Sōtarō Yasui was a Japanese painter who was noted for the development of yōga (Western-style) portraiture in early 20th-century Japanese painting. Yasui was born to a merchant class household in Kyoto, but dropped out of commercial high school against his family's wishes to pursue a career in the arts. In 1907, at the age of nineteen he moved to Paris, France to study at the Académie Julian under Jean-Paul Laurens. During this seven years, from 1907 to 1914, he was strongly influenced by the realistic styles of Jean-Fran?ois Millet, Pierre-Auguste Renoir and, in particular, Paul Cézanne. He attempted to perfect his style, which incorporates clear outlines and vibrant colors in portraits and landscapes, combining western realism with the softer touches of traditional nihonga techniques. In 1930, he displayed these techniques in "A Portrait of a Woman" to wide critical acclaim, and was nominated for membership in the prestigious Imperial Fine Arts Academy in 1935.
安井曾太郎(Sōtarō Yasui)是一位日本畫家页滚，他因在20世紀初的日本繪畫中發(fā)展了洋畫（西式）肖像畫而聞名崔步。安井出生在京都的一個商人家庭源梭，但為了追求藝術娱俺，他違背了家人的意愿從商業(yè)高中輟學。1907年废麻，19歲的他來到法國巴黎荠卷，在朱利安學院學習，師從讓-保羅-勞倫斯烛愧。在1907年至1914年的這七年里油宜，他深受讓-弗朗索瓦-米萊、皮埃爾-奧古斯特-雷諾阿屑彻，特別是保羅-塞尚的現(xiàn)實主義風格的影響验庙。他試圖完善自己的風格，在肖像和風景畫中融入清晰的輪廓和鮮艷的色彩社牲，將西方寫實主義與傳統(tǒng)日本畫技法的柔和點綴相結合粪薛。1930年，他在《一個女人的肖像》中展示了這些技巧搏恤，獲得了廣泛的好評违寿，并于1935年被提名為著名的帝國美術學院成員。
Roses were one of Yasui’s favorite subjects. Here, we see an Imari vase, with the vivid rose petals floating against a plain black background. At first glance, the brushwork seems offhand and bold, but the edge of the table, slightly angled upward towards the right; the subtle placement of the vase, tilting leftward; the rose petals, spreading in beautiful balance across the picture plane; and the thickness of the gray tablecloth, all show us that Yasui had carefully worked out the composition and color plan. The result, however, is a painting free of rigid formality and brimming with robust beauty.
玫瑰是安井最喜歡的主題之一熟空。這幅畫中藤巢，我們看到一個伊萬里花瓶，鮮艷的玫瑰花瓣浮現(xiàn)在純黑色背景上息罗。乍一看掂咒，筆法看似隨意而大膽，但桌子邊緣略微向右上傾斜；而花瓶的位置也很微妙绍刮，略微向左傾斜温圆；玫瑰花瓣則美麗得分散開來，與畫面形成了一個微妙的平衡孩革；還有灰色桌布的厚重岁歉，都表明了安井精心設計了整個構圖和畫面色彩。然而膝蜈，結果卻是一幅沒有拘泥于形式的锅移、充滿粗獷強勁之美的畫作。
We present today's work thanks to Bridgestone Museum of Art.?:)
感謝普利司通美術館與我們分享今天的畫作饱搏。:)
