Highlights of the Miyazaki Prefectural Art Museum | Discover Masterpieces by Magritte and Signac!

Although small in size, “Carte Blanche” is one of René Magritte’s late works filled with his signature visual magic.

The scene takes place in a quiet forest. A woman rides a horse slowly through the trees. At first glance, their bodies seem partly hidden by the tree trunks. But when you look closer, something feels strange. Parts of the figures appear blocked by the landscape in impossible ways—separated yet connected—creating a visual contradiction, almost like a clever optical illusion.

This subtle distortion is exactly what Magritte intended. Through this work, he suggests that “what we see is not always the truth” and that things we cannot see may still exist just as strongly.

Even today, we often judge based on appearances or quick impressions—whether on social media posts, news headlines, or photos. But are we overlooking the deeper reality behind them? This painting seems to quietly ask us: “What do you really see? Are you sure?”

The title, Carte Blanche (“Blank Check”), is also intriguing. Magritte explained it as “what permits her (the rider) to do so.” In other words, it could be seen as a metaphor for freedom—the freedom to choose what to believe and how to feel.

Rather than giving us clear answers, this painting leaves the interpretation to us. It’s an artwork that at first seems puzzling, but in fact opens the door to imagination. Quiet, mysterious, and unforgettable—Carte Blanche captures the very essence of Magritte’s unique world.

Today Saint-Tropez is known as a luxury resort, but in the late 19th century—when Paul Signac visited—it was a quieter, more rustic town. Signac fell in love with the place and often painted its harbor scenes and hilltop views.

This painting captures a colorful, lively view from a hill overlooking the Mediterranean. Look closely and you’ll see that leaves, sky, and sea are built up from many tiny dots.

That dot-by-dot method is a hallmark of Neo-Impressionism. While the Impressionists painted freely from immediate impressions, Neo-Impressionists used color theory to place individual dots so the colors would visually blend for the viewer. Signac carefully adjusted the combination and ratio of dot colors to convey contrasts of light and shadow and a real sense of depth with the distant hills.

Up close, the canvas reads as a cluster of colorful dots. Step back, and a soft, sunlit Mediterranean landscape emerges. It’s a work that can make you feel the breeze of southern France—take your time with Signac’s Pine Grove at Saint-Tropez and enjoy how the scene changes with distance.

This painting shows one of Venice’s most iconic sights, captured by Paul Signac during his visit to Italy’s famous “City of Water.” At the center stands the stunning Baroque church of Santa Maria della Salute, rising almost as if it were floating on the water—a landmark view that defines Venice.

A passionate yachtsman, Signac spent his life painting scenes of the sea, harbors, and rivers. This work clearly reflects his deep love for waterfront landscapes.

The canvas is about the same size as his “Pine Grove at Saint-Tropez.” But take a closer look—the dots are completely different. Around the 1900s, Signac’s technique shifted from tiny, precise dots to much larger, bolder strokes. Here, the brushstrokes create a mosaic-like effect. Instead of blending softly in the eye, the colors are placed side by side, emphasizing their harmony and contrast.

This evolution in style paved the way toward Fauvism, influencing younger artists with its bold use of pure color.

Notice the glittering reflections on the water, the vivid blue sky, and the shining white walls of the church. In this canvas, Signac fills the scene with the dazzling beauty of Venice, turning light and color into pure emotion.

This piece is one of the signature works of Hiromitsu Nakazawa (1874–1964), a Japanese painter active from the Meiji to the Showa era.

Nakazawa was a truly versatile artist—beyond oil painting, he also designed magazine covers, book illustrations, and bindings. His design for Akiko Yosano’s New Translation of The Tale of Genji still feels strikingly modern today.

A passionate traveler, Nakazawa journeyed across Japan, capturing the landscapes and everyday lives of people wherever he went.

The inspiration for “Girl Gathering Seaweed” came during his visit to Shimizu Port in Shizuoka. The painting shows a young girl quietly harvesting seaweed along the shore, rendered in a soft, gentle touch.

But look closely—and you’ll notice something surprising. Floating above the scene is the delicate figure of a celestial maiden in flowing robes.

This detail is a reference to the famous “Hagoromo Legend” of nearby Miho no Matsubara, where a heavenly maiden descends to earth. By blending a real coastal view with a hint of myth, Nakazawa created a dreamlike composition.

It’s a painting where everyday life meets timeless folklore, infused with the light, airy brushwork reminiscent of Impressionism.

This painting was created by Torajirō Kojima, a Western-style painter from Okayama Prefecture.

Kojima is best known for collecting masterpieces in Europe that later became the core of the Ohara Museum of Art. But beyond that, he was also a highly skilled painter himself.

While studying in Ghent, Belgium, he trained under Emile Claus, a leading figure of Belgian Impressionism. From Claus, Kojima learned to value the beauty of light and color, while developing his own artistic voice.

Blending European techniques with subjects from Japan and East Asia, Kojima produced unique works. Portrait of a Girl is one example. Although the exact date is unknown, the model’s chima jeogori (traditional Korean dress) suggests it was painted around the same time as Autumn (1920).

The soft glow on the girl’s skin, her delicate expression, and the vivid colors all create a strikingly realistic and tender impression.

Here, Western Impressionist methods meet an Asian subject—making this work a fascinating crossroads of East and West.