---

Portfolio /作品一覧

View More

---

Interview article /対談記事

若い魂がキャンバスを色鮮やかに照らす情熱の画家

そこでとてもショックなことがありました。私は地方新聞に叩かれたんです。「色が汚い」「見られたものではない」と。
当時、私は教師として八戸の高校に勤めていたのですが、そのショックで一週間は休んだことを覚えています。しかしある日、何にも心配することなんてないということに気がついたんです。所詮新聞なんて見た人もいれば見てない人もいる。「私は私の絵を描こう、世界に通用する油絵の描き方をするんだ」。この時そう強く思いました。私の原点となった体験です。

ゲルマー：そうだったんですね。江渡先生の描く風景は力強くて華々しく、そんな挫折があったなんて考えも及びませんでした。でもそこで諦めなかったことで、我々はこうして素晴らしい絵を拝見することができています。今日持ってきてくださった作品も華やかですね。よろしければ解説していただけますか？

江渡：この作品は京都の八坂神社の枝垂桜を描いています。とても時間をかけて描きました。私にとって世界に通用する第一号の作品です。筆で叩きながら桜を一枚一枚描きました。桜のフワッとした印象を描くことができたと思っています。
油絵具は酸化して乾きます。透明な綺麗な色を塗るには時間をかけなくちゃならない。それは重々理解しているのですがどうしても性格的に一気に描いてしまう、なので乾く前に塗ってしまって汚くなる。これは私が過去に描いた「春の雪」という作品にも通ずる部分ではありますが、雪はすぐに消えてしまう。それは桜も同じだと思います。桜が舞っている間に一気に描かなくてはと思うと乾く前に描いてしまうんです。そのため色が濁ってしまうのですが。

ゲルマー：色が濁っているとのことですが、私はこの作品に非常に惹かれます。桜が勢いよく舞い上がっているようです。これぞ日本という華やかで素晴らしい絵です。確かに世界で通用する作品だと思います。

江渡：ありがとうございます。

さまざまな歴史を背負いながら、先頭になって世界をリードしているように思いますね。コロナ禍ではありましたが、去年（2021年）はシャルロッテンブルク宮殿で作品を発表できたことは非常に光栄です。

ゲルマー：ありがとうございます。続いてこれからの抱負をお聞かせいただけますか？

江渡：今は90歳になったら個展を開くことを目標に活動をしています。これは必ず実現させたいです。

ゲルマー：江渡先生なら絶対できると思います。本日は江渡先生のお話をお伺いできてよかったです。本当にありがとうございました。

A passionate painter whose youthful soul illuminates the canvas with brilliant color

Tomoko Germar: I’m very pleased to meet you. I am Tomoko Germar, head of the European branch of the Japan-Europe Palace Art Association.

Yasuko Eto: It is a pleasure to meet you. I’m Yasuko Eto. I live in Hachinohe and Hashimoto, and I grew up in Hachinohe. I will be 82 years old this year, but lucky enough to still be in my youth.

Germar: Honestly, I’m surprised to hear your age. I have always thought of your work as very youthful, as it gives the impression of being very powerful and flamboyant. I’m certain it’s your youthful spirit that enables you to paint with such energy. If you don’t mind, could you tell us how and why you started painting?

Eto: I didn’t pick up a brush until I was 36 years old. At first, I attended the NHK Gakuen painting school. There I was taught by Shigeo Shiraiwa and Shigekazu Sakurai, and painted many sketches and other works.After I became more confident in my ability to paint, I held a three-person exhibition at a department store in my hometown of Hachinohe, together with art teachers from the prefectural high school.
But that was a truly shocking experience. I was absolutely slammed by the local newspaper. My “colors were messy” and my art “not worth viewing.”
At the time, I was working as a teacher at a high school in Hachinohe, and I remember taking a week off from the shock. But one day, I realized that there was nothing to worry about. After all, some people read the newspaper and some don’t. “I’m going to paint my own pictures, and create oil paintings that will be well received all over the world.” That is what I felt strongly at the time. That experience was actually my starting point.

Germar: Oh, I see. Your landscape paintings are so powerful and spectacular that I had no idea that you’d experienced such a setback. But because you never gave up, we are now able to see your wonderful paintings. The piece you brought today is also magnificent. Could I ask you to explain a little about it?

Eto: This work depicts the weeping cherry tree at Yasaka-jinja Shrine (a shrine located on the north side of Gion, Higashiyama, in the city of Kyoto. It hosts the annual Gion Festival). It took me a very long time to paint it. I believe it was my first world-class piece. I painted the cherry blossoms one by one, tapping them out with a brush. I think I was able to depict the fluffy impression of cherry blossoms.But since oil paints oxidize and dry out, it takes a lot of time to apply beautiful transparent layers of color. I understand this very well, but due to my personality, I tend to want to paint everything at once. Because of this, I often end up painting before it dries and it ends up looking messy. I made a similar mistake when I painted a piece called “Spring Snow.” Snow that doesn’t accumulate disappears as soon as it hits the ground, right? That’s why I was in such a hurry to paint, before I forgot the thrill of the present moment. It’s the same with the piece I’ve brought this time. I felt like I had to paint everything all at once – while the cherry blossoms are falling – so I painted it before it dried.

Germar: You described the colors as messy, but personally, I am very attracted to this work. The cherry blossoms truly seem to be dancing. It is a gorgeous, wonderful painting, and it captures the essence of Japan. It’s certainly a world-class piece.

Eto: Thank you very much.

Germar: By the way, last year (2021) was the 160th anniversary of the friendship between Japan and Germany. I recall that your work was included in the exhibition held at the Charlottenburg Palace in Berlin, and it was very well received. I’m certain that people in Germany have the impression that you are an excellent painter, but conversely, what are your impressions of Germany?

Eto: I have traveled all over the world, but my favorite country is Germany. I feel that the people of Germany are very solid, both in their character and their view of history. I think as they shoulder the various burdens of history, they are leading the world. Despite the COVID pandemic, it was a great honor to present my work at the Charlottenburg Palace last year (2021).

Germar: Thank you very much. Could you tell us about your ambitions for the future?

Eto: My current goal is to hold a solo exhibition at the age of 90. I intend to make this a reality. Germar: I am certain you will succeed. I’m glad to have had the opportunity to speak with you today. Thank you very much.

 

---

Profile /経歴

江渡保子　Yasuko Eto

作品出展国遍歴（JEPAA関連事業）：ドイツ、フランス

Exhibition of Works(JEPAA): Germany, france

Contact