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Toad Lilies

  • Dimensions55.0 x 38.0 cm

Discover Yuki Mizoguchi (Ogura Yuki), a pioneering Japanese nihonga painter known for her bijinga art, graceful family scenes & nude portraits from 1895-2000.

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Description de la collection

In this painting, toad lilies, which bloom from the beginning of summer until fall, are arranged in a long-necked Liao Dynasty vase. The origin of their Japanese name, hototogisu, relates to the spots on their petals, which are similar to the spotted pattern on the belly of a species of cuckoo bird also called hototogisu. This piece by Ogura has a pale blue background painted over a light platinum foil, creating a deep hue with a subtle luster. The tall, amply glazed vase holds an exquisite arrangement of these beautiful flowers stretching across the canvas.

Biographie de l'artiste

A Pioneering Spirit: The Life and Art of Yuki Mizoguchi (Ogura Yuki)

Yuki Mizoguchi, known throughout her prolific career as Ogura Yuki, stands as a remarkable figure in 20th-century Japanese art. Born in Ōtsu, Shiga Prefecture, on March 1st, 1895, she navigated a traditionally male-dominated artistic landscape with grace and unwavering dedication, becoming one of the first women to achieve significant recognition within Japan’s esteemed art circles. Her journey began not as an artist but as an educator; after graduating from Nara Women's Normal School (now Nara Women's University), she initially pursued a career in teaching. However, her innate artistic inclinations proved too strong to ignore, leading her to seek tutelage under the renowned Nihonga painter Yukihiko Yasuda in 1920—a pivotal moment that would shape the course of her life and work. This decision marked the beginning of a lifelong exploration of traditional Japanese painting techniques infused with a distinctly modern sensibility.

Early Influences and Artistic Development

Yasuda’s influence was profound, grounding Ogura in the principles of Nihonga – a style characterized by its use of natural pigments, meticulous brushwork, and emphasis on capturing the essence of subjects rather than mere photographic realism. Yet, even within this established framework, Ogura began to forge her own path. Her early works, emerging in the 1920s, demonstrated a remarkable precision and clarity, often depicting serene family scenes and delicate still lifes. The selection of her painting *Kyuri* (Cucumbers) for inclusion in the prestigious Inten Exhibition in 1926 signaled her arrival on the professional art scene and validated her burgeoning talent. This early success wasn’t merely a matter of technical skill; it reflected a unique perspective, a quiet observation of everyday life imbued with a subtle emotional depth. As she matured, Ogura's style evolved, subtly incorporating elements that hinted at Western influences—a testament to her openness and willingness to experiment while remaining deeply rooted in Japanese aesthetics.

A Trailblazer Within the Nihonga Tradition

Ogura’s ascent within the art world was not without its challenges. In 1932, she achieved a groundbreaking milestone by becoming the first woman admitted as a member of the Japan Fine Arts Academy (Nihon Bijutsu-in), a testament to her exceptional talent and unwavering commitment. This achievement paved the way for future generations of female artists in Japan. Throughout the following decades, Ogura continued to refine her artistic voice, exploring themes of femininity, motherhood, and the beauty inherent in the natural world. Her paintings often featured pure, vibrant colors and bold lines, creating a sense of tension and dignity within her compositions. While she never abandoned the core principles of Nihonga, her work increasingly reflected a modern sensibility—a delicate balance between tradition and innovation that captivated critics and audiences alike. The postwar period saw a further evolution in her style, with larger-scale portraits of friends and family members, often depicted in the nude, pushing boundaries and challenging conventional notions of representation within Japanese art.

Legacy and Historical Significance

Yuki Ogura’s contributions to Japanese art extend far beyond her technical mastery and aesthetic innovations. She became a role model for aspiring female artists, demonstrating that it was possible to achieve prominence in a field historically dominated by men. Her appointment as a member of the Japan Art Academy (Nihon Geijitsu-in) in 1976, followed by her honorary chairpersonship, solidified her position as a leading figure within the art establishment. The prestigious Order of Culture award she received in 1980—an honor bestowed upon only three female Nihonga painters to date (alongside Uemura Shōen and Kataoka Tamako)—underscored her lasting impact on Japanese culture. Her studio and home in Kamakura served as a creative haven throughout her long life, where she continued to paint until her death at the remarkable age of 105 in 2000. Today, Ogura’s works are celebrated for their exquisite beauty, emotional depth, and pioneering spirit. She remains an enduring symbol of artistic innovation, feminine strength, and the power of tradition to inspire contemporary expression.
Mizoguchi Yuki

Mizoguchi Yuki

1895 - 2000