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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Fierce Fighting on Guadalcanal </text>
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                <text>血戦ガダルカナル (Kessen Gadarukanaru)</text>
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                <text>A painting that depicts the bloody battle between Japanese and American troops during the Guadalcanal campaign. Fujita captures the chaotic and terrifying atmosphere of the battle with the distorted bodies  being nearly indistinguishable from the mud, and the flash of lightning in the background.</text>
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                <text>藤田嗣治 (Fujita Tsuguharu)</text>
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                <text>Shōwa 19 (1944)</text>
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                <text> 262 x 265 cm</text>
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                <text>Oil on Canvas</text>
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        <name>Fujita Tsuguharu</name>
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                <text>Mother and Child  ( black and white reproduction)</text>
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                <text>母子 </text>
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                <text>A painting that was displayed along with "Good Day" at the Futen exhibitions. Just like Good Day, it features Lin's wife and child, and promotes nationalistic ideal of womanhood. </text>
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                <text>林之助 (Lin Chih-Chu)</text>
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                <text>Shōwa 17 (1942)</text>
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                <text>135 x 165 cm</text>
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                <text>Pigments on Paper</text>
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                <text>Summer Evening at Lakeside </text>
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                <text>池畔納涼 (Chihan Nōryō)</text>
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                <text>A painting showing two women clad in kimono enjoying &#13;
a cool evening by the lakeside. Back then, paintings showing Japanese women in kimono were popular and touted as an exemplar of Japanese feminine beauty. </text>
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                <text>藤島武二 (Fujishima Takeji)</text>
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                <text>Meiji 30 (1897)</text>
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                <text>152.0 × 194.4 cm</text>
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        <name>Fujishima Takeji</name>
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                <text>Orchid </text>
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                <text>芳蕙 (Hōkei)</text>
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                <text>Side-profile of a woman in traditional Chinese dress and attire holding an orchid. Through this painting, Fujishima aims to create his idealized portraiture of "oriental beauty." For such an image, he proposes three crucial components: Chinese clothing, Japanese women, and Western painting. </text>
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                <text>藤島武二 (Fujishima Takeji)</text>
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                <text>Taishō 15 (1926)</text>
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                <text>65 x 53 cm</text>
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        <name>Fujishima Takeji</name>
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