‚±‚ê‚‚µ‚å‚ñE‚¬‚á‚ç‚è‚¢‚Ì1,2ŠK‚Å‚ÍA”N4-5‰ñ‚Ì“Wަ‘Ö‚ðs‚¢A“–ŠÙ‚̃RƒŒƒNƒVƒ‡ƒ“‚ð‚³‚Ü‚´‚܂Ȋp“x‚©‚çƒe[ƒ}‚ðÝ‚¯‚ÄЉ‚Ä‚¢‚Ü‚·B1920-30”N ‚ð’†S‚ɃpƒŠ‚ÅŠˆ–ô‚µ‚½ƒpƒXƒLƒ“‚ð‚Í‚¶‚߂Ƃ·‚éƒGƒR[ƒ‹EƒhEƒpƒŠ‚Ì‰æ‰Æ‚½‚¿‚Ìì•iAƒA[ƒ‹Eƒk[ƒ”ƒH[‚©‚猻‘ã‚܂ł̑“àŠO‚̃Kƒ‰ƒXHŒ|A–kŠC“¹‚ä‚©‚è‚Ìì‰Æ‚½‚¿‚Ìì•i‚Ȃǂ̂ق©A“ú–{‹ß‘ã‚Ì”üpAƒIƒvƒeƒBƒJƒ‹EƒA[ƒg‚Ȃǂ̌»‘ã”üp‚à‚²——‚¢‚½‚¾‚¯‚Ü‚·B
Works from the museum's collection are on display
in the Permanent Collection Galleries on the first and second
floors. The rooms are changed four or five times a year with
themes chosen from various aspects of art and history.
The collection consists of works by Jules Pascin and his contemporaries
in the Ecole de Paris active during the 1920-30s; glassworks
from Art Nouveau to contemporary pieces , both inside and
outside Japan; works by artists closely relate to Hokkaido;
modern and contemporary Japanese art; Optical Art and other
contemporary trends.
2012.3.17i“yj\5.13i“új
ŠJŠÙ35Žü”N‹L”O
ƒRƒŒƒNƒVƒ‡ƒ“‚ւ̵‘Ò\–kŠC“¹—§‹ß‘ã”üpŠÙ‚Ì–¼•i100@Part 1
Invitation to Our Collection-Part1: 100 Selected Pieces of the Hokkaido Museum of Modern Art
‰ïŠú’†‹xŠÙ“ú@ClosedF3/19,26,4/2,9,16,23,5/1,7

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uƒ‰ƒ“ƒvE‚«‚΂Ȃӂ¶v
1900`10”N @“–ŠÙ‘
2012.5.19i“yj\7.13i‹àj
ŠJŠÙ35Žü”N‹L”O
ƒRƒŒƒNƒVƒ‡ƒ“‚ւ̵‘Ò\–kŠC“¹—§‹ß‘ã”üpŠÙ‚Ì–¼•i100@Part 2
Invitation to Our Collection-Part2: 100 Selected Pieces of the Hokkaido Museum of Modern Art
‰ïŠú’†‹xŠÙ“ú@ClosedF5/21,28,6/4,11,18,25,7/2,9

ƒnƒCƒ€EƒX[ƒ`ƒ“u‹F‚é’jv1921”N
‹ß”üƒRƒŒƒNƒVƒ‡ƒ“‚Ì–£—Í‚ð2‰ñ‚É•ª‚¯‚ÄЉ‚é“W——‰ï‚ÌPart 2‚Å‚·B¡‰ñ‚ÍAíÝ“WŽ¦Žº1ŠK‚ÅŠCŠO‚Ì”üp‚ÆŒ»‘ã”üp‚ð‚²——‚¢‚½‚¾‚«‚Ü‚·B‚Ü‚½A2ŠK‚ł̓Kƒ‰ƒXHŒ|‚ð“Wަ‚µ‚Ü‚·B
“¯ŽžŠJÃ
VŽû‘ •i“W
New Acquisitions
•½¬23”N“x‚É“–ŠÙ‚ªV‚½‚ÉŽû‘ ‚µ‚½ì•i‚ðЉ‚Ü‚·B
ã–쬖é”üi–ûÊjAŒj슰i–ûÊ“™jA–Ø‘º•xHi–ûÊjA‚–쎟˜Yi–ûÊjA•Ÿˆä‘uli“ú–{‰æjAŠs“¿ri”ʼnæjA–Ø‘º‘½ŠêŽqi”ʼn擙jA’†‘º–Ø”üiHŒ|jB
2012.7.20(‹à)\9.9(“ú)
–Ht(‚Ù‚¤‚µ‚ã‚ñ) A‰p‰“(‚¦‚¢‚¦‚ñ) A‹…Žq(‚½‚Ü‚±)
\–kŠC“¹‚ª¶‚ñ‚¾“ú–{‰æ‚Ì‹ ‚½‚¿
Hoshun, Eien, and Tamako: Three Nihonga Masters from Hokkaido
‰ïŠú’†‹xŠÙ“ú@ClosedF7/23,30,8/6,13,20,27,9/3

•Љª‹…Žqu‰‰Äv1965”N@“–ŠÙ‘
–kŠC“¹og‚Ì“ú–{‰æ‚Ì‹ EŽRŒû–HtAŠâ‹´‰p‰“A•Љª‹…ŽqB‘峂©‚纘aA‚»‚µ‚ÄíŒã‚ւƈڂè‚䂎ž‘ã‚̂Ȃ©‚ÅAŽOl‚ª¶‚Ýo‚µ‚½ŒÂ«‚䂽‚©‚ÈŒ|p‚ðЉ‚Ü‚·B
“¯ŽžŠJÃ
ƒA[ƒ‹EƒfƒR‚Ì—‘z‹½(ƒAƒ‹ƒJƒfƒBƒA)
\ƒKƒ‰ƒX‚ɂ݂éŒÃ“T‚Æ‘•ü‚Ì”ü
Classicism and Decorative Beauty in Art Deco Glass

ƒ‹ƒlEƒ‰ƒŠƒbƒNuƒ‰ƒWƒG[ƒ^EƒLƒƒƒbƒvEŸ—˜v1928”N@“–ŠÙ‘
‘•ü”üp‚ª‹rŒõ‚ð—‚Ñ‚½1920”N‘ãAŽž‘ã‚̓MƒŠƒVƒAEƒ[ƒ}‚̌ÓT‚ð‹‚߂܂µ‚½BƒA[ƒ‹EƒfƒRŠú‚̃Kƒ‰ƒX‚É‚»‚ÌŒn•ˆ‚ð‚½‚Ç‚è‚Ü‚·B
‚Ó‚ê‚é‚©‚½‚¿
Touching Sculptures

²“¡’‰—Çuƒ{ƒ^ƒ“v1969”N@“–ŠÙ‘
’¤‚â—§‘Ìì•i‚ÉŽè‚łӂêA‚©‚½‚¿‚âŽ¿Š´‚ðŠ´‚¶‚邱‚Æ‚ð’Ê‚µ‚Ä”üpì•i‚ðŠÓÜ‚·‚é“W——‰ï‚Å‚·B
2012.9.15(“y)\2013.1.20(“ú)
ƒGƒR[ƒ‹EƒhEƒpƒŠ‚̌ÓT—¬‹V
École de Paris Artists: A Return to Classical Beauty
‰ïŠú’†‹xŠÙ“ú@ClosedF9/18,24,10/1,9,15,22,29,11/12,19,26,12/3,10,17,25,29`31, 2013,1/1`3,7,15,

ƒWƒ…ƒ‹EƒpƒXƒLƒ“u“ñl‚̃‚ƒfƒ‹v1924”N@“–ŠÙ‘
—¼‘åíŠÔ‚ɉԊJ‚¢‚½ƒGƒR[ƒ‹EƒhEƒpƒŠ‚ÌŒ|pBŒƒ“®‚ÌŽž‘ãA—킵‚¢ŒÃ“T‚ւ̉ñ‹A‚ð‰Ê‚½‚µ‚½”üp‚Ì’ª—¬‚ð’T‚è‚Ü‚·B
“¯ŽžŠJÃ
ƒNƒŠƒXƒ^ƒ‹ƒOƒ‰ƒX‚Ì‹P‚«
\17¢‹Iƒ”ƒFƒlƒcƒBƒA‚©‚猻‘ã‚Ü‚Å
Cristal Glass: From 17th Century Venetian to Contemporary

ƒV[ƒ‚ƒ“EƒK[ƒeu”n‚Él•¨•¶ƒRƒ“ƒ|[ƒgv
ƒfƒUƒCƒ“F1920”N@§ìF1925”N@“–ŠÙ‘
17¢‹Iƒ”ƒFƒlƒcƒBƒA‚̃Kƒ‰ƒX‚©‚猻‘ãƒKƒ‰ƒX‚Ü‚ÅAƒNƒŠƒXƒ^ƒ‹i…»j‚̂悤‚È–³F“§–¾‚̃Kƒ‰ƒX‚ð‚ß‚®‚Á‚ÄŒJ‚èL‚°‚ç‚ê‚Ä‚«‚½‘½Ê‚È•\Œ»‚ðЉ‚Ü‚·B
2013.2.2(“y)\4.14(“ú)
ŠG‚ÉŽ(‚¤‚½)‚¢AŠG‚Å‘z‚¤
\“ï”g“c—´‹N‚Æ’ŠÛ”üp
Abstract Paintings by Tatsuoki Nambata and His Contemporaries
‰ïŠú’†‹xŠÙ“ú@ClosedF2013.2/4,12,18,25,3/4,11,18,25,4/1,8

“ï”g“c—´‹Nu‰F’ˆ—V‰jv1982”N@“–ŠÙ‘
–kŠC“¹‚ɶ‚Ü‚êA‚‘ºŒõ‘¾˜Y‚ÌŒO“©‚ðŽó‚¯‚ÄŒ|p‚ðŽu‚µ‚½“ï”g“c—´‹NB‚䂽‚©‚ÈŽS‚Æ[‚¢Žvõ‚É–ž‚¿‚½‚»‚ÌŠG‚Ì¢ŠE‚ðA“¯Žž‘ã‚Ìì•i‚ƂƂà‚ÉЉA’ŠÛ”üp‚Ì–£—Í‚ð’T‚è‚Ü‚·B
“¯ŽžŠJÃ
ƒKƒŒ‚ƃA[ƒ‹Eƒk[ƒ”ƒH[
\ƒKƒ‰ƒX‚Ì’†‚ÌŽ©‘R
Gallé & Art Nouveau: Depictions of Nature in Glass Art

ƒGƒ~[ƒ‹EƒKƒŒuá’†’|‚ɑ镶‰ÔŠív1897`1900”N @“–ŠÙ‘
19¢‹I––‚ÌŒ|pŽv’ª‚â’˜‚µ‚¢“sŽs‰»‚ð”wŒi‚Æ‚µ‚Ĉç‚Ü‚ê‚½Ž©‘R‚Ö‚ÌŠá·‚µ‚É’–Ú‚µ‚È‚ª‚çAƒKƒŒ‚âƒA[ƒ‹Eƒk[ƒ”ƒH[‚̃Kƒ‰ƒXì•i‚ð‚²Ð‰î‚µ‚Ü‚·B
“²‚ê‚Ì•¶—l
\•‚¢ŠG‚Å’…•¨‚Ì”ü‚ðŠy‚µ‚Þ
Kimono Designs Depicted in Ukiyoe
![‰Ìì‘’åu]ŒË–¼Š•Sl”ü—@”ö’£’¬v@“–ŠÙ‘](12/sakuhin/ukiyoe01.jpg)
‰Ìì‘’åu]ŒË–¼Š•Sl”ü—@”ö’£’¬v@“–ŠÙ‘
•‚¢ŠG‚É‚ ‚ç‚킳‚ꂽ—«‚âŽq‚Ç‚à‚Ì’…•¨‚ÉÅ“_‚ð“–‚ÄA‘½Ê‚È•¶—l‚âF‚©‚¢A’…‚±‚È‚µ‚Ȃǂɞ‚ß‚ç‚ꂽ]ŒË‚Ì”üˆÓޝ‚ð’T‚è‚Ü‚·B


