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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Hunger and Thirst </text>
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                <text>飢渴 (Kikatsu)</text>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>Compared to Miyamoto's many war paintings, Hunger and Thirst is special in many ways. First, it wasn't commissioned by the military nor is it based on any specific military event or photograph. Miyamoto's conception for this painting came purely from this own imagination. Secondly, and most apparent, this painting does not portray a glorious subject. It shows an injured and downtrodden Japanese soldier surprised and horrified by his own face reflected from a puddle. Other than highlighting the horrors of war, this painting also depicts the dilemma of Japanese people trying to find their ideal self-identity in a caucasian-centered world. </text>
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                <text>石炭置き場 (Sekitan okiba)</text>
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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> 男: 黄土に住む人 (Otoko: Ōdo ni sumu hito)</text>
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                <text>This work is supposedly inspired by Fukuzawa's trip to China in 1939, where he sighted a poor man living among the deserts Loess Plateau. The figure also reflects Fukuzawa's spiritual condition and a representation of the tragedy suffered by Chinese people during the war. </text>
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                <text>The Battle of Okinawa </text>
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                <text>「氷島」の著者（萩原朔太郎像）(「Hyōtō」no Chosha: Hagiwara Sakutarō zou)</text>
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                <text>Portrait of Sakutarō Hagiwara </text>
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                <text>This print is dedicated to Onchi's friend of 20 years, famous modern Japanese poet Hagiwara Sakutarō. It was created one year after Hagiwara's death in 1942. In this print, Onchi illuminates the life-long hard work and anguish that Hagiwara endured through the wrinkles on his face and his solemn expression. Today, it's seen as one of the finest exemplars of the "Sōsaku Hanga" (Creative Print) movement in Japan</text>
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                <text>At Ruin--Allegory No. 3</text>
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                <text>Shõwa 23 (1948)</text>
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                <text>Mother and Child: The Way from Renzankan of Hōten</text>
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                <text>北岡文雄 (Kitaoka Fumio)</text>
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                <text> 母と子　連山関から奉天に向う (Haha to ko: Renzankan kara Hōten ni mukau)</text>
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                <text>Part of the "祖国への旅" series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2</text>
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