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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Capturing a View</text>
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                <text> 取景 </text>
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                <text>This painting was completed one year after Japan has started its full-scale invasion against China. Despite the innocuous looking image of a girl with a camera, the painting has subtle nationalistic messages. The camera conveys a message about Japan's modernity and a colonizer's gaze.</text>
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                <text>林之助 (Lin Chih-Chu)</text>
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                <text>Shōwa 13 (1938)</text>
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                <text>91.0  x 72.7 cm</text>
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                <text>Pigment on Paper</text>
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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>Forbidden City </text>
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                <text>紫禁城 (Shikinjō)</text>
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                <text>A painting of the famous Forbidden City in Beijing, China. Umehara Ryuzaburō is intrigued by Chinese culture and history during his time living in Beijing. He even rented an apartment right next to the Forbidden City so he can get a good view. </text>
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                <text>梅原龍三郎 (Umehara Ryūzaburō)</text>
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                <text>1940 (Shōwa 15)</text>
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                <text>Oil on Canvas</text>
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                <text>Japan: Where the Sun Rises </text>
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                <text>日出処日本（hi izuru tokoro nippon)</text>
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                <text>A landscape of Mt. Fuji  rising from the mist alongside a crimson red sun in the sky. This painting is filled with nationalistic sentiment&#13;
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                <text>横山大観 (Yokoyama Taikan)</text>
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                <text>Shōwa 15 (1926)</text>
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                <text>Hanging Scroll, Pigments on Silk</text>
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                <text>乾坤輝く(Kenkon Kagayaku) </text>
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                <text>A bright red sun rising next to Mt. Fuji across an extravagant gold background. This painting by Yokoyama Taikan is a nationalistic painting that celebrates Japan's imperial glory. It is part of the series "Ten Mountain &#13;
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                <text>Shōwa 15 (1940)</text>
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                <text>石井茂雄 (Ishii Shigeo)</text>
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                <text>Shōwa 36 (1961)</text>
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                <text>130.8 X 162.2 cm</text>
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                  <text>Weeks 11-13: Art in the Postwar (1952-1970, and beyond) </text>
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                <text>敗戦群像 (Haisen Gunzō)</text>
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                <text>A surrealist painting that depicts the artist's sentiment towards the defeat of Japan following the second world war. In the foreground, we see a heap of human bodies stacked up in a rough pyramid shape in front of a barren desolate landscape. Despite the gloom appearance, there are subtle visual clues that conveys Fukuzawa's hope for Japan's revival. For example, rather than being in a state of decay, the cadavers appear muscular and robust, as if they still possess the potential to lift themselves up. </text>
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                <text>193.9 x 259.1 cｍ</text>
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                <text> 男: 黄土に住む人 (Otoko: Ōdo ni sumu hito)</text>
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                <text>Shōwa 15 (1940)</text>
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                <text>This work is supposedly inspired by Fukuzawa's trip to China in 1939, where he sighted a poor man living among the deserts Loess Plateau. The figure also reflects Fukuzawa's spiritual condition and a representation of the tragedy suffered by Chinese people during the war. </text>
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