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By Timothy Mathews

Alberto Giacometti's attenuated figures of the human shape are one of the most vital inventive photos of the 20th century. Jean-Paul Sartre and André Breton are only of the nice thinkers whose suggestion has been nurtured by way of the sleek, harrowing paintings of Giacometti, which maintains to resonate with artists, writers and audiences. Timothy Mathews explores fragility, trauma, area and relationality in Giacometti's paintings and writing and the potential to narrate that emerges. In doing so, he attracts upon the novels of W.G. Sebald, Samuel Beckett and Cees Nooteboom and the theories of Maurice Blanchot and Bertolt Brecht; and recasts Giacometti's Le Chariot as Walter Benjamin's angel of historical past. This e-book invitations readers on a voyage of discovery via Giacometti's deep issues with reminiscence, attachment and humanity. either a severe examine of Giacometti's paintings and an immersion in its affective strength, it asks what encounters with Giacometti's items can let us know approximately our personal time and our personal methods of taking a look; and concerning the humility of in relation to paintings.

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Mushanokóji Saneatsu and ‘the New Village’ Mushanokóji Saneatsu (1885–1976), born of a distinguished aristocratic family, was a prominent writer of the Shirakaba school. Under his uncle’s influence, he became an enthusiastic reader of Leo Tolstoy in his teenage years and came to believe in idealistic humanism, individual freedom and equality. Mushanokóji and his friends Shiga Naoya and Yanagi Sóetsu created an artists’ colony in Abiko, Chiba prefecture. There, they expressed their ideas of ‘humanism’ in novels and by means of critical writings, primarily on Western art and literature, in the magazine Shirakaba which 30 Orientalism: the foundation of Mingei theory attracted many young people.

Encouraged by revisionist Occidental ideas, they searched for an alternative Japanese-style modernisation with its own national cultural identity. As in England, Germany, Sweden, Russia and India, ‘art of the people’, ‘art and beauty of life’ and ‘peasant art’ were among the most important concepts of Japanese modernisation. This new concept gave a vision for modern democratic Japan. 117 Many works expressing this modern vision were published: Minshú Geijutsuron (Art of the People) by Kató Kazuo (1919), ‘Minshú Geijutsu no Igi to Kachi’ (The Significance and Value of Art of the People, 1916) and Seikatsu no Geijutsuka (The Beautification of Life) by Honma Hisao (1925).

Ruskinian ideas of moral social justice also became seeds of many other peasant art movements spread in Japan in the 1920s. I will discuss three typical movements by Mushanokóji Saneatsu, Yamamoto Kanae and Miyazawa Kenji to compare with the Mingei movement which developed in parallel. Mushanokóji Saneatsu and ‘the New Village’ Mushanokóji Saneatsu (1885–1976), born of a distinguished aristocratic family, was a prominent writer of the Shirakaba school. Under his uncle’s influence, he became an enthusiastic reader of Leo Tolstoy in his teenage years and came to believe in idealistic humanism, individual freedom and equality.

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