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Uemura Shoen, Sound of Tsuzumi (Tabor or Drum), 1940

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Uemura Shoen, Snow, 1940

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Uemura Shoen, Madame Kusunoki Masahige, 1944

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Uemura Shoen, Late Autumn, 1943

Painted during the war, this image shows the new subject of women’s work in Uemura’s paintings, Women in domestic scenes were part of the new propaganda for militarization which required a strong home front. While Uemura was indeed a follower of the Imperial family, her contribution to this ideology is slight and not as obvious as other artists.

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Uemura Shoen, Fragrance of Spring, 1940

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Uemura Shoen, Cherry Blossom Viewing

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Uemura Shoen, Beauty with Tabor(Drum)

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Last day of this class. Uemura is on the top left corner!

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Title: Folding Paper Cranes, 1940

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Title: Catching Fireflies, 1932

Mothers and children appear in Uemura’s paintings after the death of her mother. She said that these paintings are directly related to her memories and experiences with her mother.

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Title: Waiting for the Moon, 1944, Adachi Museum

This blue sheer kimono appears in several other paintings. The quiet looking of contemplation on her face and in her body language is similar to Uemura’s other paintings focused on the moon.

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Uemura’s Final Years

New motifs began to appear in Uemura’s paintings. This is due to the militarization of the country during World War II. Her women appear stronger with a vitality that was not present before. These women are shown working, doing daily chores or domestic tasks. Sometimes sweat appears on their brows.

The decandence of other Japanese artists was shocking to her. Not in their Western influences but by their vulgarity. She refused to show with these artists, who were her colleagues, a serious action for Japanese artists that were dependent on social connections.

Her traditional views reflected in her artwork. She thought that strong feelings would ruin her bijinga. Even her ‘demented’ women are obviously high class, court members. Uemura valued traditional Japanese texts and plays and tried to recreate their beauty in her paintings. She never abandoned Japanese pigments, Iwaenogu, and Japanese themes.

Uemura was the first woman to receive the ‘Order of Cultural Merit’ from the Japanese government.

In 1949, Uemura died of cancer.

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Title: Autumn, 1949

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Title: Woman Reading

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Title: Soshi-arai Komachi (Komachi Washing the Fascicle), 1928 or 1937

A Heian poetess whose work had been stolen by a man is washing away the new ink that is covering her poem. This scene is of the moral triumph of a woman who had been wronged in her art.

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