Realizing the Musical State of Paintings Discovering the Common Law of Translating Music into Paintings. Paintings and giclee prints also available.

　Such a good idea is called an innovation, and the person who initiates the innovation is called an innovator.
　In the worlds of academia, the arts, and entrepreneurship, a genius is this innovator.
　An example of innovation is the iphone, which combines a cell phone and a computer.
　
　I have discovered the following common laws of painting and music.

　Tonal music (the music we usually hear that has a dominant tone, such as C major) is almost always inspired by the artist's image of a concrete object, such as a landscape or scene.

　Furthermore, tonality has a one-to-one correspondence with spectral color.

　Isn't it revolutionarily great to have realized and demonstrated this?
　
　Although there is no Nobel Prize for art, it is a great discovery on the level of the Nobel Prize.

　This combination of art and music has marked a milestone in the history of art, and will no doubt revolutionize artistic expression in the future.

　An example of innovation is the iphone, which combines a cell phone and a computer.
　
　I have discovered the following common laws of painting and music.

　Tonal music (the music we usually hear that has a dominant tone, such as C major) is almost always inspired by the artist's image of a concrete object, such as a landscape or scene.
　Furthermore, tonality has a one-to-one correspondence with spectral color.

　Isn't it revolutionarily great to have demonstrated this?
　
　Although there is no Nobel Prize for art, it is a great discovery on the level of the Nobel Prize.

　This combination of art and music has marked a milestone in the history of art, and will no doubt revolutionize artistic expression in the future.

　Innovation, in other words, the great invention that revolutionizes an era, is a new combination of different things. (NHK Special: Can Scholars Connect the Universe?)
　　　　
　The genius creator think of combining dissimilar things.

　I thougt painting should not be static and should be combined with music in a common law..

　That paintings do not have the fascination　 of music.

　That is, it does not have the 　 fascination　of rhythm and melody that transitions over time.

　Those who are not dissatisfied with that are mediocre.
　
　But those who are aware of this and study how to combine them are as extraordinary as Paul Klee.

　There is a person only being still in the center.

　Everyone thought that was fine, and no one questioned it.

　Until now, translations of paintings into music, such as Mussorgsky's "Pictures at an Exhibition," have been based on nothing more than subjective impressions.
　
　Some people have even invoked the unproven scientific concept of synaesthesia to explain this, but there was no evidence to support the validity of the "impression-based composition" method.

　But as one orchestra member told me on Facebook, "Almost everyone in the orchestra was aware of the fact that 'tonal music is always about concrete objects.

　If you listen to Smetana's symphonic poem "Moldau," it is clear that the melody represents the meandering of the Moldau River.

　I couldn't stand the fact that works of art didn't move, that they didn't have the intense appeal of time-based music, especially rock music, and the triviality of the paintings was the reason I didn't consider painting as my life's work in high school.

　This is what Paul Clay meant when he said, "When you look at a painting after listening to a piece of Bach, I can only laugh bitterly.

　When I was young, I also had to laugh bitterly　when I saw a Picasso painting after listening to the Beatles' music.
　
　Klee, Kandinsky, and Matisse explored the musical state of painting.

　But especially postwar American artists like Franz Stella and critics like Greenberg, promoted reductionism, which 'reduces painting to elements that only painting can realize.

　That is why this movement came to a dead end with the movement called Minimalism, and the restoration of representational painting, such as Neo-Expressionism, occurred.

Every work of art is created with the intention of its creator, right?

　Even Marcel Duchamp's Fountain says, "Art is not only painting. All forms of free expression are art. Isn't that what you wanted to express?

　In his book, Hiroshi Senju(千住博）asserts that "art is communication. ("Beauty transcends time" by Hiroshi Senju, Kobunsha Shinsho　美は時を超える」千住博著 光文社新書))

　So, is talking to an elderly woman in a disaster-stricken area is art?
　Is it also art to tell the delivery date of an ordered product over the phone?

　This is called rebuttal when evidence is presented that does not fit the theory.
University professors should not be allowed to assert disprovable theories

　I understand the sentiment behind such advocacy, though, since he use communication in disaster-stricken areas as an example.

　In the book "Behind the Scenes of Contemporary Art, Random House Kodansha,（「現代アートの舞台裏、ランダムハウス講談社」P77に）" p. 77, the following is said.

　During my stay in Los Angeles, I asked all kinds of people, "What is an artist?"
　People's reactions were very aggressive.
　
　I came to the conclusion that this must be violating some taboo.

　When I pointed this question at the students, he shouted, "It's not fair!
　One student exclaimed, "This is an absurd question!
　
　An artist holding a key position in the art department of a university called me an "idiot.

　No, your questions can only be answered in a tautological way," he said.
　I mean, to me, an artist is a person who makes art.
　
It's a circular argument. So only when you meet the artist do you know what an artist is."

　Leslie Dick could not believe that there was even one person who was offended.
　The work of an artist is actually a game and playing," she said. But in a very serious way.
　It's like a two-year-old discovering how to build a tower with building blocks. It's not something you can do on a whim.
You have to catch something inside you and then let it out into the world in order to liberate yourself.
　
Japanese young painter Yogi Minami 南耀輝 creates abstract paintings based on the theme of "What is the core of art", which is an eternal mystery. This means that he has not yet grasped the core of his work. (Art Collectors Monthly, August 2021, p38 月刊アートコレクターズ 2021年8月号 )

Hiroshi Senju said, "Expression must not be self-expression. It must be everyone's, our expression..
But it is clear that there is no basis for such assertion.
　(Art Collectors Monthly, June 2021, p24　『月刊アートコレクターズ　2021　６月号』　p24　)

　Nevertheless, it is true that Kandinsky and Klee at the Bauhaus pursued musical expression in their paintings, and American Abstract Expressionism failed to inherit this achievement, and it is Albers' geometric abstraction, which can be said to be an offshoot of the Bauhaus, that has determined the style of American abstract expression in the postwar period. This is the style that determined the postwar American abstract expression style.

　Until I came on the scene, the study of the musical state of painting had been sealed off.

　And then ,by my researchit turned out that tonal music is always an image of a concrete object, and that the abstract paintings of Kandinsky's late "The greatintegration period "were not tonal music.

　In other words, the assumption that "music is abstract" was an obstacle in the way of translating painting into music.

　Hence, Nina Kandinsky's remark, "Isn't Picasso's cubism an expression of unadjusted music in painting?"

　What, then, do geometric figures such as circles and squares represent?

　They are abstract representations and symbols of certain things, such as intellect and masculinity in the case of squares.

　The circle is an expression of femininity, physicality, bodily desire, nature, and wholeness like an egg or a star.

　And what do figures like the amoeba and seahorse of Kandinsky's later years represent?
　
　Odilon Redon advocated the idea of suggestive art.

　This is an image that does not express a definite meaning, but rather suggests something to the viewer that makes him or her imagine something.
　
　Therefore, purely abstract images have this suggestive effect.

　Furthermore, there is an expression that Klee highlighted, which also includes the technique of deformation.

　Klee said "The person I depict expresses the essence of the person I am depicting better than a photograph of the person himself.
　
　Kandinsky was inspired to become a painter when he saw Monet's Stacks of Straw and he even dreamed of its intense imagery, but at first he choud not recognize it as a depiction of Stacks of Straw. This is the effect of suggestion.

　Many abstract painters do not clearly recognize such things, but rather vaguely say, "...isn't it?" and have created their works with a vague, dim awareness of this until now.

　Some people think that the difference in materials is not a big issue.

　However, it is now common knowledge that the power of an original painting is completely different from that of a photograph.

　Why do you draw with soft pastels and colored pencils? There is a reason for this.
　
　The reason is that my vision for this painting, entitled "Rei Leonardo da Vinci II," was gradually formed and completed during my college years.

　Just before it was completed, I realized that this vision bore a striking resemblance to Redon's "L'Etude à Leonardo da Vinci".

　And that is how I learned that this painting, which looks exactly like a Japanese painting, was done in pastel.

　Why did Redon use pastels? It was a certainty, no matter how you guessed it, that Redon would have known about Japanese hanging scrolls and would have painted this picture.

　He would have used pastels because pastels can achieve the delicate and gorgeous colors of paints like the japanese natural mineral pigments. of Japanese paintings made from crushed gemstones.

　Furthermore, at the time I was contemplating painting a yellow swallowtail butterfly (Papilio xuthus)

　Soft pastels were so appropriate to express the scales of the swallowtail butterfly that I could think of nothing else.
　The velvety, powdery surface of the pastel was like scales themselves.

　At that time, as a Japanese artist, I had difficulty using oil and acrylic paints.
This was a barrier that many Japanese painters had faced for a long time.

　Pastels and colored pencils, however, were wonderfully easy to handle and suited my constitution and style.

　Oil painting is done by sketching on canvas with thin yellow-oak paints.

　Drawing with pencil on canvas is very inconvenient.

　Pastel, however, is on paper, so you can sketch as you wish with either pencil or conte, and sketching immediately becomes the creation of a work of art.

　Pastels do not need to dry and can be overlaid with line drawings, so they can be created with great speed.

　So I would like to ask the opposite question.

　Why don't you use pastels and colored pencils?
　
　Pastels, like　japanese natural mineral pigments. can easily achieve the wonderful colors that Kunio Motoe（本江　邦夫）, an art critic, has described as "a ceiling of colors that can only be described as innate.

　Especially for colorists (painters who are good at color) like me.

　This phrase applies directly to my college days, but it is also synchronicity - isn't it?
　So why was I born again in Hokkaido?

　I suppose it was because I wanted to be born a Japanese again, to feel more precisely the delicate and acute aesthetic sensibility of Japan, as evidenced by Redon's "Rei Eto Leonardo da Vinci" (A Celebration of Leonardo da Vinci).
　But I also guess I didn't want to lose the European sense of beauty that I had acquired as a Frenchman.
　So I guess I wanted to be reborn in Hokkaido, the European part of Japan.

　I can paint as many pictures as I want like Redon.

　My junior high school was Kamui Junior High School(
神居中学校　In Japanese, it means "middle school with God）, two grades above me were Koji Tamaki(玉置浩二)　who is best singer among prominent musicians in Japan.　 And there were the members of ANZENCHITAI（安全地帯）that leader is is he .
　
　And my father was there homeroom teacher in Kamui
elementary school.
　Among my father's students is world-renowned manga artist (漫画家）Buichi Terasawa(寺沢武一).

　I had a close family relationship with Mr. Terasawa and his family when I was a child.

　The drawback of pastels is that they are fragile and vulnerable to sunlight.
　However, I think this is a more humane way of expressing The central concept of Buddhism, the impermanence of all things.

　In other words, I think it is better suited to express the transience of humans, creatures, and history.

　When I was a university student, I went to bookstores and purchased all the books I could afford in numerous fields, including art books, critiques, and commentary books by Matisse, Kandinsky, Klee, and others, as well as modern thought such as Jungian psychology and structuralism, books on Jaspers and modern psychiatry, books on economics, management, and the history of science, and so on, so that my rooming house The four-and-a-half tatami mats of my lodgings were piled high with these books, and as soon as I lay down to sleep, the Japanese mountains came crashing down all at once, and there were many times when I would get mad and dance recklessly to calm my anger.

　When I started working as a teacher, I had nearly 30 large cardboard boxes of books, and I sent a few boxes to my new post and asked my parents to put the rest on the second floor of their house. I was saddened to hear him yell at me, "You're going to kill my parents!".

　This vast amount of reading continued until I reached the age of 60, and even then, it has been less and less recently.
　
Books are not enough to read. It must be deeply contemplated in order to generate one's own thought.
　Books can also be used as data for research and to refer to only a part of the book.

　As a result of such reading, I had built a library in my mind.
Important books are grouped by field and memorized, and the relationships and connections between each field are linked, so that when necessary, the contents can be drawn out and used for production, writing, and contemplation.

　Without this, one cannot go beyond the realm of a mere trivia buff or know-it-all and create something new.

　I think Japanese Seigo Matsuoka (松岡正剛)is such a dilettante.

　When I was in college, I wrote a trilogy of novels to become a novelist because I wanted to leave college.
　It is titled "Bad Girls, Lovers, and Goddesses," which I intend to publish after my death. Some time after I finished writing it, I realized that the content of the book was completely consistent with Jung's theory of anima, and that the story was very similar to Goethe's Faust.

　Jungian psychology is a theory of self-realization that he named individuation.

　The theory states that each human being has a unique combination of talents, and 　that the way of life is to let them flourish throughout one's life, but that aiming for this is risky, and only a limited number of people can achieve it.

　In the extreme, a successful person who has a great impact on society can be said to have achieved self-realization.
　Regardless of whether it is a positive or negative influence.

　Every piece of my work reflects the process of my personalization.

　Therefore, the point of purchasing my work is to have the opportunity to learn about the ideas I have created.