The all-time famous Viscount Kuroda Seiki was a Japanese painter and teacher, noted for bringing Western art theory and practice to a wide Japanese audience.

Viscount Kuroda Seiki was among the leaders of the yōga movement in late 19th and early 20th-century Japanese painting and has come to be remembered in Japan as “the father of Western-style painting.

Kuroda Seiki went to Paris to study law, but, swayed by the artist Yamamoto Hosui, he changed direction, becoming a Western-style painter. He studied with Raphaël Collin, whose style combined traditional Academicism and the new Plein air style, and gained such mastery that his work was selected for the Salon. Only 28 when he returned to Japan, he breathed fresh air into Western-style painting. Partly because of his position as the eldest son of a prominent former retainer of the Satsuma clan, he was invited to direct the newly established Western Painting Faculty at the Tokyo School of Fine Arts. There he introduced the basic Western framework, including methods for studying painting and selecting themes, and played a major role in art circles in the latter half of the Meiji period.

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Kuroda Seiki wife

Lakeside, however, is arguably Kuroda’s most famous and recognizable work in Japan. It depicts Kuroda’s wife Teruko, seated by a lake in the famous resort town of Hakone.

Kuroda Seiki children

Kuroda’s children were not publicly known on social media and other platforms. As we believed he was very famous in japan. Being an artist in Japan was one of the most wealthy jobs.

Kuroda Seiki parents

The all-time famous Japanese painter and teacher Viscount Kuroda Seiki’s parents has being hidden from the public. His uncle adopted him and trained him to be his successor.

Kuroda Seiki siblings

There is less information about his siblings and family. Keep visiting for more updates and info.

Kuroda painted this work while studying in France, in the village of Grez-sur-Loing, about seventy kilometers southeast of Paris, where he often stayed. This rural village, where lives were in harmony with nature, attracted many foreign artists, who could relax and create without constraint. Here the woman by the window, lost in her needlework, is Maria Billault, the nineteen-year-old daughter of the farm family from whom Kuroda rented a room. Maria often modeled for Kuroda and inspired him. The light pouring in from the window envelopes Maria’s body and gives the image a soft feel; we can see that Kuroda was tackling the question of how to handle light. Here we can also see an instance of the woman at work, a subject that Kuroda long favored.

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