Exhibition

1. Oil paintings—35 paintings

This section presents one painting from the 1960s, eight from the 70s, ten from the 80s, fifteen from the 90s, and one of uncertain date, making a total of thirty-five paintings. Autistic Window Scene (1) (1967, the National Museum of Modern Art, Kyoto) and Landscape of Fallen Earth (1970, private collection) were both painted before Asada’s period in France, at a time when the overt influence of Informel had gone from his works, replaced by a notable trend towards Surrealism. In 1971, Asada Hiroshi and his wife set off for Paris, where he would establish his personal style. Taking up the theme of painting landscapes of the world, he produced a series of works entitled Original Landscape or Fundamental Landscape. That theme continues in Le Trottoir (1973–74, private collection). Asada was very pleased with the result and it was awarded the international prize when he submitted it to the 6th International Festival of Painting, Cagnes-sur-Mer as an invited exhibitor. After that, he exhibited at a large number of international exhibitions, and continued shipping large works back to be shown in Japan. At his solo exhibition in Kyoto in 1986, Asada presented Earth, After Flood (1985–86, the National Museum of Modern Art, Kyoto). Although he only exhibited this single painting, it exceeded three metres in size, and on the back was written “Vanity of vanities, says the Teacher, vanity of vanities! All is vanity. … but the earth remains for ever” (in French), a phrase from the Old Testament of the Bible. In many ways, this is the climax of his oeuvre, and it speaks of his extraordinary drive. He also produced a series of works addressing memories of his time in Europe, where he likened himself to a tourist, including Tabletop Journey (1987–88, private collection) and Journey-Tabletop (1992, the National Museum of Modern Art, Kyoto). Religious themes also produced another very large work, The Wrongdoer’s Homecoming (1988, private collection), and then sublimated into works on the theme of water, including In the Water (1990, private collection), Water Again (1993), private collection), Water at Night (1994, private collection). Sacred Waterfall (For My Brother) (1990, Tokyo Opera City Art Gallery Collection) takes the nature worship of Nachi Waterfall (a national treasure dating from the thirteenth century, Nezu Museum collection) as its base, painted as an homage to his brother Asada Takashi, who died suddenly in 1987, and drawing on Hiroshi’s memories from being a keen hiker and rock climber in his youth. This is a highly valuable example of his work, actively incorporating Japanese scenery and customs. Four Corners—Light (1995, private collection) was painted when he was struggling against illness, and seems to be somehow expressing his hope that his soul would be saved. The light striking the subject and the clear, transparent canvas give a glimpse of the lucidity of his mind at this point in his life. Despite that, two years later, he took his own life in his studio. He left Original Tree (1997, private collection) uncompleted on his easel. It depicts the Tree of Knowledge of Good and Evil with the serpent entwined around it. An apple is also clearly depicted, as a symbol of original sin.

Autistic Window Scene (1)
oil on canvas 1967
National Museum of Modern Art, Kyoto

Le Trotoir no.1
oil on canvas 1973～74
Private collection

Earth, After Flood
oil on canvas 1985～86
National Museum of Modern Art, Kyoto

The Prodigal Son Returns Home (for triptych)
oil on canvas 1988
　Private collection

Tree of the knowledge of good and evil
oil on canvas 1997（unfinished）
Private collection

View of the Fall: Requiem for my brother
oil on canvas 1990
Tokyo Opera City Art Gallery

2. Prints and associated items

After Asada Hiroshi moved to Paris in 1971, he studied at the printmaking institute run by Johnny Friedlaender. Asada had already been aware of Friedlaender before leaving Japan, and he spent this period concentrating on copperplate printmaking. His work was highly rated, earning a grand prix at the Second Cannes International Printmaking Biennale in 1977, and he published a number of print collections and presented his prints at many exhibitions. However, the intense, meticulous concentration needed for printmaking wore down his nerves, and that was said to be behind his subsequent illness. The present exhibition includes fourteen copperplate works from between 1975 and 1980, and three of his published collections of copperplate works: The Story of Earth, The Story of Water, and From J.H. Fabre’s Study of Insects.
Associated items include extracts from inspiration notebooks and diaries that the artist had kept hidden, and books for which Asada provided cover graphics, including Matsumoto Seicho’s Zero Focus, Mishima Yukio’s The Room with the Locked Door, and Ishihara Shintaro's Petrified Forest.