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Lot. 124


acrylic on canvas
signed, titled and dated on the reverse ”JIRO TAKAMATSU No.1389 1997”
labeled on the reverse of wood frame ”AKIRA IKEDA GALLERY”
”Jiro Takamatsu Shadow Paintings 1997” Nagoya, 1999, p.15
182.0×227.5 cm
private collection, Japan
Akira Ikeda Gallery, Japan
HKD : 1,300,000 - 1,800,000
( USD 170,000 - 230,000 )  ( JPY 18,000,000 - 24,000,000 )

Auction Result
“All objects have shared a common thing that when there is light, there comes shadow. Even there is no detail about characters or objects, their existence cannot be ignored. In order to avoid revealing any information from painting to people who appreciate the work, the only thing that we can do is to weaken the existence of character or object in people’s imagination. I do not aim at creating works with accusation, but I aim at creating works which are close to ‘nothing’.” –from “Asking absence questions” by Takamatsu Jiro
In 1961, he started to create “Point” series. From then on, he exhibited numerous of series, for example “Twist” “Shadow” “Perspective” “Wave” “Loose” “Stone and Number” “Oneness” “Compound” “Space in Two Dimensions” “Shape” “Tropic”. He named his series with a simple title and arranged them according to rhetorical method. Takamatsu first created his “Shadow” series in 1964, and the series won the Shell Art Award which is considered as a start of successful career for young artists. After he won the Shell Art Award for the second time in 1965, Takamatsu views “Shadow” series as a topic that he would dedicate in his whole life. This thought has never been changed even until he passed away in 1998. The topic of the work is not located in the middle of or inside the painting space, but it is located on the side of the picture. Takamatsu tried to solve the problem of painting space / reality space by solving the problem by drawing shadows while returning to the classic theme in the European painting of drawing shadows. Takamatsu’s conceptual attempt to expresses the discrepancy between physical reality and visual perception and ask the relationship between the subject and human. The humanism with materiality ended in the 1960s, created an opportunity for the beginning of the 70s art that structurally thinks of the relationship between words and things. It has great influence on contemporary artists such as Sekine Nobuo and Lee U-Fan who were Mono school.
As a representative artist in Japan, Takamatsu’s name was well known both in Japan and abroad after the 34th Venice Biennal in 1968 and Kassel Documenta in 1977. In addition, a large retrospective exhibition held at the National Museum of Modern Art in Tokyo in 2014 and the National Museum of Art in Osaka in 2015 also received domestic evaluations, as well as exhibitions by Fergus McCaffrey based in New York and Tokyo, Kayne Griffin Corcoran in Los Angeles, and held the first UK’s solo exhibition at Stephen Friedman Gallery in London and so on. Through these opportunities, Takamatsu established a good relationship with overseas galleries, making him more and more popular in the international community in recent years.

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