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Saeki Yūzō | |
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 Saeki Yūzō | |
| Born | (1898-04-28)28 April 1898 Osaka, Japan |
| Died | 16 August 1928(1928-08-16) (aged 30) Paris, France |
| Known for | Painting |
| Movement | Yōga |
Yūzō Saeki (佐伯 祐三,Saeki Yūzō; 28 April 1898 – 16 August 1928) was a Japanese painter, noted for his work in developingmodernism andFauvist Expressionism within theyōga (Western-style) art movement in early twentieth-centuryJapanese painting.
Saeki was born inOsaka as the son of a Buddhist priest. He was interested in art from an early age, and imitated theImpressionist styleKuroda Seiki while learning art in middle school. He moved toKoishikawa (now part ofBunkyō in Tokyo) in 1917 to study art underTakeji Fujishima and enrolled in the western art department of theTokyo School of Fine Arts in 1918. He married fellow painter Yoneko Ikeda in 1921.
In summer 1924, Saeki moved to France with his wife and daughter. He attended theAcadémie de la Grande Chaumière in Paris, where fellow Japanese painterKatsuzo Satomi introduced him to the Fauvist painter, anarchist and journalistMaurice de Vlaminck, who was strongly critical of his work, and whose comments influenced his later technique. Saeki favoredportraiture andlandscape paintings of Parisian city scenes, especially the backstreets, bars and buildings in the style ofMaurice Utrillo orVincent van Gogh. In 1925, two of his works were accepted by the Salon d'Automne.
Saeki returned to Japan in 1926 at the urging of his family and formed an artists' society called "1930-nen Kyokai" (Society of the Year 1930) together with Satomi and other artists returning from France. The same year, he also won the Nika prize at the 13th Nikaten, an exhibition held by The Second Society in opposition to the more conservative, government- sponsoredBunten exhibition. However, Saeki could not find inspiration in the suburbs of Tokyo, and in August 1927, traveling via theTrans-Siberian Railway, he returned to France.
Despite his worsening health, he frequently painted outdoors in inclement weather. His frenetic efforts at depicting the streets of Paris led to a deterioration in thetuberculosis he had long suffered from. By March 1928, he was largely bedridden. He also had anervous breakdown, and died destitute in a mental hospital in the Paris suburbs.
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Brinbaum Phyliss. Glory in a Line: A Life of Foujita—the Artist Caught Between East and West. Faber & Faber (2006).ISBN 0-571-21179-8 pages 103-106
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