Art exhibition - bijutsu tenrankai (English spelling) exhibition English

Japanese: 美術展覧会 - びじゅつてんらんかい（英語表記）exhibition 英語

An exhibition that displays artworks and asks unspecified or specific viewers to appreciate and evaluate them. In a broad sense, this includes so-called permanent exhibitions, which are permanent displays of artworks owned by museums, but they are usually held at a specific venue for a specific period of time. There are regular exhibitions such as the Salon d'Automne and the Independants in Paris, the Nitten, Inten, and Nikaten exhibitions in Japan, and the Venice Biennale, which has been held every other year with some interruptions since the first exhibition in 1895. In contrast, there are special exhibitions that are temporarily held at various museums, galleries, and other venues, including the Grand Palais in Paris, the Metropolitan Museum of Art in New York, and the National Museum of Western Art in Tokyo. The content of the exhibitions is extremely diverse, including group exhibitions, solo exhibitions, and exhibitions for auctions or sales of works. For example, even in the same solo exhibition format, there are cases where a living artist exhibits his or her recent work to the world, and cases where the organizer organizes and organizes an exhibition of works by past artists for various purposes and pretexts, such as commemorating the XXth anniversary of their birth or death.

[Kimio Nakayama]

history

There is no doubt that the original form of art exhibitions, where artworks were displayed at festivals or markets and people viewed and purchased them, existed from ancient times, and there are records of such events in the West and Japan from the early modern period onwards. However, from ancient times, the Middle Ages and even into the early modern period, most artworks were made to order, and it can be said that the exhibition format did not have much need or utility.

[Kimio Nakayama]

Western

There are records of guild-sponsored exhibitions being held frequently in the Netherlands and Italy from the 16th to the 17th century, but these mainly featured works from workshops, prints, and crafts. However, the Royal Academy, which was established in the 17th century in parallel with the guilds, began to hold exhibitions of excellent works by excellent artists in order to gain authority. In France, the Académie Royale was founded in 1663, and the first salon was held in 1667. Although there were some intermittent events, this formed the basis of the salons of the 19th century and later. This exhibition, commonly known as the "salon" because it was held in the Salon Carrée (square room) of the Louvre in the 18th century, was a place for members of the Academy and associate members to present their works until the Revolution, but after the Revolution, it was open to the public and judged. Then, as the number of public exhibitions increased and the number of rejected artists increased, "Shows of Rejected Artists" were held, and then the Salon Indépendants, which was open to public participation, was held, and in the 20th century, many exhibitions by various private organizations appeared. The former relationship between client or patron and artist was replaced by a form of art consumption in civil society between individual artists and collectors or viewers, which inevitably led to an increase in the form of expression through exhibitions, and solo and group exhibitions came into existence, as shown by the examples of not only the Salon des Refusés and the Salon des Indépendants, but also Courbet, who held a solo exhibition called "Realism" in protest against his rejection from the Universal Exposition in 1855, and Monet and others, who held the first Impressionist exhibition in 1874. Furthermore, from the 19th century onwards, art exhibitions held within so-called Universal Expositions also played a major role. For example, large-scale retrospective exhibitions such as the Delacroix exhibition at the 1855 Universal Exposition in Paris and the Centenary Exhibition of French Painting at the same Paris Exposition in 1899 also formed the basis of new exhibition forms.

The presentation of works in art dealers' shops, which probably dates back to ancient times, and the sale of inherited items are also important exhibition formats. These have also been popular since the 18th century, and today, auction exhibitions by department at Sotheby's and Christie's in London and other places around the world are part of this tradition.

In Britain, the Society of British Artists, the predecessor of the Royal Academy, held its first exhibition in 1760, and since 1969 it has been a regular exhibition sponsored by the academy. In Germany, the first solo exhibition of printmaker Chodwiecki was held in 1787, sponsored by the Berlin Academy, and academy exhibitions have since been held in Munich, Dresden, Vienna and other places. In response to these academy-sponsored exhibitions, group and solo exhibitions were eventually held by private organizations, and the rise of such exhibitions has become the basis for the promotion of modern and contemporary art, a trend that can be seen in all countries since the second half of the 19th century.

[Kimio Nakayama]

Japan

The first exhibition in Japan was held in 1872 (Meiji 5) at the Cathedral in Yushima, Tokyo, sponsored by the Ministry of Education Museum, and featured antique art, crafts, and new oil paintings. Two years later, in 1874, a calligraphy and painting exhibition featured works by Takahashi Yuichi and others. Meanwhile, art exhibitions by private organizations also began in 1875, when an exhibition of oil paintings and watercolors was held at the Shogido Art School annex, followed by a succession of exhibitions sponsored by the Meiji Art Association, Hakuba Society, and others. Then, after the founding of the Bunten Exhibition in 1907 (Meiji 40), official exhibitions and private group exhibitions competed with each other, becoming one of the forces shaping the history of modern Japanese art.

[Kimio Nakayama]

Contemporary Art Exhibition

Today's growing interest in art and cultural consumption trends have stimulated demand for art exhibitions internationally, and have led to the rise of exhibitions in various formats, including happenings and performances. However, a more important phenomenon is the internationalization of exhibitions. While the San Paolo and Venice Biennales have established themselves as the core for promoting and evaluating contemporary art, there has been an increase in projects to exhibit the works of past masters and art of a certain era across oceans as part of international cultural exchange. The numerous international exchange exhibitions today, which began with the international art exhibitions at the World's Fairs in the 19th century, the French Impressionist exhibitions often held in London and New York, and the Armory Show (1913) in New York, which had a decisive influence on contemporary American art, go beyond the scope of simple art appreciation and play a major role in promoting international mutual understanding and in influencing the art world of each country.

This type of special exhibition is organized by a museum or other organizer, who is responsible for planning and designing the exhibition, requesting and negotiating with the exhibitors, transporting and displaying the works. It is natural that there is a lot of resistance from the owners when it comes to sending valuable works overseas, but in line with the purpose of cultural exchange and the desire for essentially excellent works to be seen by as many people as possible, the works to be exhibited are usually selected, even though this may involve a contradiction with the purpose of preserving cultural properties.

Since the very beginning, exhibitions have always produced catalogs of exhibits in the form of pamphlets or catalogs, which have become important clues for art history research. In particular, large-scale special exhibitions held in recent years do not simply provide an opportunity to appreciate art, but also provide an opportunity for new research and evaluation by displaying works that have been scattered all in one place, and so the content of catalogs has become significantly richer. In any case, exhibitions are a place where artistic producers and consumers meet, and above all, a place where presentations and evaluations meet, and their importance is expected to increase even more in the future.

[Kimio Nakayama]

[References] | Armory Show | Independent Exhibition | Official Exhibition | Salon

Utagawa Hiroshige (III) "Illustration of the Museum at the Domestic Industrial Exposition"
This is a nishiki-e (colored woodblock print) depicting the exhibition scene at the art museum at the First Domestic Industrial Exposition, held in Ueno Park, Tokyo in 1877 (Meiji 10). It was held as part of the Meiji government's policy of promoting industry and commerce. Many paintings, calligraphy, and crafts were exhibited. Triptych ( Owned by the National Diet Library )

Hiroshige Utagawa (III) "National Industrial Exposition Art..."

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

美術作品を展示し、不特定もしくは特定の鑑賞者に、作品の鑑賞や評価を求める展覧会。美術館が所蔵する作品を常時展示するいわゆる常陳展も広義にはこれに含まれるが、通常は特定の期間、特定の会場で行われる。パリのアンデパンダン展、サロン・ドートンヌ展、あるいは日本の日展、院展、二科展など、また1895年第1回展以後、中断を含みながら隔年開催されるベネチア・ビエンナーレのような定期展、それに対して、パリのグラン・パレ、ニューヨークのメトロポリタン美術館、東京の国立西洋美術館をはじめ、各美術館、画廊その他で臨時に開催される特別企画の展示がある。企画の内容は、団体展、グループ展、個展、競売や作品売却のための展示など、きわめて多岐にわたる。たとえば、同じ個展形式でも、現存の作家が自己の近作の成果を世に問うために展示する場合もあれば、過去の作家の作品を、生誕○○年記念、没後記念などさまざまな意図と名目により、主催者が企画組織して展覧会を構成する場合もある。

［中山公男］

歴史

縁日や市場で作品を並べ、人々がそれを鑑賞し、購入するといった美術展の原形となる営みは古くからあったに相違ないし、西洋、日本でも近世以降にはその記録がある。しかし、古代、中世、さらに近世に至るまで、美術品の多くは注文生産で、展覧会形式はさほどの必要性も効用ももたなかったといってよい。

［中山公男］

西洋

オランダやイタリアでは、16世紀から17世紀にかけて、しばしばギルド主催の展覧会が開催されたという記録が残されているが、それらは工房作品、版画、工芸品などが主体であった。しかし、17世紀にギルドと並立して成立することになる王立アカデミーは、その権威のためにも優れた作家による優れた作品の展覧会を開催することになる。フランスでは1663年にアカデミー・ロワイヤルが創設され、1667年には第1回のサロンが開催され、若干の断続はあったが、19世紀以降のサロンの原形を形づくっている。18世紀にルーブル宮のサロン・カレ（方形の間）で開催されたため「サロン」と通称されるこの展覧会は、大革命時まではアカデミー会員および準会員の発表の場であったが、革命後は公募・審査の方式をとることになる。そして公募展が多くなり、落選者も増えるにつれて「落選展」が開かれ、さらに、自由に参加することのできるアンデパンダン展などが開かれ、20世紀には民間の各種団体展が数多く出現する。かつての注文主あるいはパトロン対芸術家の関係は、個人の芸術家対収集者あるいは鑑賞者という市民社会での美術消費の形式にとってかわり、それは必然的に展覧会による表現形式を増大させ、落選展やアンデパンダン展だけではなく、1855年の万国博覧会の落選に対抗して「レアリスム」を名のる個展を開いたクールべ、1874年に第1回の印象派展を開いたモネたちの例が示すように、個展、グループ展形式も成立する。また19世紀以降、いわゆる万国博覧会内部で開かれた美術展も大きな役割を担った。たとえば1855年のパリ万国博でのドラクロワ展、1899年の同じパリ万国博でのフランス絵画百年展のような大規模な回顧展も、新しい展覧会形式の基礎をつくっている。

　おそらくかなり古い時代から行われたと思われる美術商の店頭での作品提示、あるいは遺産の売却のための売り立てなども重要な展覧会形式の一つである。これも18世紀以降盛んに行われ、今日ロンドンその他の世界の何か所かで部門別に開催されるサザビーやクリスティーズの競売展などは、その系譜上にある。

　イギリスでは、ロイヤル・アカデミーの前身であるイギリス美術家協会が1760年に展覧会を開催し、69年以降アカデミー主催の定期展となっている。ドイツでは、版画家ホドウィエツキの個展がベルリン・アカデミーの主催で1787年に開催されたのが最初で、以後ミュンヘン、ドレスデン、ウィーンなどの各地でアカデミー展が開かれている。こうしたアカデミー主催の展覧会に対し、やがて民間団体による団体展、個展などが開かれるようになり、むしろそうした展覧会の隆盛が近代・現代美術の推進の母体となる事情は、19世紀後半以後、各国に共通してみられる。

［中山公男］

日本

わが国では1872年（明治5）文部省博物館主催により、古美術、工芸品、新しい油絵などの展示が、東京・湯島の聖堂で行われたのが展覧会の最初で、2年後の74年には、書画展覧会として高橋由一(ゆいち)らの作品が出品されている。一方、民間団体による美術展も、1875年に画塾彰技堂分室で油彩、水彩が展示されたのを契機に、明治美術会、白馬(はくば)会などの主催による展覧会が相次ぐ。そして、1907年（明治40）の「文展」の創設以降、官展と民間の団体展が競い合い、日本近代美術史を形成する力の一つとなっている。

［中山公男］

現代の美術展覧会

今日の美術への関心の高まり、文化消費志向は、国際的に美術展の需要を促し、ハプニング、パフォーマンスなども含む多様な形式での展覧会の隆盛を示している。しかし、より重要な現象は展覧会の国際化であり、サン・パウロ、ベネチアのビエンナーレなどが現代美術の推進、評価の核として定着する一方、過去の巨匠や、ある時代の美術を、国際的な文化交流の一環として、海を越えて展示する企画が増大している。19世紀の万国博覧会での国際美術展、あるいはロンドンやニューヨークでしばしば開かれたフランス印象派展、アメリカ現代美術に決定的影響を与えることになったニューヨークでのアーモリー・ショー（1913）などを先駆とする今日の数多くの国際交流展は、単なる美術鑑賞の枠を越えて、国際的な相互理解でも、その国の美術界への影響という点でも、大きな役割を果たしている。

　この種の特別企画展は美術館その他の主催者が組織にあたり、展覧会の企画・立案、作品出品の依頼・交渉・輸送・展示に関して責任をもつ。貴重な作品の海外への出品に関しては、所蔵者側に抵抗が多いのは当然であるが、文化交流の趣旨、また本質的に優れた作品はより多くの人々に見られることを欲するということで、文化財保存の目的との間に矛盾を含みながらも、出品作品が選定されるのが通常である。

　展覧会では、その最初期以来、つねに小冊子あるいは図録（カタログ）形式の出品目録がつくられ、これは美術史研究にとっても重要な手掛りとなっている。とくに近年大規模に行われる企画展は、単に美術鑑賞の機会を提供するだけではなく、散逸した作品を一堂に展示することにより新しい研究と評価の契機となるため、図録の内容的な充実が顕著である。いずれにせよ、展覧会は美術的な生産者と需要者との出会いの場であるとともに、なによりも発表と評価の出会いの場であり、今後ともいっそうその重要性が増大するものと思われる。

［中山公男］

[参照項目] | アーモリー・ショー | アンデパンダン展 | 官展 | サロン

歌川広重（3世）『内国勧業博覧会　美術館之図』
1877年（明治10）に東京上野公園で開かれた第1回内国勧業博覧会の美術館の展示風景を描いた錦絵。明治政府の殖産興業政策の一環として催された。多くの絵画や書、工芸品が展観された。三枚続国立国会図書館所蔵">

歌川広重（3世）『内国勧業博覧会　美術…

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