Archive for aquarelle

Hedera

Posted in Works 2021 with tags , , , , , , , , , , , , , , , , , , , , , , on 23 September 2021 by kenwada

ヘデラ
2021年9月
北軽井沢 作品 No.436
紙にアクリル、水彩、グワッシュ、水性ボールペン
62.5×91.0 cm

Hedera
September 2021
Kitakaruizawa Works No.436
Acrylic, watercolor, gouache and ballpoint pen on paper
25.0×36.0 in.

Hedera
septembre 2021
Kitakaruizawa Œuvres N°436
Acrylique, aquarelle, gouache et stylo à bille sur papier
62.5×91.0 cm

Pachira

Posted in Works 2021 with tags , , , , , , , , , , , , , , , , , , , , , , on 19 September 2021 by kenwada

パキラ
2021年9月
北軽井沢 作品 No.435
紙にアクリル、水彩、グワッシュ、水性ボールペン
68.0×67.0 cm

Pachira
September 2021
Kitakaruizawa Works No.435
Acrylic, watercolor, gouache and ballpoint pen on paper
27.0×26.5 in.

Pachira
septembre 2021
Kitakaruizawa Œuvres N°435
Acrylique, aquarelle, gouache et stylo à bille sur papier
68.0×67.0 cm

セザンヌのドローイング展が始まります!

Posted in Essay 2012-2021 with tags , , , , , , , , , , , on 28 May 2021 by kenwada

2021年6月6日から、MoMA でセザンヌのドローイング展が始まります。
先日も全く同じことを書きましたが、いい展覧会がありましたら、即、みんなで情報を共有し、ただちに Online で観て、お互いの意識を少しでも高めていきましょう!

https://www.moma.org/calendar/exhibitions/5293?sc_src=email_673453&sc_lid=57308386&sc_uid=ipz0HfgJ5P&sc_llid=89937&sc_eh=b1697101d524ca3d1&utm_source=Emarsys&utm_medium=email&utm_campaign=MKT+-+Newsletter+General+20210527+NON-LOCAL

エクス=アン=プロヴァンスにあるセザンヌの家から、あの有名なアトリエへ、そしてまたまたサント=ヴィクトワール山を描いたポイントまでの道のりを、セザンヌの足跡をたどりながら、歩いたことがあります。
実際に歩かれるとよくわかりますが、あの重い絵画制作のための道具類の荷物を背負って、制作以前に、ただ歩くだけでも、とてつもない並外れた体力です。
それも毎日ですから。
確か僕の記憶に間違いがなければ、昼食のたびに毎日、さらにアトリエから家まで歩いて往復していたはずです。

全く同じことを、アルルのゴッホの「黄色い家」から、あの有名な「アルルの跳ね橋」の絵の現場まで、ゴッホの足跡をたどりながら歩いた時にも感じました。
まず制作よりも何よりも、すごく遠いんです、驚異的な体力です。
時には、「四日間を大体二十三杯のコーヒーとパンでつないだ」(「ゴッホの手紙」岩波文庫下巻、p.13)ゴッホにとって、そこまで自分を追い込む鬼気迫るようなその執念、気迫は、同じく人間離れのしたその体力とともに、一体、どこからきているのだろう?

僕の考えは、色と形、ゴッホの場合は特に色をですね、フランス語でいう attraper したい、英語でいう catch したい、つかまえたい。
そしてそれをキャンバスの中に封じ込めて再現したい。
そのことに対する異様なまでの飢えや渇望、そして再現できたと感じた時の熱狂や狂喜が、やはりまず第一に常にあったのではないか。
そしてそれとともに天才特有の集中力や没頭。
それら全てが、ないまぜとなり、ぐるぐると渦を巻いているように思います。

セザンヌのアトリエで買ったカタログと、僕も同じポイントから描いたサント=ヴィクトワール山の小さな水彩画は、今でも僕の宝物のような思い出ですね。

Mont Sainte Victoire, Aix en Provence, 2008
Aquarelle sur papier
12.7×17.8 cm
Japon, Collection particulière

2021年5月28日
和田 健

Is Sonia a Great Sinner?

Posted in Essay 2012-2021 with tags , , , , , , , , on 8 February 2021 by kenwada

CRIME AND PUNISHMENT, FYODOR DOSTOYEVSKY, TRANSLATED BY DAVID MAGARSHACK, THE PENGUIN CLASSICS

‘I was lying on the bed just then ー well, why keep it dark? ー I was dead drunk at the time, and suddenly I heard my Sonia (like a little lamb she is, the poor child, and her voice, too, so meek ー she has fair hair and her face has always been so thin and pale), “Well,” she said, “you don’t want me to do that, do you?” And Darya Franzovna, a wicked woman who’s been in trouble with the police, had several times already been making inquiries about her through our land lady. “Why,” my wife replied jeeringly, “what’s so terrible about that? Who are you keeping it for? What a treasure!” But don’t blame her, don’t blame her, sir, don’t blame her! She was not in her right mind when she said it. She was beside herself, and ill, too, and the children were hungry and crying, and she didn’t mean it, really. Just wanted to say something humiliating. She can’t help herself, I’m afraid. It’s her character, you see. And when the children begin to cry, even if it is only because they’re hungry, she at once starts beating them. And so at about six o’clock I saw Sonia get up, put on her coat and a shawl, and leave the room, and at about nine o’clock she came back. She came back, went straight up to my wife, and put thirty roubles on the table before her without uttering a word. Not a word did she utter, nor did she even look at my wife, but just took our large green drap-de-dames shawl (we have such a shawl which we all use, a drap-de-dames shawl), put it over her head and face, and lay down on her bed with her face to the wall, her thin shoulders shaking all the times, And I, sir, was just lying there as I did before ー dead drunk. And it was then, young man, that I saw my wife, also without uttering a word, walk up to Sonia’s bed, go down on her knees, and kiss Sonia’s feet. And the whole evening she was on her knees, kissing Sonia’s feet and refusing to get up. And eventually they both fell asleep in each other’s arms ー the two of them. Yes, sir, the two of them, and me lying there drunk as a lord!’
(ibid. p.35)


Ken WADA, 2014, Watercolour and pencil on paper, 27.3×22.0cm

‘So you are fond of her?’
‘Fond of her? Of course I am,’ Sonia said in a plaintive, drawn-out voice, folding her hands in distress. ‘Oh, if you ー if you only knew her! She’s just like a child really. She ー she’s almost out of her mind with grief. And what a clever woman she used to be ー how generous ー how kind! Oh, you don’t know anything ー anything!’
(ibid. p.333)

‘I did not bow down to you, I bowed down to all suffering humanity,’ he said wildly, and walked off to the window. ‘Listen,’ he added, coming back to her in a minute. ‘I told some bully an hour or so ago that he was not worth your little finger and ー and that I did my sister an honor to-day when I made her sit beside you.’
‘Oh, you shouldn’t have said that to them! And was she there, too?’ Sonia cried, frightened. ‘Sit beside me? An honour? Why, I’m a dishonourable creature! I’m a great, great sinner! Oh, what did you say that for?’
(ibid. p.337)

A book was lying on the chest of drawers. He had noticed it every time he walked up and down the room. It was the New Testament in a Russian translation. The book was an old one, well thumbed, bound in leather.
‘Where did you get that?’ he shouted to her across the room.
She was still standing in the same place, three steps from the table.
‘Someone brought it to me,’ she replied, as though reluctantly and without looking at him.
‘Who brought it?’
‘Lisaveta did. I asked her to.’
‘Lisaveta! That’s strange!’ he thought.
Everything about Sonia seemed stranger and more wonderful to him every minute.
‘Where’s that place about Lazarus?’ he asked suddenly.
Sonia’s eyes were fixed stubbornly on the ground, and she did not reply. She stood a little sideways to the table.
‘Where is the place about the raising of Lazarus? Find it for me, Sonia.’
She gave him a sidelong glance.
‘It isn’t there,’ she whispered sternly, without coming closer to him. ‘It’s in the fourth gospel.’
‘Find it and read it to me,’ he said, sitting down, with his elbow on the table and his head on his hand, and, fixing his eyes on the opposite wall, he looked away sullenly, prepared to listen.
(ibid. p.339)

Again it was a bright and warm day. Early in the morning, about six o’clock, he went off to work on the bank of the river in a shed where there was a kiln for baking alabaster and where they used to crush it. Only three prisoners went there. One of the prisoners, accompanied by a guard, went back to the fortress for some tools; the other one was chopping wood and putting it into the furnace. Raskolnikov came out of the shed to the bank of the river. He sat down on a pile of timber by the shed and began looking at the wide, deserted expanse of the river. From the steep bank a wide stretch of the countryside opened up before him. Snatches of a song floated faintly across from the distant bank of the river. There in the vast steppe, flooded with sunlight, he could see the black tents of the nomads which appeared just like dots in the distance. There there was freedom, there other people were living, people who were not a bit like the people he knew; there time itself seemed to stand still as though the age of Abraham and his flocks had not passed. Raskolnikov sat there, looking without moving and without taking his eyes off the vast landscape before him; his thoughts passed into daydreams, into contemplation; he thought of nothing, but a feeling of great desolation came over him and troubled him.
Suddenly Sonia was beside him. She had come up noiselessly and sat down close to him. It was still very early; the morning chill had not yet abated. She wore her old shabby coat and the green shawl. Her face still showed traces of illness: it was very thin and pale. She smiled at him joyfully and tenderly, but as usual, held out her hand to him timidly.
(ibid. p.556)

Un petit jardin pour Maman

Posted in Works 2012 with tags , , , , , , , , , , , on 6 September 2019 by kenwada

母のための小さな庭
2012年8月
紙に水彩、鉛筆
23.0×25.0 cm

A small garden for Mother
August 2012
Watercolor and pencil on paper
9.5×10.0 in.

Un petit jardin pour Maman
août 2012
Aquarelle et crayon sur papier
23.0×25.0 cm

皆様、こんにちは。
最近、絵画というのはつくづく奥深いものだなと思うようになりました。
いいですよね、この絵。
きっと7年前の僕にはだらしなく思えたのでしょうね。
それでこのサイトに取り上げることもなく没にしたのでしょうね。
でも今の僕には適度に崩れていていい、人は年月とともに変化していくし、
僕のような者でも多少は成長します。
この7月8月、訳あって自分の過去の作品の多くに目を通しました。
そんな整理の最中にこの絵は作品集の中から本当にひらりと一枚だけ床の上に舞い降りてきました。
結局、絵を描いた時点では、その絵がいいかよくないかなんて真実のところは本人にはわからないものなのかもしれませんね。
その当時は技術的なことがどうのこうのと考えて今一つだなあと思っていた絵が、何年も経過して改めて観てみると、もう今の自分には当時こだわっていたようなことは取るに足りない些事に過ぎず、そんな気負いのようなものが取り払われて、絵そのものがすごく語りかけてくることがあります。
今回2009年に描いた絵を観てすごく考えさせられました。もう10年前ですよね。
年月の経過とともに感想が変わるものを真剣勝負として日々絵画という形で描き留め蓄積していくことができる、それが僕の仕事の小さな喜びであり幸せなのかもしれません。うまく言い表せませんが。
絵画というのは人間としての成熟が直結してきますね、もう少し日頃から醜さを味わうという心持ちを継続していくことができたら、晩年に自分の人生を喜ぼうという静かな気持ちに、それは本当に自分が自分に語りかけるだけの静かな心境に、つらかった若い頃の昔の自分にとっては夢にも思わなかった境地に達することができるかもしれない。聖書の中の「人を裁くことなかれ」もおそらくはここに繋がってくるのでしょうね。
この絵の余白に、Un petit jardin pour Maman, 23×25 cm, 28 août 2012 の書き込みがありました。
この絵の副題を「小さな喜び」あるいは「小さな幸せ」としてもいいかもしれないな。
絵画というのは実にいいものですね、人の成長や変化と共に生きながらそれらを受け入れてくれる、この頃になってようやく僕はそう思います。

Dear friends,

Recently I have come to think that a painting is a profound thing. This picture is nice, isn’t it? 
Probably, seven years ago, the picture seemed loose for me. However, for me now, the one can be moderately broken, and that’s good for me now. People change over time, even a person like me will grow a little. In July and August, I have watched many of my past works for a reason. In the middle of such arrangement, this picture really fell from my works’ collection on the studio’s floor.
After all, when you draw a picture, you may not know the truth about whether the picture is good or bad at that time.
It may be a little joy and happiness of my work that I can draw and accumulate in the form of painting every day as a serious and central matter in my life. Unfortunately, I can’t express it well even in Japanese.
A painting is directly linked to maturity as a human being, and if I can continue to have the spirit of enjoying ugliness*¹ a little more on a daily basis, it will be a quiet feeling to enjoy my life in my late years. I may be able to reach a quiet place where I can talk to myself and a place that I had never dreamed of when I was young and very hard. Probably, I think that “Do not judge” in the Bible will also be connected here.
In the margin of this picture, there was a writing of “Un petit jardin pour Maman, 23×25 cm, 28 août 2012”. I wonder that the subtitle of this one may be “A little joy” or “A little happiness”.
Anyway, a painting is a really good thing, because a painting can accept them while living with the growth and change of people, I finally think that way at this time.

Warm regards,
Ken WADA


But thinking so I came at once
Where solitary man sat weeping on a bench,
Hanging his head down, with his mouth distorted
Helpless and ugly as an embryo chicken.
-1929- W. H. Auden

ZOUMITU WONDERLAND No.7

Posted in ZOUMITU WONDERLAND 2018 with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on 4 March 2018 by kenwada

ゾーミツ・ワンダーランド No.7
2018年2月
北軽井沢 作品 No.345
紙にアクリル、水彩、グワッシュ
73.0×78.0cm

ZOUMITU WONDERLAND No.7
February 2018
Kitakaruizawa Works No.345
Acrylic, watercolor and gouache on paper
73.0×78.0cm

ZOUMITU PAYS DES MERVEILLES N°7
février 2018
Kitakaruizawa Œuvres N°345
Acrylique, aquarelle et gouache sur papier
73.0×78.0cm

ZOUMITU WONDERLAND No.6

Posted in ZOUMITU WONDERLAND 2018 with tags , , , , , , , , , , , , , , , , , , , , , , , , on 2 March 2018 by kenwada

ゾーミツ・ワンダーランド No.6
2018年2月
北軽井沢 作品 No.344
紙にアクリル、水彩
73.0×78.0cm

ZOUMITU WONDERLAND No.6
February 2018
Kitakaruizawa Works No.344
Acrylic and watercolor on paper
73.0×78.0cm

ZOUMITU PAYS DES MERVEILLES N°6
février 2018
Kitakaruizawa Œuvres N°344
Acrylique et aquarelle sur papier
73.0×78.0cm

A Paradise in The Forest

Posted in Works 2017 with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on 4 January 2018 by kenwada

森の中の楽園、2017年12月
北軽井沢 作品 No.338
紙にアクリル、水彩、鉛筆
93.6×110.0cm

A Paradise in The Forest, December 2017
Kitakaruizawa Works No.338
Acrylic, watercolor and pencil on paper
93.6×110.0cm

Un Paradis dans La Forêt, décembre 2017
Kitakaruizawa Œuvres N°338
Acrylique, aquarelle et crayon sur papier
93.6×110.0cm

You curled the papers from your hair, Or clasped the yellow soles of feet In the palms of both soiled hands.

Posted in Works 2017 with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on 15 October 2017 by kenwada

君はカール・ペーパーを髪から剥がすか、
さもなければ汚れた両手のひらで
黄色い足裏を握り締めた。
2017年10月
北軽井沢 作品 No.302
紙にアクリル、水彩、鉛筆、コラージュ
36.0×26.0cm

You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
October 2017
Kitakaruizawa No.302
Acrylic, watercolor, pencil and collage on paper
36.0×26.0cm

You curled the papers from your hair,
Or clasped the yellow soles of feet
In the palms of both soiled hands.
octobre 2017
Kitakaruizawa N°302
Acrylique, aquarelle, crayon et collage sur papier
36.0×26.0cm

Untitled Number 7, 2017

Posted in Works 2017 with tags , , , , , , , , , , , , , , , , , , , on 2 September 2017 by kenwada

Untitled Number 7, 2017
2017年8月
北軽井沢 作品 No.294
紙にアクリル、水彩
36.0×26.0cm

Untitled Number 7, 2017
August 2017
Kitakaruizawa No.294
Acrylic and watercolor on paper
36.0×26.0cm

Sans titre Numéro 7, 2017
août 2017
Kitakaruizawa N°294
Acrylique et aquarelle sur papier
36..0×26.0cm