Under the direction of the critic Pierre Restany, Nouveau Réalisme was formed at the flat of Yves Klein in Paris, on October 27, 1960. This movement was made up of 13 artists including Klein, and many of them eventually became world-famous artists. However, despite of this interesting fact, their activities as a group have not been discussed sufficiently in the past. But now, there is no doubt that Nouveau Réalisme is being historically re-evaluated all over the world. In this article, following this trend, we attempt to reexamine the movement by considering their “poetics”. Nouveau Réalisme was supported by Restany’s theory of “appropriation of the real”. But this theory was neither accepted by all participants, nor so effective to analyze their works. So, we reconsider the theory of Restany, and try to separate works of Nouveau Réalisme from the concept of appropriation. Our aim is to clarify their thoughts presented in their works themselves, and to illuminate them as poetics of Nouveau Réalisme. Our proposition is below: their particularity should be sought in “making a new sight” or “new perceptual approach to reality”, and it is here that their poetics are found.

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This paper considers the influence from Oriental Calligraphy in Jackson Pollock's (1912-1956) "black paintings". The Black paintings are the series of monochromes that Pollock produced from 1951 to 53. In these works, Pollock bled the ink on canvas. By these features, it has been considered that Pollock was influenced by Calligraphy. But Clement Greenberg, who is influential in the study of Pollock, eliminated the influence from Oriental art in Pollock's works. And his purpose is to present Pollock as a legitimate successor of European modernism. Therefore no one proved it clearly. However, in fact, there were many artists that were interested in Calligraphy around Pollock. Then, Pollock possessed some books about Oriental culture, and used tools of Calligraphy. Therefore Pollock was surely influenced by Calligraphy. Moreover, this Paper pointed out that Pollock often depicted letters. In the black paintings, Pollock also depicted the pictographic images that he had already painted before. The reason that Pollock was influenced by calligraphy may come from such concern about letters. Thus, adopting a style of Calligraphy, Pollock created a new way that could depict the past pictographic images in the black paintings.

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本論は発足した当初の国立近代美術館（現：東京国立近代美術館）とその特別展（企画展）の会場について検証する。戦前はもちろん戦後においても、日本には近代や現代といった名称を掲げるミュージアムは少ない。そのため占領期から1950年代には、新たに登場する近代美術館の活動とデパートメント・ストアや画廊、公園等を利用する芸術運動とが入り交じっていた。だが丹下健三や谷口吉郎といった建築家たちが「芸術の総合」という標語を掲げ、日本の国内外で開催された博覧会や展覧会の会場を設計していたことは次第に忘れられ、これまでの研究でも二次的に扱われてきた。また明治や大正、昭和戦前期、戦時下の博覧会や展覧会をひとつひとつ挙げるまでもなく、こうした対象を遡り考察しうることは自明である。しかしながらこうした時期を対象としてこれまで研究の成果が蓄積されてきた一方で、戦後の動向については具体的な検証がなされぬままにあり、それをどのように位置づけていくかについては課題となっている。そこで本論はこの観点から、戦後の建築や都市に関わる人々が関与した国立近代美術館の会場設計に焦点を当てる。またそのために本論は東京国立近代美術館に保管される特別展の調書をはじめとする先行研究で未検討の資料を用いて、展示空間を品物や作品などが並べられた物理的な拡がりとして読み解くことで、展示する施設あるいは制度を事物から捉える方法を示す。具体的にはまず、国立近代美術館の性格を規定する敷地の選定や建築物の改修、そして発足時の特別展を検証する。続いて同館で開催された一連の「現代の眼」展などを事例として取り上げることで、こうした特別展の作品や器物あるいは資料が、それをつくりだした作者によってだけではなく、ディスプレーを含めてどのように視覚化されたのかを会場から読み解いていく。

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