Nakamura Hiroshi

Nakamura Hiroshi described the 1950s as a “civil-war era,” and he obviously had confrontations over the militarization of Japan in mind. He himself took both the Girard and Sunagawa incidents as subjects of his artwork, in two equally powerful but stylistically very different protest paintings. Militarization, however, was only one aspect of what Nakamura and his like-minded compatriots found disturbing and grotesque in post-occupation Japan. Commonly known as the “reportage painters” for their distinctive left-wing combination of realism and surrealism, these artists also called attention to social oppression and grievous poverty; to corruption, and the return of former militarists to high political positions; and to the “inhumane mechanism” of postwar society in general. (via)