Nobutoshi Masuda
Mysterious Realist
| 1947 | Born in Kanda, Fukuoka Prefecture |
|---|---|
| 1965 | Solo Exhibition at Ginza Mudo Gallery (apprenticed under Natsuyuki Nakanishi) |
| 1966 | First selected in Nika Exhibition, selected 10 times thereafter |
| 1984 | Solo exhibition at Kita Kyushu Kurosaki Sogo |
| 1991 | Solo exhibition at Ginza Central Gallery |
| 1992 | Selected for West Japan Art Exhibition |
| 1997 | Solo exhibition at Ginza Galerie Shimizu |
| 2000 | Cover art for Takao Yamagata’s book, “Last Supper for the Dead and the Living” (Asahi Shimbun) |
| 2001 | Cover art for Shizuko Natsuki’s book, “Mariko” (Chuko Bunko) |
| 2002 | Solo exhibition at Ginza Kozaido Gallery |
| 2003 | Published in “Modern Painting” (Asahi Artist Publishing) |
| 2006 | Solo exhibition at Yukuhashi Red-brick Museum (Important Prefectural Cultural Asset) Appeared as an artist pursuing realism in NHK Kita Kyushu Broadcasting “Omoide no Sanpomichi” |
| 2007 | Cover art for Naoru Fujiya’s “Sink Music” (Shueisha) |
| 2008 | Solo exhibition at Ginza Bara Gallery |
| 2011 | “9 Realist” Exhibition at Fukuoka Nichido Gallery |
“Even if the world is destroyed tomorrow, I would still plant my apple tree today.” (attributed to Martin Luther)
Why are Nobutoshi Masuda’s paintings so realistic? Is it because he is a painter who depicts reality as is in his art or not? The spirit of God is everywhere, and the truth lies in the details. In his paintings he tries to express holiness in ordinary everyday life and matters we do not pay special attention to.
“My job is…to continue to draw sacred things.
When I sat down in the dim light of my atelier alone one morning, the objects placed by the window appeared as if it had existed there in profound silence since the world began. I was moved with the silent communication with the objects across the eons, and at that moment I reali9zed the importance of seeing and drawing objects.”
TBhese words from Masuda evoke the poetic world of Jukichi Yagi, another Christian who is also a quiet prayer.
Turning around the existing painting society, this unprolific artist draws sacred, daily-life objects while he enjoys fishing in his hometown in Fukuoka.
