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Lot Essay
PUBLISHED:
Saeki Yuzo zengashu (Complete works of Saeki Yuzo) (Tokyo: Kodansha, 1968), no. 244.
Tokyo Central Museum, ed., Saeki Yuzo ten (Saeki Yuzo exhibition) (Tokyo: Asahi Shimbunsha, 1968), no. 134.
Goto Shigeki, ed., Saeki Yuzo, vol. 9 of Gendai Nihon bijutsu zenshu (Compendium of modern Japanese art) (Tokyo: Shueisha, 1972), pl. 51 and no. 51.
Asahi Shimbun, ed., Saeki Yuzo zengashu (Complete works of Saeki Yuzo) (Tokyo: Asahi Shimbunsha, 1979), pl. 225.
Few of Saeki's paintings seem as rapidly executed and as abbreviated as White street. The angled curbs are drawn with single long strokes. Only the lines of the shutter slats seem still in contrast to the other agitated lines and cater-cornered panels of pigment. The single street lamp is strangely bright, drawing the viewer into the scene and silent mood.
Saeki Yuzo zengashu (Complete works of Saeki Yuzo) (Tokyo: Kodansha, 1968), no. 244.
Tokyo Central Museum, ed., Saeki Yuzo ten (Saeki Yuzo exhibition) (Tokyo: Asahi Shimbunsha, 1968), no. 134.
Goto Shigeki, ed., Saeki Yuzo, vol. 9 of Gendai Nihon bijutsu zenshu (Compendium of modern Japanese art) (Tokyo: Shueisha, 1972), pl. 51 and no. 51.
Asahi Shimbun, ed., Saeki Yuzo zengashu (Complete works of Saeki Yuzo) (Tokyo: Asahi Shimbunsha, 1979), pl. 225.
Few of Saeki's paintings seem as rapidly executed and as abbreviated as White street. The angled curbs are drawn with single long strokes. Only the lines of the shutter slats seem still in contrast to the other agitated lines and cater-cornered panels of pigment. The single street lamp is strangely bright, drawing the viewer into the scene and silent mood.