@article{oai:sojo-u.repo.nii.ac.jp:00001549,
 author = {村上, 哲},
 issue = {15},
 journal = {崇城大学芸術学部研究紀要},
 month = {},
 note = {Leonard Foujita (Leonard-Tsuguharu FOUJITA /1886-1968) was active as one of the representatives of the trend of the ‘École de Paris’ in Paris in the 1920s. In recent years, 100 years after the name of the ‘École de Paris’ was born, various issues such as copyright, work appraisal, and copyright have been gradually resolved and overcome, and the artistic environment for works has been established. Therefore the studies, exhibitions and publishing regarding Foujita, who was born as a Japanese and died as a French, is advancing to a new stage. Recent studies have revealed that Foujita skillfully adopted Western classical forms while fusing eastern and western aesthetics. After moving to France in 1913, Foujita went to the Louvre Museum to study ancient art. Foujita said he was particularly fascinated by ancient Greek sculptures and Egyptian paintings, and these two ancient aesthetics and motifs can often be found in Foujitaʼs iconographies. His perspective on ancient art, which was the origin of his activities in Paris, became the basis for his quest for his identity as an artist throughout his life, and also became a mirror that reflected the innermost part of the artist's soul. In this article, while exploring the essence of the painting world that connects the genealogy of beauty in the east and west and the life that lived in the turbulent times, the encounter and separation with the companions who lived together such as Madeleine Eugénie Louise Lequeux (1906-1936) or Youki/Lucie Badoud (1903-1966) from the perspective of relationships, I explore the core of art that has deepened in the days of tracing love and recollection. Chapter I focuses on a painting with the theme of “Cafe” and their variations, and considers the transition of images repeatedly produced until his late years, analyzing the development from drawings to paintings and the term ‘La Petite Madeleine’. Then I insight the remnants and remembrances of Madeleine Lequeux, the companion of the deceased, entrusted to the theme of “Cafe”. In Chapter II, based on the thoughts derived from the examination of images in previous Chapter I, I analyze images about “Sleep and Dream”, such as reclining nudes, still-lives, portraits, and Christian themes, are drawn. While clarifying the genealogy of “Death and Melancholy” hidden in the depths of images, I trace the iconographies of condolence that sublimates the inspiration received from the classics into the inner introspection.},
 pages = {71--95},
 title = {藤田嗣治をめぐる追憶と哀悼の画譜－レオナール・フジタ研究・抄録－},
 year = {2021}
}