Two-leaf folding screen, Nihonga, Hirai Baisen (1889-1969), early Shōwa period (1940s)

This two-panel screen is by Hirai Baisen (1889-1969), a major Nihonga painter who is now being rediscovered after long being neglected. Born in Kyoto, Baisen did not pursue a classical apprenticeship with a master, preferring to develop his own style. A decisive step in his career was his trip to China in 1913, which profoundly influenced his work. From then on, he frequently depicted landscapes inspired by the continent, incorporating bold perspectives and an expressive use of wet brushwork. His painting is often compared to that of Maeda Seison (1885-1977), and by the 1920s, their works were considered emblematic of new trends in Nihonga.

Between 1907 and 1931, Hirai Baisen exhibited regularly at the Bunten, Japan's State Exhibition. Yet, despite a promising start to his career, his work was gradually sidelined, a victim of the growing conservatism of the official Nihonga world. It is only recently, with the reevaluation of Taishō and early Shōwa art, that his work has enjoyed a revival of interest, notably in institutions such as the Portland Museum, the Honolulu Museum, the Seattle Museum, the Metropolitan Museum of Art in New York, and the Museum of Modern Art in Kyoto, as well as in private collections.

This screen illustrates the evolution of his art towards a treatment of landscapes, where the fluidity of the washes and the superimposition of mineral pigments translate a poetic vision of the natural world. The scene depicts a meandering stream flowing through undergrowth bathed in soft light, where the maple trees in golden and pink hues give an almost spring-like air to this autumnal composition. The attention paid to air and light testifies to the quest of Nihonga artists to renew Japanese painting in the face of Western standards, while remaining faithful to Asian traditions.

This screen, a rare testament to Hirai Baisen's work at the end of his career, illustrates both the unique sensibility of his art and his role in the evolution of Nihonga in the 20th century.

Mineral pigments and gofun on paper, mounted on a wooden frame and framed with a lacquered rod.

Small restoration on the side of the right leaf, small dents on the back of the framing strip.

Height: 140 cm. Total width: 154 cm (each leaf: 77 cm).