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Open a larger version of the following image in a popup: Sekine Yoshio (1922–1989) , No. 174
Open a larger version of the following image in a popup: Sekine Yoshio (1922–1989) , No. 174
Open a larger version of the following image in a popup: Sekine Yoshio (1922–1989) , No. 174

Sekine Yoshio (1922–1989) 

No. 174 

Oil on canvas, framed (4F)
Signed by the artist on the back
1968
33.5 x 24.4 cm
35 x 26 cm (overall)


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%3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3ENo.%20174%C2%A0%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22artist%22%3ESekine%20Yoshio%20%281922%E2%80%931989%29%C2%A0%3C/div%3E%3Cdiv%20class%3D%22medium%22%3E%3Cp%3EOil%20on%20canvas%2C%20framed%20%284F%29%3Cbr/%3E%0ASigned%20by%20the%20artist%20on%20the%20back%3Cbr/%3E%0A1968%3Cbr/%3E%0A33.5%20x%2024.4%20cm%3Cbr/%3E%0A35%20x%2026%20cm%20%28overall%29%3C/p%3E%3Cbr/%3E%0A%3C/div%3E
At first glance, this surface divided by horizontal, vertical, and diagonal lines in areas of white and varying shades of blue would appear to represent an abstract form, but from a slight distance, once you realize that the varying shades of blue represent three-dimensional conical forms, suddenly it becomes clear that the composition depicts part of an abacus. A series of works skillfully combining this kind of clear geometrical expression using surface structure and utilizing techniques of optical illusion has become almost synonymous with the name of the artist, Sekine Yoshio.

Along with Yoshihara Jiro, Shiraga Kazuo, Tanaka Atsuko, and others, Sekine was one of the founding members of the avant-garde artist collective known as Gutai, but five years after its formation he left the group in 1959 due to differences of opinion regarding the direction the group was headed. While his creative efforts remained focused on actual real objects, they were oriented toward things that had simple, geometric compositions, until finally, after repeated explorations, he encountered the subject of the abacus in 1963. For the next thirty years, although he tried his hand at other series, such as “Gates” and “Freight Cars,” the abacus continued to remain at the center of his creative efforts. It would appear that the very point of intersection between the abstract expression made possible by the geometric colored surfaces and the illusionism invoked by the concrete expression of the object—two components that would seem to be mutually contradictory—was where Sekine was to find the aesthetic that he had been in pursuit of his whole life.

Incidentally, the vertical column of abacus beads at the center of the image represents the number six and the column at the right represents eight, which together correspond to the year the work was painted.

Sekine Yoshio (yoga painer; 1922–1989)
Wakayama-born yoga painter. Studied under Nakamura Makoto and later Yoshihara Jiro. Involved in the founding of the Gutai Art Association. Left Gutai in 1959 and began to strive for abstract representation of real life motifs. Known for his distinctive style as “a hybrid of representational and abstract art.” Exhibited works in the Japan Art Festival in America, France, and Germany. Held solo exhibitions in and out of Japan.
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