• SHARE

The Nishinomiya-based glass entrepreneur Tokutaro Yamamura (1926-86) spent 30 years assembling a collection conventionally presented as having three foci. First, as a survey of postwar Japanese art trends. Second, as the abstractions of Gutai Art Association (1954-72) painters. Finally, as one that covers the rise of expressive works driven by color and content in the 1980s, as seen in Tomoko Sugiyama’s installation, “The Start — A Man and Mamorigami” (1984).

As such, the Yamamura Collection, presently on show at the Hyogo Prefectural Museum of Art — comprises 167 works by 68 artists and is considered indispensable to postwar Japanese art history’s sense of identity.

Unable to view this article?

This could be due to a conflict with your ad-blocking or security software.

Please add japantimes.co.jp and piano.io to your list of allowed sites.

If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.

We humbly apologize for the inconvenience.

In a time of both misinformation and too much information, quality journalism is more crucial than ever.
By subscribing, you can help us get the story right.

SUBSCRIBE NOW

PHOTO GALLERY (CLICK TO ENLARGE)