Obata, Chiura (1885 – 1975), “An Evening Path to Mt. Fuji – Original Painting “

Notes: Signed and sealed by the artist. Presented in the original frame and silk matte. Provenance: The Hillsborough Estate Find; purchased directly from the artist. An important and monumental Obata painting on silk very rarely offered for sale. This massive single panel painting on silk by Chiura Obata is the largest to be offered for sale in more than a decade. With an image size of 44 inches by 28 inches (112 cm by 71 cm), this painting sits within its original hand constructed Japanese style frame measuring 54 by 38.5 inches (137 cm by 97.75 cm). The style of the painting and its original framing indicate it was completed in the 1960s when Prof. Obata was accompanying excursion groups from the United States on tours of Japan. The artist wrote of Mt. Fuji in his 1968 book Through Japan With Brush & Ink, which chronicled sketches he made on one of these tours of Japan. He stated: "Throughout the four seasons with their subtle changes of scene one enjoys a boundless view of Mt. Fuji whether he stays in one place or moves from vantage point to vantage point around its massive base. By late afternoon, light deepens into shadow in the distance, while the few remaining clouds drift idly by leaving Fuji standing in the clear, calm evening sky." Obata's words are an apt description of this painting. The dark blue of the upper sky, which progressively lightens towards the base of the painting, and the backlit effect Obata deftly employs to outline Mt. Fuji establish that evening is descending. A few stars are just becoming visible above the upper flanks of the mountain. In the foreground, a masterful presentation of colorful fall foliage comprised of countless brushstrokes in numerous shades of brown, orange, red, and beige fight a doomed battle for supremacy with evergreens rendered in a spectrum of greens. Surprising the viewer, this scene is also punctuated with blinding white cattails contrasted with dark rocks. Most delightful, some of the rocks are covered with a turquoise lichen that appears almost phosphorescent. In the middle ground, he presents steep angular slopes of foothills. This portrayal brings to mind another quote from Obata's book about the views of Mt. Fuji: "The steep slopes around Ashinoko afford the viewer endless enjoyment because of their constantly changing shades and tints." Above the foothills stands Mt. Fuji in its full majesty. Obata stated, "one more thing that I always tell people about is Mount Fuji." He noted that, "the appearance of Mount Fuji is really quite gentle, with clean lines. Especially the natural appearance of Mt. Fuji with 5% or 6% of snow on the top is just the symbol of peace. Therefore, we who were born in Japan, don't see Mt. Fuji as just a mountain. As you know, from ancient times the country of Japan has had earthquakes, lightning, fire," and "Recently we also had the atomic bomb. From the bottom of despair how can we stand back up? Nothing to wear, nothing to eat. At that time Mt. Fuji appeals first to the people who are cultivating the land. It tells them, you have no time to cry, you have to smile again with me and stand up again. That is Mt. Fuji, which accepts people with its gentle appearance. Therefore, when we see Mt. Fuji, we don't see just a mountain." Undoubtedly, the painting, with its very "clean lines" portraying Mount Fuji was intended to be a symbol of peace for Obata. - From the 1965 oral history interview of Obata that is reprinted in Chiura Obata: An American Modern; pg. 143. For his important paintings on silk, Chiura Obata used pigmentation ground from natural gemstones. The undiminished vibrancy of the blues and greens presented by this painting is ample testament to the resulting quality of his efforts. The subtle, almost pointillist, brushstrokes of the foliage in the foreground are captivating, comprising in and of themselves a compelling painting. The tree in the foreground on the right towers two feet in height - a wonderful painting within a painting that somehow integrates masterfully with the entire image. Additional provenance: This painting is from a private Northern California owner who held the painting until recently sold by his estate. During the 1960s, Professor Obata took a few private commissions for paintings on silk of this size. Because of the subject matter, we conclude that the original owner was a participant in an Obata tour to Japan who commissioned the work directly from the artist.