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拍品專文
PUBLISHED:
Umehara Ryuzaburo Pekin sakuhin ten/Exposition Ryuzaburo Uméhara au Pékin (Exhibition of Umehara Ryuzaburo: Peking Works), exh. cat. (Tokyo: Gallery Yoshii, 1972), no. 58.
Gashu Pekin Umehara Ryuzaburo (Umehara Ryuzaburo: Peking paintings), vol. 3 of Umehara Ryuzaburo/Ryuzaburo Umehara
(Tokyo: Kyuryudo, 1973), pl. 21.
Umehara was a colorist who experimented with various techniques in an effort to create "Japanese" oil paintings. At times he incorporated gold and platinum into his landscapes. At other times he squeezed the oil from the tube directly onto the canvas. From the early 1930s he started to use a combination of oils and traditional mineral pigments (as in "Temple of Heaven") but he also painted on paper with mineral pigments thinned with a polyvinyl solution.
Umehara Ryuzaburo Pekin sakuhin ten/Exposition Ryuzaburo Uméhara au Pékin (Exhibition of Umehara Ryuzaburo: Peking Works), exh. cat. (Tokyo: Gallery Yoshii, 1972), no. 58.
Gashu Pekin Umehara Ryuzaburo (Umehara Ryuzaburo: Peking paintings), vol. 3 of Umehara Ryuzaburo/Ryuzaburo Umehara
(Tokyo: Kyuryudo, 1973), pl. 21.
Umehara was a colorist who experimented with various techniques in an effort to create "Japanese" oil paintings. At times he incorporated gold and platinum into his landscapes. At other times he squeezed the oil from the tube directly onto the canvas. From the early 1930s he started to use a combination of oils and traditional mineral pigments (as in "Temple of Heaven") but he also painted on paper with mineral pigments thinned with a polyvinyl solution.