Kansuke Yamamoto. Reminiscence. 1953.
Iwata Nakayama (中山 岩太); 1895–1949.
René Magritte, Primevere: Publicite Meunier Brussels (Le Gouffre Argenté), 1926.
At first there was nothing...then nothing turned itself inside-out and became something
Sun Ra
Francis Picabia (1879 – 1953)
Duke Ellington; during concert break at Jahrhunderhalle in Frankfurt (Germany), while on tour in 1965.
Mikhail Fyodorovich Larionov (Михаи́л Фёдорович Ларио́нов), Portrait of Diaghilev [Lithograph]; 1919.
Source: Wikipedia
Kitadai Shōzō. Masks of Harlequin as worn by Kanze Hisao. 1955.
Taro Okamoto Museum of Art, Kawasaki
It was from this condition that the issue of experimentation and tradition emerged as the central focus of many of the postwar artists, and Jikken Kōbō was certainly not oblivious to it. For example, during the mid-1950s, Suzuki Hiroyoshi and Yuasa Jōji, among other Kōbō members, were enthusiastic about investigating Eastern philosophies such as Buddhism, and particularly the sermons of Suzuki Daisetz (D. T. Suzuki, 1870–1966), an international missionary of Zen Buddhism after the prewar period. They were avid readers of this celebrated Zen master’s publications, especially Zen and Japanese Culture (zen to nihon bunka). (Tokyo: Iwanami Shoten, 1940)
Hiroshi Nakamura. Annular Train A (Telescope Train). 1968.