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                  <text>Weeks 6-10: Art and the Allied Occupation (1945-1952) </text>
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                <text>「氷島」の著者（萩原朔太郎像）(「Hyōtō」no Chosha: Hagiwara Sakutarō zou)</text>
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                <text>Portrait of Sakutarō Hagiwara </text>
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                <text>Shōwa 18 (1943)</text>
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                <text>Onchi Kōshirō (恩地孝四郎)</text>
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                <text>This print is dedicated to Onchi's friend of 20 years, famous modern Japanese poet Hagiwara Sakutarō. It was created one year after Hagiwara's death in 1942. In this print, Onchi illuminates the life-long hard work and anguish that Hagiwara endured through the wrinkles on his face and his solemn expression. Today, it's seen as one of the finest exemplars of the "Sōsaku Hanga" (Creative Print) movement in Japan</text>
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        <name>Onchi Kōshirō</name>
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                <text>At Ruin--Allegory No. 3</text>
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                <text>アレゴリーNo.3 廃墟 (Aregori--No.3 Haikyo)</text>
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                <text>Onchi Kōshirō (恩地孝四郎)</text>
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                <text>Shõwa 23 (1948)</text>
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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Lady Kusunoki</text>
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                <text> 楠公夫人 (Nankō Fujin）</text>
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                <text>上村松園 (Uemura Shōen)</text>
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                <text>Shōwa 19 (1944)</text>
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                <text>60 x 71.5 cm</text>
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                <text>Pigments on Silk</text>
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                <text>A portrait of Lady Kusunoki, the wife Kusunoki Masashige. </text>
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        <name>Bijin-ga</name>
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        <name>Uemura Shōen</name>
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                <text>Gunned Down</text>
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                <text> 射殺 (Shasatsu)</text>
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                <text>Nakamura's comment on the Girard Incident, a shooting of a middle-aged mother in a firing range by an off-duty U.S. guard.</text>
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                <text>中村 宏 (Nakamura Hiroshi)</text>
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                <text>Oil on Canvas</text>
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                <text>On the Steps </text>
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                <text>階段にて ( kaidan-nite)</text>
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                <text>中村宏 (Nakamura Hiroshi)</text>
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                <text>There are many repetitions and multiplications in this painting. Waves are flowing like water that washes away or traps the figures with glasses. Steps and waves are the motifs that Nakamura repeatedly applies.</text>
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                <text>Sunagawa No.5</text>
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                <text> 砂川五番 (Sunagawa goban)</text>
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                <text>中村宏 (Nakamura Hiroshi)</text>
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                <text>Here Nakamura depicted the protest against the expansion of the US military base in Tachikawa. The most violent incident during the protest is remembered as Sunagawa Struggle on May 4, 1955, which is the subject of this painting. </text>
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                <text>Coal Storage </text>
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                <text>石炭置き場 (Sekitan okiba)</text>
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                <text>Shōwa  30 (1955)</text>
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