tonalities gray the suggests ( screen folding the of els pan hinged freestanding the of relief accordion-like the but scroll, hanging the painting—not color.gray variegated and shape Sesshû’swith associated formats the of one evokes shape The Noguchi’s ef aluminum sculpture alludes industrial to the revered Japanese ink with painter by means of its associations planar its disguising without qualities Noguchi observed: in an inkstone reservoir. Referring to another of his table sculptures, two shallow recessed areas, and when highest signi (an inkstone).Grindingisaprocess incarving,asisthe ‘suzuri’ on charcoal rubbing by made is Sumi tools. sharpen to is stone of use primary A Stone was the most important material of Noguchi’s late sculpture and, like aluminum, this aluminum, like and, sculptureNoguchi’s late of material important most the was Stone ! cance. byôbu ) . And the dull gray shine of the anodized aluminum surface aluminum anodized the of shine gray dull the And ! lled with water, they resemble the dark pool of liquid ink ! nal polishing. A whetstone is of the the of is whetstone A polishing. nal WaterTable suzuri ! iny n nw technologies. new and ciency Whetstone ) and re ( ! rst extended postwar extended rst ! g. 5.7) g. # ections on the cul of 1970 (

is carved with carved is

# at areas at ! g. 5.8) - - - - ,

105 106 2.7 x40.525.1inches Private collection Swedish granite Ink Stone 105 imagined bythemind: position between the microcosmic spaces of art making and the macrocosmic spaces feared and “ the Komachi, no Ono poetess Japanese endary towardbut leg world, the lonely like his life, populated his that of bodies end native the the on “ the of pursuit passionate Noguchi’syouthful surface. sculpture, but the environmental and geological processes that weather and form the terrestrial emergesstone the of making the in stone herethe of grinding the to only not analogous as with land of tract a in pond a of bird’sview eye the as read be also can it though inkstone, an of well the approximates closely that depression titled actually topography stone horizontal a of 105 | Grinding ink,Idipmybrushandwrite. Still inthishutI Yet, whenblossomsscatterandleavesfall, Its messagestilleludesme. To moanthecertaintyofdeath; A mountainwindblowsdownOsaka’s slope

I SAMU , 1984 N OGUCH I ! nd mypleasure: 5.5 x4233.2inches The NoguchiMuseum Granite Whetstone 106 |

I SAMU

N , 1970 OGUCH I # Ink Stone Ink at and hilly areas. Thus the grinding of ink on ink of grinding the Thus areas. hilly and at # ight of the dragon” became the pursuit of a of pursuit the became dragon” the of ight # ight of the dragon” had been focused been had dragon” the of ight ( ! g. 5.9), Noguchi carved a shallow a carved Noguchi 5.9), g. 14.2 x5131.5inches The NoguchiMuseum Black Swedishgranite Water Table 107 |

I SAMU N , 1968 OGUCH I - 107 106

107 108 NO T ES “Isamu Noguchi: Early Drawings Drawings Early Noguchi: “Isamu Altshuler, Bruce 1987); March/April Drawing” ( 4. N. Abrams,1987). Garden Museum Isamu Noguchi, and [1968]), 2004 Steidl, (Göttingen: autobiography, Noguchi’s see publications, additional For 2004–2005). D.C., Washington, Garden, Sculpture and Museum Hirshhorn and Art American of Museum (Whitney and Kyoto), Art, Modern of Museum National Tokyo,the and Art, Modern of Museum National (The 1992 Retrospective Noguchi: Isamu catalogues, accompanying and 3. written asBeijing. now is city, which Chinese the of transliteration old the is Peking works. individual for titles current use essay, and this in Drawings Scroll Peking group the call I Scroll (Kakemono) speci more others and titles, original these bear works some varied; are titles current The 1932. in exhibited Brush Drawingswhentheywere called PekingBrushDrawings 2. mater, in1949. alma his Michigan, of University the at Art of Museum the to donated he which of some artists, both of 1. DR IN RE Q S ISAMU NOGUCH months. six for China in was he fact in when stay month eight an A Sculptor’s World * FO In Noguchi’s autobiography, Noguchi’s autobiography, In O I See Nancy Grove, “Noguchi and and “Noguchi Grove, Nancy See exhibitions the example, for See, were Drawings Scroll Peking The work the collected Katsuizumi

BA IN A T T R HE PEK Isamu Noguchi:MasterSculptor OK E WIN VE ! W I c titles,suchas SH I NTI O CH GS I R , A Drawing D I O

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K N N A G D O T A Sculptor’s World The Isamu Noguchi Noguchi Isamu The (New York: Harry York: Harry (New S US T F I . For consistency, consistency, For . C , he mentioned mentioned he , HE HE

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Isamu Noguchi, “Guggenheim “Guggenheim Noguchi, Isamu Japan”. into China through then to spendinAsia,going proposed I years following two The Paris] in study one-year “[…after 8. other venues,2003–2004). and D.C., Gallery,Washington, of theEarth Embrace Close A Ceramics: Japanese Modern and Noguchi main themesoftheexhibition the of one was 1950s the in Rosanjin Kitaôji potter and aesthetician Japanese famous the of mentorship The 111-21. pp. 2004), Press, University Princeton Oxford: and Journey withoutBorders trans., Duus Peter Duus, Masayo 17-19, Noguchi, example, for See, documented. well is 1928 and 1927 in Paris in 7. pp. 285-86. [2000]), 2004 (Tokyo:Kôdansha, Journey withoutBorders of ekkyosha no Shukumei Noguchi: Isamu 6. from ParisandBeijing”,p.77. Drawings Early Noguchi: “Isamu Altshuler, and 122, p. Drawing”, and “Noguchi Grove, See themselves. in ends than rather works garden and artist’s sculptural the for sketches mainly were drawings 5. Sackler Gallery, 2003,pp.9-10). M. Arthur The D.C.: (Washington, A CloseEmbraceoftheEarth Ceramics: Japanese Modern and and Winther-Tamaki, Cort Allison Louise in Earth” the of Embrace Close A Noguchi: Isamu of Art Ceramic “The See 1930s. the in works Noguchi’s ceramic to relation in Drawings Scroll Peking the discusses also Winther-Tamaki Bert ( 1930” of Drawing Peking the and Noguchi “Isamu Maeda, J. Robert and 1994); Nov.-Dec. 4, no. 16, vol. from ParisandBeijing”( American Art In the application he wrote, wrote, he application the In Brancusi with Noguchi’s study Duus), (Masayo Masayo Dousu Noguchi’s 1940s, the After The Life of Isamu Noguchi: Noguchi: Isamu of Life The The Life of Isamu Noguchi: Noguchi: Isamu of Life The (original Japanese version version Japanese (original A Sculptor’s World (The Arthur M. Sackler Sackler M. Arthur (The , vol. 13, no. 1, 1999). 1999). 1, no. 13, vol. , Isamu Noguchi Noguchi Isamu ! Drawing (Princeton (Princeton 1 vol. ), rst to India, India, to rst , pp. pp. ,

Isamu Isamu

, A Sculptor’s World Noguchi, See Japan. to trip own his paid he Noguchi’saccount, to According 1962.” 15, Aug. Katsuizumi, Sotokichi of Recollection Personal Noguchi: Isamu & 16. residents. Japanese to cater to established were stores, department including services, and amenities many and period, this in cities large other and Shanghai, Beijing, in resided Japanese many China, in ambitions 15. without Borders Journey Noguchi: Isamu of Life The Duus, in cited 1930, 28, December 14. unpaged). and (unpublished 1962” 15, Aug. Katsuizumi, Sotokichi of Recollection Personal Noguchi: Isamu & shih Pai 13. activities inJapan. and Noguchi’s exhibitions of clippings newspaper Japanese with along letters, and pictures Baishi’s Qi kept he scrapbook, his In artist. American young the and painter master Chinese the between meeting the of memory the Tokyo, to cherished return to Beijing leave soon also would Isamu” ( affection, great have I whom for Pekin[g] in friend best my Katsuizumi Sotokichi for “This reads: baby a of drawing a on inscription The dedications. warm with Katsuizumi the PekingScroll Drawings 12. p. 20. 11. months. eight was it that say studies many why is This months. eight being as it recalled later Noguchi months, 10. 9. N. Abrams,1994),p.17. Conversations (eds.), Altshuler Bruce and Cappadona Proposal” inDianeApostolos- Noguchi, Katsuizumi, “Chi’h Pai Shih Shih Pai “Chi’h Katsuizumi, Japan’s to colonial Parallel mother, his to Noguchi’s letter “Chi’h Katsuizumi, Sotokichi of several gave Noguchi Noguchi, six fact in was stay his Though Isamu Noguchi: Essays and and Essays Noguchi: Isamu ! g. 1.23). Katsuizumi, who who Katsuizumi, 1.23). g. A Sculptor’s World A Sculptor’s World (New York: Harry York: Harry (New , p.130. , p.20.

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109 110 to March, 1932. York February New from in Gallery Becker John and Gallery Demotte 27. Shukumei noekkyosha, 26. Sculptor’s World Aug. 15,1962”andNoguchi, Katsuizumi, Sotokichi of Recollection Personal Noguchi: Isamu & 25. Noguchi Garden Museum an artist.”Noguchi, such as myself maintain could I that the cityonalllevels.Ifeltcon of life the did I as well as people the 24. p. 20. 23. & Row, 1962)p.173. Harper YorkEvanston: Artists and (New Seventeen with Talks Voice: 22. Nigensha, 1975),p.150. Baishi: ThePersonandArt Hakuseki: 21. Aug. 15,1962.” Katsuizumi, Sotokichi of Recollection Personal Noguchi: Isamu & 20. in lateJanuary1931forJapan. 19. p. 278. 2011, 31, May on Christie’sauction the to catalogue the in published was letter the of part A 1984. March Circo, Sharlynn to letter Katsuizumi, Sotokichi 1984. in granddaughter his to letter a in Katsuizumi by relayed dramatically were Qi with encounter Noguchi’s subsequent and moment Qi’sThis work. encountered collection thatNoguchi 18. (unpublished andunpaged). 1994 April daughter), Katsuizumi’s (Sotokichi Chew Katsuizumi Anne of recollection personal a also and 1962” 15, Aug. Katsuizumi, Sotokichi of Recollection Personal Noguchi: Isamu & shih Pai “Chi’h Katsuizumi, Qi’sconcubine. from works purchased he that 17. Noguchi said, “I came to know know to came “I said, Noguchi Noguchi, KatherineKuh, SaiHakuseki(QiBaishi), shih Pai “Chi’h Katsuizumi, Beijing leave would Noguchi Katsuizumi’s through was It mentioned also Katsuizumi The exhibitions were held at at held were exhibitions The Dousu, shih Pai “Chi’h Katsuizumi,

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15. 306. p. Symposium onQiBaishi, International the of Proceedings in Baishi”, Qi Outstanding 14. a strong masterpieces Baishi, Qi by are numerous most the which of 2002, in Prague in Gallery National the in paintings Chinese of Chytil’s collection seeing of 13. (editor’s note). 2012 September accessed chineseartprague.inc&issue=016 scholarship.php?searchterm=016_ www.chinaheritagequarterly.org/ 16 (December2008), China HeritageQuarterly Prague,” in Gallery National the of Collections the from Painting Ink Chinese 20th-Century of “Masters Pejcochova, Michaela of Review Roberts, Claire see Prague, in Gallery National the at painting Chinese of collection 12. Baishi Qi on Symposium International Zaixin, in Hong by Baishi“ Qi of Studies on Literature Language Foreign for Need Paintings—The Chinese of “Treasury also See 621. p. 2010), House, Publishing Arts and Qi Baishi on Symposium International the of Museum ofFineArts,” Czech the in Collection Baishi Qi 11. Publishing House,1962),p.79. Baishi by ZhangCixi. 10. Arts PublishingHouse,2004),p.219. Qingli Wan China,” see Travels in His and Claudot André 9. Claudot Claudot’s lifein1978titled a 52-minutelong,16-mm Bernard Baissat(b. November 2012.The Wan Qingli “The French painter painter French “The Qingli Wan Oral report by Qi Huang, notes notes Huang, Qi by report Oral Josef Hejzlar, “Remarkable, Hejzlar,“Remarkable, Josef pleasure the had author This the of history a For Michaela Pejcochova, “The “The Pejcochova, Michaela In 1908–1909, Qi Baishi traveled traveled Baishi Qi 1908–1909, In (Beijing: People’s Fine Arts Arts People’s Fine (Beijing: , vol. 2, p. 358. 358. p. 2, vol. , (editor’s note). # , vol. 2 (Beijing: Culture Culture (Beijing: 2 vol. , Proceedings of the the of Proceedings avor oflife. (Beijing: People’s Fine People’s Fine (Beijing: Fine Arts Anthology of of Anthology Arts Fine ! Autobiography of Qi Qi of Autobiography lled with energy and and energy with lled

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, Hunan. He also learned Yang Buzhi’s learned also He Hunan. in plum painting for famous was and mine as same the is hometown whose (Jinyang), Dynasty] [Qing Hebo Dynasty.Yin Song the of (Wujiu) [1097–1171] YangBuzhi of manner the in blossoms plum painted originally I style. leaf’ ink him andcreated the‘red to listened I painting. of way my change to and own my of ideas new 19. p. 457. Symposium onQiBaishi in Japan,” to Baishi’sIntroduction Exhibition—Qi Painting Joint Sino-Japanese Modern the and 18. November 2012)(editor’s note). CmjeBuZHCPPmeS5Q DA&usg=AFQjCNFmjEnJYQ8hPL pdf&ei=aZq7UK7lKojviQL2-oHw 2F3773%2F1%2Fumi-umd-3612. umd.edu%2Fbitstream%2F1903% A&url=http%3A%2F%2Fdrum.lib. b&cd=1&sqi=2&ved=0CC4QFjA &q=&esrc=s&frm=1&source=we www.google.com/url?sa=t&rct=j College Park,2006,p.139. Maryland, of University dissertation, Focus onChenShizeng(1876–1923) with China, Twentieth-Century Early in Pride National Maintaining and Japan from Painting New Learning Lai, Kuo-Sheng and 106-108, pp. 2006), Studies, Asian for Association and Press Hawai’i of University Painting inModernChina National-Style of Rise the and Japan Discovering Mists: the Parting Yuen Wong, Aida see Baishi, Qi of Exhibition Painting Joint Sino-Japanese 17. volume, Danzker, Birnie Jo-Anne see exhibitions 16. day. same the on returned scenery,and the at looked , in Cai Mong town border neighboring the visited he trips these of one During twice. Guangdong of Province the to Proceedings of the International International the of Proceedings See Lu Weirong “Qi Baishi Baishi “Qi Weirong Lu See these on information For “Shizeng advised me to create create to me advised “Shizeng second the on information For pages ?. Grabbism: 1930s and the participation participation the and , accessed accessed , , vol. 2, 2, vol. , # , in this this in , (: (Honolulu: ower ower http://

, this volume,pages?. Danzker, Birnie Jo-Anne see Trautmann, 22. National Museum,2010),p.358. Chinese Paintings Modern of Researchers of Exchange in Collection,” Suma the of Documentation and “Formation Minoru, Nishigami See Museum. National Kyoto the to donated were Yakichiro Suma of collection the in 21. November 2012(editor’s note). article/11315339 trove.nla.gov.au/ndp/del/ in Washington, D.C. See Embassy Japanese the at (1939) and Foreign Of (1937) counselor and 1933, in Nanking at General Consul 1930; in Canton at counselor 1927; in China in Legation the to secretary 1923; in Germany and England in Embassy Japanese the to secretary former as described was Suma Yakichiro Australia, Melbourne, 1940, of 20. p. 108(editor’s note). Wong, Yuen Aida paintings: his of each for yen 250 received he exhibition Tokyo the At work. his for yuan silver 2 only receiving been had Baishi Qi Tokyo the exhibition to prior Wong, Yuen Aida to According 138. p. New Paintingfrom Japan, Cited byKuo-ShengLai, similar.” somewhat are brushworks our that true is It Changshuo. with me compared He comparable.’ are they North, the in Qi and South the in ‘Wu saying, it, praised greatly and it saw Qinnan Lin fan. round-shaped a paint to me asked senator.He a is hometown my from (Zongkui) Weiru Yi painting. of manner my changed and again words his to listened I time.’ same the at plain-looking and gonbi ‘To with said, paint Shizeng too. brushstrokes, his applied I style. Proceedings of the International International the of Proceedings For further information on on information further For paintings Baishi Qi the of Most 18, October of edition the In style would be laborious laborious be would style Parting theMists The Argus Grabbism: 1930s ! , accessed accessed , ce spokesman spokesman ce (Kyoto: Kyoto Kyoto (Kyoto: published in in published , Learning Learning http:// op. cit.

, in in ,

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, assertion in Hunan dialect: ‘I am a am ‘I dialect: Hunan in assertion with said man old The about.’ thought have I that something is ‘This spoke. he as man old the on He him!’ to respond so meaningful, something is this disciple, a as formalities the observe to wants Daofan Zhang ‘Since saying: by out started “Mr.Zhenfu Baishi. Qi and (Zhenfu) Zhen Zhang Commander Police Military between conversations records HisMasterQiBaishi Outs With 30. 9-12. pp. 1997), Society, Painting Green Willow the Tide,” 29. pages?. Grabbism: 1930s Danzker, Tobey,Birnie Jo-Anne see Mark Tengand Baiye between relationship the on and art Chinese in Teng’sexpressionism on theories 28. art. Western and Chinese between connections the of understanding reasonable a have did he but Baishi Qi with exchanges no had have to Teng 225. appears p. 2004), House, Publishing Arts Fine of Wan Qingli Baiye Painting—Teng Impressionist Who In 27. pp. 297-305. Outstanding QiBaishi,” 26. on QiBaishi Symposium International the of Korean ArtWorld,” the in Baishi Qi of Style the of 25. 2012. editor, December the and Zaixin Hong between Correspondence paintings.” own his and art, Korean of history a Baishi, Qi on books several published 1911–2003) 24. 45. p. Company), Publishing Wenfeng (:New Anecdotes, CalligraphyandPainting 23. For further information on on information further For SeeWan Qingli, Reception “The Shanbiao, Hong Yong-gi (Ch’ong-gang, “Kim MaBi, Ma Bi, “Outside Shaojun Lang See “Remarkable, Hejzlar Josef , and " uenced American Abstract Abstract American uenced Qi Baishi, Father and Son Son and Father Baishi, Qi Zhang Daofan’s Ins and and Daofan’s Ins Zhang Qi Baishi Fine Arts Anthology Anthology Arts Fine , pp. 412, 413. 413. 412, pp. , (Beijing: People’s (Beijing: , in this volume, volume, this in , (Tianjin: Tianjin Tianjin (Tianjin: Proceedings Proceedings A Chinese Chinese A ! xed his eyes eyes his xed op. cit.

, ,

changed its name while Qi was was Qi while name its changed school art the details: some omit I 78. p. 5. 1986), she, shu lu Yue (: Baishi) Man Old the laoren zishu 4. 1993), p.207. Press, Washington of University the with association in Arts, Fine East and QiBaishi Bardoff 3. more idiomatic. is English the that so translation 10005801a tObjectID=5442391&CID=54470 com/lot Mushrooms Lot 2843,QiBaishi, 2011), 31, May Paintings, Chinese 2. advice. generous his for Institute, Painting Beijing the at Baishi Qi on expert an 1. SQ Q landscape works. and sculptural later his affected indirectly undoubtedly city.This the of parks and buildings ancient many the and Beijing in shops art and antique visiting enjoyed 33. no. 1(Spring1999),pp.86-87. of 1930,” Drawing Peking the and Noguchi 32. 1996). House, Publishing Arts Fine Hunan (Changsha: Cutting Baishi Qi of Works (eds.), Guo Tianmin 31. cit. have tokowtow.’” SeeMaBi, will he disciple, my be to wants he if is, that and accept, not certainly will Daofan Zhang which condition, a have I ‘And said: then He politician.’ high-ranking a with involved be to me for thing good a not is painter.It I BA For the sake of simplicity, simplicity, of sake the For Baishi QiandCixiZhang, Ann Tsao Carol Ying and Jung Modern (Fine 2858 Sale Christie’s, Hongliang, Wu to thanks My , p. 2. 2. p. , UA We know that Isamu Noguchi Noguchi Isamu that know We “Isamu Maeda, J. Robert On seals, see Lang Shanjun, Shanjun, Lang see seals, On I R SH , The Paintings of Xugu Xugu of Paintings The , E A ! nder/lot_details.aspx?in American Art I A N.B. I have edited the the edited have I N.B. N

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111 112 major source forEuropean collectors becoming adealer, andwasnowa sold agroup totheMusée Guimet, collected Ming-Qingpaintingsand had spentyearsinChina, been intheFrench foreign service, 3. and Idecidedtoleave.” reduced myresources precariously, which timemysplendidlivinghad 2. 2004), p.20. Sculptor’s World merchants.” IsamuNoguchi, in themornings,andreceiving was ahouseholderstudyingChinese run withincredible ease,andsoonI houseboy andtheirfamilies.Allwas well asChinese;arickshawboy, a speaking andcookingFrench as Mao Hutung18),acookappeared, 1. J 11. pp. 106-107. 2006), Press, Hawai’i of University and Studies Asian for Association in ModernChina Painting National-Style of Rise the and Japan Discovering Mists: 10. 9. 1968), p.20. World 8. qianggen.com/2012/0311/23537.html com (March 11,2012)http://culture. story ofKuacheHutong),qianggen. 7. Times York China: ABattlebyanHeir,” in “Art’s Fate Eckholm, Erik and Times Renovating HisLegacy,” Artist’s Family F.“Chinese Burns, John see: Baishi’s house, Qi of fate 6. capital.) northern means (Beijing period. that during China of capital the not was it because Beiping called was Beijing 1949 to 1928 from and there, O- “IwaseightmonthsinPeking,by “Jean-Pierre [Dubosc]had once Kuache Hutonglidegushi “A houseappeared (Ta Yang Ibid Isamu Noguchi, the concerning information For ANN Isamu Noguchi, Aida Yuen Wong, (Aug 28, 1985), sec. C, p. 21; 21; p. C, sec. 1985), 28, (Aug (New York: Harper & Row, & York: Harper (New . E B (Jan5,1998),sec.A,p.4. IRNI (Göttingen:Steidl, E (Honolulu: (Honolulu: D A Sculptor op. cit. A Parting the the Parting N ZKE Ibid New York New , p.20. R New New ., p.20. (A A ’s

“Shanghai Modern,”inJo-Anne see Jo-AnneBirnieDanzker, 9. unerschöp und seineVorstellungsweise ist Geschichte derchinesischenMalerei schier einzigarterKühnheit Phantasie. SeinPinzelistvon Grenzen unserer okzidentalen Kompositionen sprengt alle Rhythm[us] vonLinien,seine 8. Japan 7. accessed September2012. chineseartprague.inc&issue=016 scholarship.php?searchterm=016_ chinaheritagequarterly.org/ 16, December2008, China HeritageQuarterly of theNationalGalleryinPrague,” Painting from theCollections of 20th-CenturyChineseInk Michaela Pejcochova,“Masters see Claire Roberts’review of took placeinBrnoCzechoslovakia; 6. September 2012. and-hero-of-china.html zhang-xueliang-100-dies-warlord- www.nytimes.com/2001/10/19/world/ Times Hero ofChina,”, Xueliang, 100,Dies;Warlord and 5. p. 28. University ofCaliforniaPress, 1992), West 4. accessed September2012. 26journey-home-stockholm-to-dc responses-a-reminiscences/148- info/the-writings-of-james-cahill/ Cahill Cahill, Gallery inNewYork (1951?).”James paintings attheWildenstein breaking exhibitionofMing-Qing with LarrySickmanontheground- painting; hehadcollaborated and collectingofMing-Qing he had[…][promoted] thestudy personally andinhisscholarship: him completelycongenial,both such asDrenowatz. […]Ifound For adiscussionofthesedebates, “Eine Flutwildjubelnder Moderne MalerausChinaund One oftheearliestexhibitions Nicholas D.Kristof,“Zhang , (BerkeleyandLosAngeles: , see , October19,2001,see , SeptembertoOctober1930. The Writings ofJames # http://jamescahill. ich!” Noguchi Eastand The NewYork http://www. , accessed , no.

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, , shop atno.1908NorthSichuan Shanghai in1913andrented asingle Uchiyama Kanzô (1885–1959) came to China,” Woodcut Movementin1930s 14. September 2012. fancheng-und-heidelberg shan-newsletter-mai-nr.-52/lu-xun-xu- Plone/SHAN/newsletter/2011/ Kampen, on August30,1932.SeeThomas Germany, andhisreturn toChina his leavebefore departingfor 20, 1929,whenXuShiquantook Shiquan 154timesbetweenAugust 13. Verlag, 2010). Studenten in China:Journalisten,Spione, Chinesen inEuropa –Europäer 2012, andThomasKampen, in-heidelberg newsletter-maerz-2011-1/chinesen- SHAN/newsletter/2011/shan- http://147.142.222.80:8081/Plone/ Kampen, returned toPeiping.SeeThomas the late1930suntil1978whenhe texts from India,where livedfrom years hetranslatedNietzscheand family reasons. Inthefollowing without completinghisdegree for 1920s. In1932,Xureturned toChina Lu Xun,whomhehadmetinthe obtained withtheassistanceof studied onascholarshiphehad traveled toGermany, where he known asXuHuandShiquan) 12. Russian constructivists. diverse asAubrey Beardsley andthe which includedtheworkofartistsas ! 1928 and1930LuXunpublished Modern Zheng Shengtian(eds), in Jo-AnneBirnieDanzker, KenLum, Woodcut Movement in 1930s China,” 11. 10. pp. 18-71. Stuck,2004), (Munich: MuseumVilla Shengtian (eds), Birnie Danzker, KenLum,Zheng ve volumesofEuropean woodcuts, KuiyiShen,“TheModernist See KuiyiShen,“TheModernist Lu Xun’s diarymentionsXu In 1929,XuFancheng(also Ibid ., p.21. , op. cit op. cit http://147.142.222.80:8081/ Chinesen inHeidelberg (Gossenberg: Ostasien- , accessedSeptember ., pp.268-69. ., p.267.Between Shanghai Modern Shanghai , accessed ,

Committee were CaiYuanpei, Lin members oftheChineseOrganizing 20 toMarch 4,1934.Among the Academy inBerlinfrom January Painting) wasexhibitedatthe Gegenwart 21.22. were alsoexhibited,allbyLiuHaisu. listing anadditional22paintingsthat printed Addendumtothecatalogue the catalogue.There was,however, a is givenas274,thenumberlistedin this exhibition,thenumberofworks 20.21. 2 (1931):p.100. 19.20. 2012. reviews/416 2001), (Honolulu: University of Hawai’i Press, Artists intheEarlyPostwarYears of Nations,JapaneseandAmerican Winther-Tamaki, 18.19. China,” Woodcut Movementin1930s 18. Press, 2001),86. (Berkeley: UniversityofCalifornia Semicolonial China,1917-1937 Modern: Writing Modernismin 17. China,” Woodcut Movementin1930s 16. varying degrees ofinteraction.” through Uchiyama’s bookstore with and MatsuokaKomakichi,allpassed as welllaborleadersSuzukiBunji constitutional lawyerYoshino Sakuzo, priest SuzukiDaisetsu(Teitaro), the Yonejiro¯ Noguchi,theBuddhist Jun’ichiro andSatoHaruo,thepoet name but a few, the novelists Tanizaki no. 4/Summer1997,p.62:“To Chinese StudiesinHistory 15. October 2012). ct/userobject1ai7543.html expo2010.cn/expo/english/eu/nc/ former culturalsite.( Bookstore becameprotected asa Nanjing Road.In1980,theUchiyama before openingasecondbranchon Road, where heopenedabookstore Shu-meiShih, KuiyiShen,“TheModernist PaulD.Scott,“Introduction,” Kuiyi Shen,“TheModernist

http://www.caareviews.org/ Chinesische Malerei der Ostasiatische Zeitschrift In theliterature todateon Susan Platt,review ofBert op. cit op. cit (ChineseContemporary , accessedSeptember ., p.266. ., p.266. Art intheEncounter The Lure ofthe http://www. , accessed , vol.30, 7,no. Shanghai Modern Ken Lum,ZhengShengtian(eds), Tobey,” inJo-AnneBirnieDanzker, Innovation: Teng BaizeandMark Cultural DialogueandArtistic Kwei Dun.SeeDavidClarke,“Cross- Kwei, Teng-Kroei, Teng Quay, and in theWest asTeng Kuei,T’eng of Teng Gui,whowasalsoknown 30.31. Slayer ChungKuei by Teng Baiye(1900–1980): Contemporary Painting the 1934Berlinexhibition 29.30. Berlin, 1937. Collection), PrinzessinnenPalais, Contemporary Painting:Trautmann Sammlung Trautmann Chinesische Malerei derGegenwart: color (especiallyred) onpaper: that theworkswere inkandstrong noted intheexhibitioncatalogue and P 28.29. cit. 27.28. (May-June 1932),p.172. to Museums of Berlin in 1932, according appointed curatorattheState 26.27. September 2,1945. War tookplacefrom July7,1937,to 25.26. volume, ?-?. “Discovery” ofQiBaishi Trautmann, seeLangShaojun, relationship betweenQiBaishiand 24.25. “Shanghai Modern,” 23.24. Weintrauben. GedichtdesKünstlers were titled 22.23. Bank, andI.G.Farben. Hamburg-America Line,Deutsche Bohlen andHalbach,Melchers&Co, in China,suchasSiemens,Kruppvon of majorGermancompaniesactive Committee includedrepresentatives and GaoQifeng.TheHonorary Fengmian, XuBeihong,LiuHaisu, 31.32. " aume Ostasiatische Zeitschrift , footnote92. Glyzinie Amongthepaintingsin LeopoldReidemeisterwas TheSecondSino-Japanese ThepaintingsbyQiBaishi Teng wasdescribedasan Teng Baiyeisthepenname The paintingswere Leopold Reidemeister, For informationonthe Jo-Anne BirnieDanzker, (RedPlum), Habicht aufKiefer (Wisteria). Itwas (Wisteria). , and op. cit Staude op. cit (Chinese were two Geese , inthis ., p.84. Chinese 18,no.3 Rote Demon (Shrub), ., p.44. and . op. The

. volume, “Discovery” ofQiBaishi 43.44. p. 71. of Maryland,CollegePark,2006, (1876–1923), dissertation,University China, withFocusonChenShizeng Pride inEarlyTwentieth Century from JapanandMaintainingNational Sheng Lai, (1888–1934), andQiBaishi.Kuo- Chen Shizeng,Wang Mengbai Zhizhi, Yao Mangfu(1876–1930), for him.TheseartistsincludedLing collaboratively paintedapainting house forhisbirthdaypartyand famous painterscametohis opera starMeiLanfang,many 42.43. op. cit “Cross-Cultural Dialogue…,” 41.42. “Shanghai Modern,” 40.41. cited byDavidClarke, (Shanghai), January31,1934,p.172, Local Club,” Art. ChineseAuthority’s Address to 39.40. Dialogue…,” 38.39. 37.38. mode/2up opencourt_dec1933caru#page/478/ 94. XLIII (December1933),pp.479- China,” 36.37. September 2012. org/about/BP_Hall.htm 35.36. World 34.35. 2012. past/1051/1928 www.henryart.org/exhibitions/ by T’engKwei(KweiDun) Finger PaintingsinChineseInk 33.34. 32.33. ibid. (1886–1964). SeeDavidClarke, art department,Walter F. Isaacs of theUniversityWashington’s assistant tothe http://archive.org/stream/ , p.86. (Göttingen:Steidl,2004),p.20. ., p.98. SeeLangShaojun, According tothePeking IsamuNoguchi, Ibid Cited byDavidClarke, Jo-Anne BirnieDanzker, “Expressionism inChinese David Clarke,“Cross-Cultural Ibid T’eng Kwei,“ArtinModern See Ibid The OpenCourt ? -?. , accessedOctober2012. ., p.87. ., p.479. ., p.86.Seealso Learning NewPainting http://harvardealc. The North-ChinaHerald op. cit , accessedOctober ! rst chairman ., p.91. op. cit ibid A Sculptor’s , accessed , inthis (Chicago), , The ., p.97. http:// ., p.62.

December 3,1937 New York World-Telegram Artist FearsforOldPeiping”, 51. (spring 1999),84-93 of 1930.” Noguchi andthePekingDrawing 50. (eds), Danzker, KenLum,ZhengShengtian in 1930schina”Jo-AnneBirnie Modernist Woodcut Movement nudes. SeeKuiyiShen,“The of landscapesandpolychromatic Roar! In additiontoworkssuchas Society inGuangzhouJune1934. established TheModernWoodcut himself printmakingin1933, 49. 48. 47. Shanghai Modern Ken Lum,ZhengShengtian(eds), of Life”in:Jo-AnneBirnieDanzker, 45. 44. JackFoster. “Japanese-american RobertJ.Maeda.“Isamu Ibid,23 Ibid,22 Li Hua,whobeganteaching Xu Jiang,“The‘Misreading’ Ibid LiHuapublishedalbums Shanghai Modern ., p.66. American Art , op. cit , vo.13,no.1 , op.cit.267 ., p.75. , China

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K NT A T S SU

I I ZUM # uential I 1900-1909 1900 to Japan. 1906 Noguchi. and JapanesepoetYoné (Yonejiroˆ American writerLeonieGilmour 1904 calligraphy. prominent artists and masters of introduced to some of China’s most inspiration and experience. He was Through his travels he gained around China and as far as Vietnam. Long Trips”. He traveled extensively 1902–1909 detail tofreehand brushwork. paintings from elegant and meticulous the techniquesofhis Beginning in this year, he changed 1902 arriving inSanFrancisco. 1907 | | | | |

Went to to teach painting. Moved withhismother Born inLosAngelesto Visited theUnitedStates, Visited |

The years of his “Five # ower and bird . ) 1910-1919 to thestreets ofBeijing brought studentprotesters 1919 on GermanyinWorld War I 1917 | 1914 in Indiana. 1918 and cabinetmaker. 1913 it hispermanentresidence. 1919 | | | | |

May Fourth movement China declares war Collapse oftheQingDynasty Sent toInterlakenSchool Apprenticed toacarpenter Moved toBeijingmaking

1920-1924 held inShanghai of theCommunistPartyChina 1921 to sculpture. Columbia anddevotedhimself After twoyears,Noguchileft classes atLeonardo School. daVinci Concurrently attendedsculpture University aspre-med student. 1923 in Paris. and twoselectedforexhibition All ofhispaintingswere sold Painting ExhibitioninTokyo in the 1922 1924 the Powers Consortium to help reorganize the Japanese Delegation at the Four Bank, New York Branch. Worked with 1923 Armaments. Conference on the Limitation of Delegation to the Washington as a member of the Japanese in Economics and was selected of Michigan, Masters Degree 1921 ! nances of China. | | | | | |

Sino-Japanese Joint Graduated from the University Worked at Yokohama Specie First Congress Enrolled inColumbia Paintings included Returned toJapan. .

to theGreat Depression in theUnitedStatesthatled 1929 1927 1925-1929 himself. created portraitbuststosupport at theEugeneSchoenGallery; and heldhis 1929 Made served asBrancusi’s studioassistant. Fellowship. Traveled toParis, 1927 the NationalSculpture Society. Academy ofArt.Electedto 1925 of poetry. painting andpublishedacollection Academy ofArtsteachingtraditional 1928 as giftsbytheartist. to whom they had been presented and also from Qi’s former concubine, of Qi’s paintings directly from Qi, 1926–30 his Japanese friend.Katsuizumimade Introduced toQiBaishibya Branch ofYokohama SpecieBank. 1925 ! rst twoacquisitionsofQi’s work. | | | | | | |

! Stock MarketCrash Chinese CivilWar Returned toNewYork Received aGuggenheim Exhibited attheNational Became aprofessor atBeijing Transferred toBeijing rst abstractsculpture. |

Purchased a large number ! rst soloexhibition

1930-1934 and occupationofManchuria 1932 in theUnitedStates. Angeles andothercities traveled toNewYork, Chicago, Los Peking Drawings 1931–32 to NewYork intheFall. Noguchi inTokyo andreturned Japan. Metwithhisfather, Yoné 1931 ink-brush paintingwithQiBaishi. in Beijing in August, where he studied on the Trans-Siberian Railroad. Arrived traveling to Beijing in summer 1930 at theBeijingAcademyofArts. He resigned from teaching to seeJapaneseguests. by lockinghisdoorandrefusing Japanese invasionofManchuria 1932 with aninscription. Katsuizumi withacalligraphyscroll departure, QiBaishipresented in Yokohama. Ontheeveofhis branch ofYokohama SpecieBank 1932 introduced NoguchitoQiBaishi. 1930 | | | | | |

Returned to Paris before Japanese invasion Traveled toTokyo andKyoto, Protested againstthe Transferred tothehead Met IsamuNoguchiand |

The exhibitionofhis andsculptures

1935-1939 outside Beijing clashed onMarco PoloBridge 1937 Chinese Women’s ReliefAssociation. scroll toraisefundssponsored bythe 1937 and Europe. Economic CommissiontoAmerica 1937 | | |

Chinese andJapanesetroops Donated Member oftheJapanese Mother andChild

1940-1944 camp inPoston,Arizona. in Japanese-Americanrelocation 1942 1941 1941 | | |

Voluntarily spent6months Pearl Harborattack China declared waronJapan

117 118 WO extensively inEurope and Asia. the grantenabledNoguchitotravel a bookon“environments ofleisure”; Foundation Fellowshiptoresearch 1949 ISAMU NOGUCH Republic ofChina 1949 of Japan 1945 1945-1949 of MichiganMuseumArt. Drawings one ofIsamuNoguchi’s paintings (9byQiBaishi)and 1949 to Japan’s economicrecovery. credited withproviding assistance MacArthur oneconomicmatters, 1945–47 S in NanjingandShanghai. 1946 Q O I BA T RL OK | | | | |

Received Bollingen Formation ofPeople’s Start oftheAlliedoccupation Donated 11Chinese Painting exhibitionsheld I D SH | totheUniversity I

CH Advisor toGeneral E I VE I

K NT A T S SU I

I Peking ZUM

I

1950-1954 Peace Park 1952 sculptures (lamps). 1951 at KeioUniversity, Tokyo. a memorialroom forhisfather 1950 1950 People’s Congress. representative oftheNational 1954 Association ofChineseArtists. 1953 | | | | | |

Completed Designed his Commissioned tocreate Start oftheKorean War Elected theHunanprovince Elected President ofthe , , Japan. Two Bridgesfor ! rst Akarilight

1955-1959 Paris. 1956 in theUnitedStates 1955 1957 Council. Peace PrizebytheWorld Peace 1956 Peace Conference. for presentation to the World large-scale work important Chinese artists on the 1955 | | | | |

Created Civil Rightsmovementbegan Died inBeijing. Awarded the1955World Collaborated with other Gardens forUNESCO Eternal Peace

, 1960-1964 Island City, Queens,NY. 1961 WarU.S. involvementinVietnam 1964 his wife. destroyed hishouseandkilled a 1962 ! re athishomeinTokyo that | | |

Students protested against Established studioinLong Trip toAmericafollowing

autobiography, of AmericanArt;publicationhis was heldatTheWhitneyMuseum 1968 Revolution 1966 1965-1969 version hadbeenpublishedin1964). in AmericanLife of theGoodandNotSo the US:PenetratingOpinions translation of 1968 | | |

Retrospective exhibition Start oftheCultural Published theEnglish A JapaneseSees A Sculptor’s World (theJapanese

. 1970-1979 Expo 1970 1970 policy toaddress overpopulation 1979 1972 Tokyo. Productivity ConsultantOf 1970 | | | |

Created China introduced one-child Nixon visitedChina Director oftheIndustrial , ,Japan. Fountains forWorld ! ce, 1980-1984 League BiennialAward. Japanese-American Citizens Governor’s ArtAward andthe 1984 Japan. at Noguchi’s studioinShikoku, construction ofgarden museum 1982 | |

Received NewYork State Designed andbegan

1985-1989 1988 by President RonaldReagan. Medal ofArts,presented 1987 1986 to thepublic. Museum inNewYork opened 1985 1989 1985 | | | | | |

Died inNewYork. Received theNational Received theKyotoPrize. The IsamuNoguchiGarden Tiananmen Square protestsTiananmen Died inJapan .

119 120 R S UGGES EAD I NGS T ED ED shukumei noetsukyosha Duus, Masayo. Stuck,2004). Museum Villa Shanghai Modern Ken Lum,ZhengShengtian(eds). Birnie-Danzker, Jo-Anne. of CaliforniaPress, 1992). and West Ashton, Dore. (New York: HarryN.Abrams,1994). Essays andConversations Bruce Altshuler. Apostolos-Cappadona, Diane. (Nov.–Dec. 1994). Review published by Drawing Society Beijing”. Early Drawingsfrom Parisand Altshuler, Bruce.“IsamuNoguchi: (New York: AbbevillePress, 1994). Altshuler, Bruce. Drawing (Berkeley:University Noguchi East Isamu Noguchi Isamu Noguchi: Isamu Noguchi , TheInternational (Munich: , 2vols.

,

on-line. http://www.aaa.si.edu/ . Available 7-Dec. 26, Archives of American Art, with Isamu Noguchi. 1973 Nov. Noguchi, Isamu. (New York: HarperandRow, 1968). Noguchi, Isamu. Museum, 2009). 1860-1989 American ArtistsContemplateAsia, Munroe, Alexandra. American Art and the Peking Drawing of 1930”, Maeda, Robert. “Isamu Noguchi (March–April 1987). Review published by Drawing Society Drawing.” Grove, Nancy. “Noguchiand 2000). (Tokyo: KodanshaInternational, (NewYork: Guggenheim Drawing , vol.13,no.1,pp84-93. Oral history interview A Sculptor’s World , TheInternational The Third Mind:

Continents, 2010). Arts, ;Milan:5 Gerald CantorCenterforVisual China. Ink PaintersinTwentieth-Century Past, DrawingtheFuture: Master Gao, Tianmin Yang, Xiaoneng.ZaixinHong, Gallery inPrague,2008). Gallery inPrague from theCollectionsofNational 20th-Century ChineseInkPainting Pejcˇochová, Michaela. Harry N.Abrams,1986). Garden Museum (NewYork: Noguchi, Isamu. Isamu Noguchi interview-isamu-noguchi-11906 collections/interviews/oral-history- (Stanford, Cal.:Iris&B. et al (Prague:National . Tracing the Masters of

121 122 PHO T O C RED IT S Photo byLucDemers:1.23. Rights Society(ARS),NewYork: 5.6. Estate ofRudyBurckhardt /Artists Photo byRudolphBurckhardt ©2013 International, NewYork: 2.24. Courtesy ofBridgemanArtLibrary Anderson Collection:3.28. San Francisco;GiftoftheJack Courtesy oftheAsianArtMuseum, Myers: 3.13. San Francisco;GiftofBarbaraJ. Courtesy oftheAsianArtMuseum, New York. Foundation andGarden Museum, copyrighted ©TheIsamuNoguchi All worksbyIsamuNoguchiare publishers. provided noti be corrected insubsequenteditions or omissionsare inadvertentandwill included inthisvolume.Anyerrors ownership ofallcopyrightedmaterial and correctly credit thesource and Every effort hasbeenmadetotrace ! cation isgiventothe

Circo: 1.3,1.6. courtesy ofSharlynnandAndrew From theKatsuizumiCollection, Photo byLucJoubert:5.5. by SaraWells: 1.26. Taylor:Photo byWilliam 3.26.Photo cover. PhotobyMichioNoguchi:5.8. 5.12. PhotosbyIsamuNoguchi:front 4.14, 4.15,4.17,5.3,5.4,5.7,5.11, 3.7, 3.19,3.22,3.24,4.8,4.11,4.12, 2.13-2.15, 2.17-2.19,2.21-2.23,3.6, Noble: 1.2,1.7,1.8,1.17-1.21,2.8, Atelier Stone:1.4.PhotosbyKevin Berenice Abbott:1.16.Photoby 1.1,1.25, 3.25,4.1,5.9.Photoby New York: Foundation andGarden Museum, Courtesy ofTheIsamuNoguchi Library: 3.3-3.5,3.14-3.18. Courtesy ofHarvard-Yenching Courtesy ofMichaelGallis:2.9. Fabian Collection:3.9-3.11,3.27. Courtesy oftheReverend Richard Courtesy ofBrittaErickson:3.1,3.2. Courtesy ofBertWinther-Tamaki: 5.1 4.16, 5.10. 2.16, 3.21,4.3,4.4,4.6,4.7,4.9,4.13, 1.15, 1.22,1.24,2.1,2.7,2.10-2.12, Michigan MuseumofArt:1.5,1.9- Courtesy oftheUniversity Museum: 5.2. Photo ©Trustees oftheBritish 3.8, 3.12,3.23,4.10. of ModernChinesePainting:2.4,2.5, Courtesy of the Tsao Family Collection org Museum ofArt. Courtesy ofTheSanDiego 3.20. Museum ofFineArts,Boston: NY: 2.3,4.5. of Art.ImageSource ArtResource, Image ©TheMetropolitan Museum 2.20. Courtesy oftheLannanFoundation: Photo byGailOwens:2.6. : 2.2,4.2 http://www.sdmart.

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