. International studio. observation, and in latercontemporaries, it is necessary to look back over there has been a quick response to Impressthe last fifty years to the beginning of the period and Post-Impressionism. The first >which followed the Meiji Restoration. When the School, which was closed in [883, wai |he group ol paint-ings by contem-porary Japaneseartists of the Nip-pon Bijitsu-in,which has recently been ex-hibited in the museums of New The stirring; in the artistic consciousness ofthe world, simultaneous in East and West, hasfound a peculiarly significant expression in Japanthr
. International studio. observation, and in latercontemporaries, it is necessary to look back over there has been a quick response to Impressthe last fifty years to the beginning of the period and Post-Impressionism. The first >which followed the Meiji Restoration. When the School, which was closed in [883, wai |he group ol paint-ings by contem-porary Japaneseartists of the Nip-pon Bijitsu-in,which has recently been ex-hibited in the museums of New The stirring; in the artistic consciousness ofthe world, simultaneous in East and West, hasfound a peculiarly significant expression in Japanthrough this body of artists. Drawn togetherat first by the desire to preserve the art ol theirrace from denationalization by Western influence,they are also opposed to a slavish imitation of theirown classic style. In one sense reactionary, thejare in another the advocates of a new insistence is on a return to the spirit oltheir own people, and yet they stand for freedom M ARCH 922 tbirty-ont mceRnAcionAL. direction of Italian teachers. Later, in 1896, when European influence was in the ascendent, the Government ordered that the study of foreign painting and sculpture be added to the curriculum of the Government Art School at Uyeno. It was this order that caused Okakura Kakuzo,its director, and a certain group of sympathizers,to withdraw from the school. Their strong opposi-tion to foreign influence inspired them with theidea of forming a school which should preserveJapanese tradition. During the next two yearstheir numbers were increased by the exponents ofmany schools who had a common bond in adevotion to the ideals of the past and yet re-sponded to the demands of a new formed a colony in Kanaka, a suburb ofTokio, and it was here, under the leadership ofOkakura, that the Nippon Bijitsu-in, or Fine ArtsInstitute ol Japan, was formed. No tuition wascharged, as the society was maintained by privatesubscription. Among their teachers were Hashi-mo
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