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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Good Day </text>
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                <text>好日</text>
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                <text>The artist painted his own wife and daughter in this painting. It conveys the ideological theme of "good wife, wise mother (良妻賢母, Ryōsai Kenbo), which was propagated across Japan and its colonies from the 19th to 20th century. </text>
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                <text>林之助 (Lin Chih-Chu)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>165 x 135 cm</text>
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                <text>Pigments on Paper</text>
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                <text>Attu Island Gyokusai </text>
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                <text>This oil painting depicts the final banzai charge of Japanese soldiers against American troops during the Battle of Attu island, one of bloodiest battles in the Pacific War. The word "Gyokusai" in the title roughly translates to "smashed jewel", and it's a reference to a 6th-century Chinese text that states "it's better to be a smashed jewel than an intact tile"; a proclamation on the beauty of self-sacrifice. </text>
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                <text>藤田嗣治 (Fujita Tsuguharu)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>Oil on Canvas</text>
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        <name>Fujita Tsuguharu</name>
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                <text>Lady Kusunoki</text>
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                <text> 楠公夫人 (Nankō Fujin）</text>
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                <text>上村松園 (Uemura Shōen)</text>
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                <text>Shōwa 19 (1944)</text>
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                <text>60 x 71.5 cm</text>
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                <text>Pigments on Silk</text>
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                <text>A portrait of Lady Kusunoki, the wife Kusunoki Masashige. </text>
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        <name>Bijin-ga</name>
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        <name>Uemura Shōen</name>
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            <description>A name given to the resource</description>
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                <text>Portrait of a Painter</text>
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                <text>画家の像 (Gaka no Zō)</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>松本竣介 (Matsumoto Shunsuke)</text>
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                <text>Shōwa 16 (1941)</text>
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                <text>Oil on Canvas</text>
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                <text>162.56 x 112.73 cm</text>
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                <text>Portrait of an artist, presumably Matsumoto himself, with his family. </text>
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        <name>Matsumoto Shunsuke</name>
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                <text>立ている像 (Tatte-iru Zō)</text>
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                <text>松本竣介 (Matsumoto Shunsuke)</text>
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                <text>Shōwa 17 (1942)</text>
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                <text>A standing self-portrait </text>
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        <name>Matsumoto Shunsuke</name>
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                <text>Landscape with an Eye </text>
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                <text>眼のある風景 (Me no aru Fūkei)</text>
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                <text>Surrealist landscape with an eye</text>
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                <text>靉光 (Aimitsu)</text>
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                <text>Shōwa 13 (1938)</text>
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                <text>Self-portrait with Tree Tops </text>
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                <text>梢のある自画像 (Kozue no aru jigazō)</text>
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                <text>A self-portrait of Aimitsu wearing glasses next to some tree tops</text>
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                <text>靉光 (Aimitsu)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>Oil on Canvas</text>
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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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            <description>A name given to the resource</description>
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                <text>Sacred Soldier to the Rescue </text>
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                <text>神兵の救出到る (Shinhei no Kyushutsu itaru)</text>
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                <text>Unlike Fujita's other action-packed war paintings, this one is more tranquil. It shows a Japanese soldier entering the house of a luxurious Dutch-owned house in Indonesia, whose owners have tied up their black servant and abandoned her while they ran. The propagandist painting convey a message of Japanese soldiers rescuing other ethnicities from white men, and expressing a sense of moral superiority of the Japanese. Despite this, it still falls into the same tendency of Western paintings where other ethnicities and cultures are feminized and exoticized. For example, the breasts of the female is pronounced while the rifle of the soldier is placed near the figure's crotch, almost like a phallic symbol. </text>
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                <text>藤田嗣治 (Fujita Tsuguharu)</text>
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                <text>Shōwa 19 (1944)</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>192 x 257 cm</text>
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                <text>Oil on Canvas</text>
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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Captives</text>
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                <text>捕虜 (Horyo)</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>43.5 x 27.8 cm</text>
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                <text>Pencil, crayon, and watercolors on paper</text>
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            <description>An account of the resource</description>
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                <text>Sketches of Australian Prisoners-of-War by Miyamoto Saburo when he visited Singapore during World War 2. Even though Miyamoto is aware that these Westerners are Japan's enemies, he still admired the physical characteristics of these caucasian men. He proudly highlights the muscular upper torso and robust physiques of these men, even though they are prisoners</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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            <description>A name given to the resource</description>
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                <text>Attack on Nanyuan, Beijing </text>
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                <text>南苑攻撃図 (Nan-en Kōgeki-zu)</text>
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            <description>An account of the resource</description>
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                <text>A painting by Miyamoto depicting the Japanese attack on Beijing during World War 2. The pose of the soldier raising his rifle and flag is modeled after Lady Liberty in Eugene Delacroix's 1830 painting "Liberty Leading the People", demonstrating how Miyamoto adapted body languages from Western art to celebrate Imperial Japan's glory</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>Shōwa 16 (1941)</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>176.7 x 255 cm</text>
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                <text>Oil on Canvas</text>
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