Masterpieces That Transcend Time: Degas, Monet, and Yuichi at Kasama Nichido Museum of Art

A Style Refined Through Experimentation

Renoir is loved for his warm, light-filled portraits that seem to glow with color. His 1887 painting, “Girl beside a Fountain,” is a perfect example of this charm. The girl’s glowing skin stands out beautifully against the green background, and the whole scene feels crisp and fresh—almost like you can breathe the air in the painting.

Around this time, Renoir was going through a bit of an experimental phase. In his famous work “The Large Bathers” (1884–1887), now in the Philadelphia Museum of Art, he tried a more classical style with strong outlines—moving away from the softer touch of Impressionism. His fellow artist Pissarro, however, criticized this change, saying it lost the unity of color.

After this challenge, Renoir painted “Girl beside a Fountain.” The outlines are gentler again, and the figure blends more naturally into the background—a return to the “Renoir” style fans love. Yet the painting still shows a new depth: the textures of the skin, fabric, and pottery are richer and more defined, reflecting Renoir’s growth as an artist.

This work strikes a perfect balance between Impressionism and classicism, showing how Renoir kept exploring and refining his art throughout his life.

A Quiet Moment Behind the Stage

Edgar Degas is famous for his many works featuring ballerinas. But instead of showing grand performances, he often captured small, natural moments—like practice scenes or quiet breaks backstage.

“Dancer in the Wings” is a great example of this intimate point of view. It was drawn when Degas was in his mid-60s and already struggling with poor eyesight. Even so, he continued to create, showing deep dedication to his craft.

At the same time, Degas became more isolated. He took an anti-Dreyfus stance during the Dreyfus Affair, which caused tension with his friends. Despite these personal and social struggles, he remained devoted to his art.

Interestingly, the Tokyo Fuji Art Museum also owns a version of “Dancer in the Wings” with the same composition. This suggests that Degas returned to this image again and again, refining it over time.

An Artist Who Never Compromised

Why would he draw the same composition multiple times? Degas once said:

 “Do it again, ten times, a hundred times. Nothing in art must seem to be an accident, not even movement.”

For Degas, art wasn’t about random inspiration—it was about careful observation, repeated practice, and precise planning.

Even as his eyesight failed and friendships faded, Degas never abandoned his method or style. “Dancer in the Wings” shows the quiet passion and relentless drive that defined his life as an artist.

A Quiet Landscape Born from Personal Hardship

When most people think of Claude Monet, they imagine vibrant scenes filled with light and color—like his famous water lilies or haystacks. But behind those cheerful works, Monet also experienced deep personal struggles.

“Flooded Meadow in Vétheuil” was painted during one of the darkest times in his life. Around 1881, Monet was living in the small riverside town of Vétheuil. His trusted patron had gone bankrupt and even moved into Monet’s home, causing financial stress. To make things worse, his beloved wife Camille fell seriously ill and eventually passed away.

Despite emotional and financial hardship, Monet never stopped painting. This landscape is one of the works created during that painful time.

Quiet Colors Reflect Deep Emotion

Unlike Monet’s usual bright colors, this painting feels subdued. The meadow looks cold and damp, the trees are bare, and the sky is a dull gray. A small town appears in the distance, not lively but lonely. This isn’t just a view of nature—it feels like a reflection of Monet’s inner world.

The painting is quiet and meditative, as if Monet was using his art to process grief and move forward. And he did move forward: the following year, he signed a contract with Durand-Ruel Gallery, gaining financial security. In 1883, he moved to Giverny, where he would later create his iconic water lily paintings.

This painting quietly marks the turning point between the winter of his life and the spring to come.

A Path Between Silence and Emotion

This piece, “Woman on a Road among Trees“, was painted while Van Gogh was staying at a psychiatric hospital in Saint-Rémy-de-Provence. During this unstable period, he kept painting—perhaps because creating art was the only way he could hold himself together.

This was the same time he produced masterpieces like “The Starry Night” and “Cypresses”. You can see the same qualities here: strong brushstrokes that almost swirl with energy, as if the landscape itself is alive.

Also striking is the use of raw, intense color. While many of his other works from Saint-Rémy use soft, blended tones, this one bursts with pure pigment—almost as if the paint was squeezed directly from the tube. The colors feel intuitive and emotional, creating a sense of urgency and life.

There’s a mix of stillness and tension in this painting. The road doesn’t feel like an ordinary path—it feels dreamlike, even surreal. You might imagine that this is what Van Gogh’s inner world looked like, transformed into a landscape.

The Origins of Western-Style Painting in Japan

This realistic painting of a salmon may look simple—but “Salmon” (1879–1880) is a milestone in Japanese art history. It was created by Yuichi Takahashi, one of the first artists to truly bring oil painting to Japan.

In 1873, Yuichi founded a private art school called Tenkai-sha and held monthly exhibitions featuring his own work. Over the next two decades, he produced more than 150 paintings. This version of Salmon, now in the Kasama Nichido Museum of Art, is believed to be the last of three known works on this subject.

At the time, Japanese art was dominated by flat styles like ukiyo-e. Yuichi wanted to paint things that looked real. Using oil paints, he carefully rendered the fish’s slippery texture, glistening skin, and detailed fins. If you look closely, you can even feel the weight and moisture of the salmon.

This painting isn’t just realistic—it’s a bold experiment. Yuichi explored the possibilities of oil painting through a distinctly Japanese lens. When viewed up close, it’s far more than just a picture of a fish. It’s a powerful reminder of where Western-style painting in Japan truly began.

A Painter Devoted to Portraits

When people think of Ryusei Kishida, they often picture his famous Reiko portrait series. But before his daughter Reiko was even born, he went through a period of painting many self-portraits.

In 1912, still in his early twenties, Kishida was strongly influenced by Post-Impressionist artists like Vincent van Gogh. His early works focused on vivid colors and expressive brushwork. During this time, he became passionate about portrait painting—not just of himself, but also of friends and acquaintances. Some even joked that his obsession earned him the nickname “Kishida the Head-Hunter.”

As he matured, Kishida gradually moved away from Van Gogh’s style and developed a more realistic and classical approach. This 1913 self-portrait is one example of that artistic transition.

You can still see a few bold brushstrokes, but the attention to light and shadow is more refined and natural. Soon after, his work became even more detailed and smooth, following a traditional European technique that left little visible brushwork. This painting reflects a moment of evolution—an artist searching for new ways to express truth through realism.

If you’re curious to see more of Kishida’s portraits, including several of his iconic Reiko paintings, the Kasama Nichido Museum of Art houses an impressive selection that traces his changing style over the years.