Sadao Hasegawa: Paintings

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And while we’re on the subject of Bond design, Daniel Kleinman’s superb Casino Royale title sequence is on YouTube. Sadao Hasegawa ( 長谷川 サダオ, Hasegawa Sadao) (1945-1999) was a Japanese graphic artist known for creating homoerotic fetish art, which often involved bondage and SM. Biography If The Beatles were an avant-garde gay band with complicated concepts and their own religion, something between Coil and Psychic TV, then the Japanese artist Sadao Hasegawa (1945-1999) would be their all-time favorite designer. He could become an underground icon of the hippie sixties and seventies with the people's enthusiasm about cults, drugs, and free love, but for some reason, Hasegawa didn't want to be famous abroad. Yet our suggestion allows us to fully describe the art of this mystic who preferred committing suicide rather than getting old. To the soldiers and sailors, especially die-hard officers who might still wish to continue fighting, the emperor did not mention the atomic bomb. Rather, it was Soviet participation in the war that provided a more powerful justification to persuade the troops to lay down their arms.[88] Hasegawa cited Go Mishima and Tom of Finland among his influences, calling the former "a master illustrator of the male physique" in an obituary written in 1989 for Barazoku. [2] His early works, directly inspired by Tom of Finland, reflected European art styles. Beginning in the late 1980s, Hasegawa began making regular trips to Bali and Thailand, resulting in a greater focus on Asian iconography and mythology in his art. [2]

Boeicho Boeikenshujo Senshishitsu, Kantogun,Vol. 2, Kantokuen, Shusenji no taiso sen (Tokyo: Asagumo shinbunsha, 1974), 326. Quoted in Boeicho Boeikenshujo Senshishitsu, Senshi sosho: Daihonei rikugunbu, 10: 420; Kawabe, “Jicho nisshi,” 252. Baron is pleased to present the first posthumous book by Japanese artist Sadao Hasegawa (Jan 1945- Nov 1999), dedicated to Hasegawa’s rarely-published archive. Almost immediately following the end of World War II, Americans began to question the use of the atomic bomb and the circumstances surrounding the end of the Pacific War. More than half a century later, books and articles on the atomic bomb still provoke storms of debate among readers and the use of atomic weapons remains a sharply contested subject.[1] As the 1995 controversy over the Enola Gay exhibit at the Smithsonian’s National Air and Space Museum revealed, the issues connected with the dropping of the bombs on Hiroshima and Nagasaki continue to touch a sensitive nerve in Americans. Among scholars, disagreement remains no less heated. But, on the whole, this debate has been strangely parochial, centering almost exclusively on how the U.S. leadership made the decision to drop the bombs. Yukio Mashima was a successful writer who was tapped to receive a Nobel Prize in Literature multiple times. His work explored themes like sexuality in a semi-autobiographical way. He wrote his perspective as a gay man. His work has since resonated with many queer men, apparently including Hasegawa.Kristian F. Power, Sadao Hasegawa gallery 1. (n.d.). Retrieved July 28, 2021, from http://www.kristianfpower.com/HSG/index.html Born in the Tōkai region of Japan, Sadao Hasegawa was a Japanese graphic artist known for creating homoerotic fetish art. His first solo exhibition, “Sadao Hasegawa’s Alchemism: Meditation for 1973” was held in Tokyo, Japan, and featured collages, sculptures, and oil paintings. In 1978 Hasegawa’s art was published for the first time in “Barazoku”, a monthly magazine for gay men. Later he would be published inthe magazines “Sabu”, “Samson” and Adon”.

As I have argued above, Japan relied on Soviet neutrality both militarily and diplomatically. Diplomatically, Japan pinned its last hope on Moscow’s mediation for the termination of the war. Only by Soviet entry into the war was Japan forced to make a decision on the Potsdam terms. Militarily as well, Japan’s Ketsu Go strategy was predicated on Soviet neutrality. That was why the General Staff’s Bureau of Military Affairs constantly overruled the Fifth Department’s alarming warnings that a Soviet invasion might be imminent. Manchuria was not written off, as Frank asserts; rather, the military was confident that it could keep the USSR neutral, at least for a while. When the Soviet invasion of Manchuria occurred, the military was taken completely by surprise. Even Asada admits, “[T]he Soviet entry spelled the strategic bankruptcy of Japan.”[98] Despite the repeated bravado calling for the continuation of the war, it pulled the rug right out from underneath the Japanese military, puncturing a gaping hole in their strategic plan. Their insistence on the continuation of the war lost its rationale. a b c d Naruyama, Akimitsu (1 December 2008). "HASEGAWA SADAO". #205 Matsuoka Kudan Bldg. 2-2-8 Kudan Minami, Chiyoda-Ku, Tokyo 102-0074 Japan. Naruyama Gallery . Retrieved 25 February 2013. The crucial question here, however, concerns the effect of the Hiroshima bomb on the emperor. Both Asada and Frank make the argument that Togo’s meeting with the emperor was a crucial turning point in both men’s decision to seek an immediate end to the war on the terms stipulated by the Potsdam Proclamation. This argument, however, is not convincing. Baron is pleased to present the first posthumous book by Japanese artist Sadao Hasegawa (Jan 1945- Nov 1999), dedicated to Hasegawa’s rarely- published archive.AB - For Gengoroh Tagame, Japan’s most recognized and influential contemporary gay erotic artist and critic, Sadao Hasegawa (1945-1999) was “the most representative of Japan’s gay artists.” With a career spanning the 1970s to 1990s, Hasegawa’s rich and expansive oeuvre of erotic and experimental art immensely influenced the practices of several of Japan and Asia’s most prominent queer artists. His vivid style – stretching from realist studies of Caucasian and Japanese bodybuilders to highly stylized and experimental celebrations of Southeast Asian masculinities and cultures – continues to inspire artists in Japan to this day. It would not be a stretch to argue that, along with Tagame himself, Hasegawa remains one of postwar Japan’s most prominent gay erotic artists. Along with their similar deaths, the portrait brought forward much discussion about the possible reasoning for Hasegawa’s death mirroring Mashima’s. Now that such a new weapon has appeared, it has become less and less possible to continue the war. We must not miss a chance to terminate the war by bargaining [with the Allied powers, Asada adds] for more favorable conditions now. Besides, however much we consult about [surrender, Asada adds] terms we desire, we shall not be able to come to an agreement. So my wish is to make such arrangements as will end the war as soon as possible.[15] Hasegawa cited Tom of Finland as one of his influences. His early works, directly inspired by Tom of Finland, reflected European art styles. However, beginning in the late 1980s, Hasegawa began making regular trips to Bali and Thailand, resulting in a greater focus on Asian iconography and mythology in his art. Sadao Hasegawa cited japanese homoerotic artist Go Mishima and artist Tom of Finland as major influences on his work. Hasegawa’s early works reflected European styles,;but after regular trips to Bali and Thailand, his work put greater focus on Asian iconography and mythology. On November 20, 1999, Hasegawa died from suicide by hanging in aBangkok, Thailand, hotel. Ownership of his work was eventually granted to Gallery Naruyama in Tokyo, which holds the majority of Hasegawa’s colledted works.

Lieutenant-General Ikeda Sumihisa, director of the General Planning Agency, testified that “upon hearing of the Soviet entry into the war, I felt that our chances were gone.” Having served in the Kwantung Army, he knew its condition well. The Kwantung Army was no more than a hollow shell, largely because it had been transferring its troops, equipment, and munitions to the home islands since the latter part of 1944 in anticipation of the homeland defense. Ikeda often told the commander of the Kwantung Army “that if the USSR entered the war, Japan would never be able to continue the war.” He firmly believed that “in the event that the Soviet [Union] entered the war, Japan’s defeat would be a foregone conclusion.”[54] N2 - For Gengoroh Tagame, Japan’s most recognized and influential contemporary gay erotic artist and critic, Sadao Hasegawa (1945-1999) was “the most representative of Japan’s gay artists.” With a career spanning the 1970s to 1990s, Hasegawa’s rich and expansive oeuvre of erotic and experimental art immensely influenced the practices of several of Japan and Asia’s most prominent queer artists. His vivid style – stretching from realist studies of Caucasian and Japanese bodybuilders to highly stylized and experimental celebrations of Southeast Asian masculinities and cultures – continues to inspire artists in Japan to this day. It would not be a stretch to argue that, along with Tagame himself, Hasegawa remains one of postwar Japan’s most prominent gay erotic artists.

Kawabe Torashiro, Nov. 21, 1949, 5–6, Historical Manuscript File, Center for Military History [hereafter CMH]. I thank Richard Frank for allowing me to use his collection from the Center for Military History. According to Asada and Frank, the cabinet meeting on August 7 was a crucial turning point. Asada argues that, judging that “the introduction of a new weapon, which had drastically altered the whole military situation, offered the military ample grounds for ending the war,” Foreign Minister Togo Shigenori proposed that “surrender be considered at once on the basis of terms presented in the Potsdam Declaration [Proclamation].”[5] Frank writes: “Togo extracted from the American statements about the ‘new and revolutionary increase in destruct[ive]’ power of the atomic bomb a reason to accept the Potsdam Proclamation.”[6] a b Naruyama, Akimitsu (January 14, 2015). "Sadao Hasegawa". Gadabout Magazine . Retrieved November 20, 2018.

Hasegawa cited Go Mishima and Tom of Finland among his influences, calling the former "a master illustrator of the male physique" in an obituary written in 1989 for Barazoku. His early works, directly inspired by Tom of Finland, reflected European art styles. Beginning in the late 1980s, Hasegawa began making regular trips to Bali and Thailand, resulting in a greater focus on Asian iconography and mythology in his art.

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Boeicho Boeikenshujo Senshishitsu, Senshi sosho: Daihonei rikugunbu, vol. 10: Showa 20 nen 8 gatsu made (Tokyo: Asagumo shinbunsha, 1975), 443. Kawabe’s diary also reveals his confusion. If his judgment proved wrong, logically it should follow that the strategy that he had advocated based on the erroneous assumption should have been reexamined. Instead of adopting this logical deduction, Kawabe “did not feel like peace and surrender in this situation.” This was not rational strategic thinking, but a visceral reluctance to accept surrender. The only rationale he could justify for the continuation of war was “the honor of the Yamato race.” His insistence on fighting was also a preemptive move, anticipating, quite correctly, that the peace party would launch a coordinated move to end the war. Nevertheless, his argument for the continuation of war indicated the degree of the army’s desperation and confusion. Kawabe’s diary entry for the evening of August 9 also indicates his psychological condition. Unable to sleep because of mosquitoes and Tokyo’s tropical heat, he mused on the fate of the country: “To continue fighting will mean death, but to make peace with the enemy will mean ruin. But we have no choice but to seek life in death with the determination to have the entire Japanese people perish with the homeland as their deathbed pillow by continuing to fight, thereby keeping the pride of the Yamato race forever.”[48] In other words, neither the cabinet nor Togo himself believed that any change of policy was necessary on the afternoon of August 7, one day after the atomic bomb was dropped on Hiroshima, although the majority of the cabinet members had already known that the bomb was most likely an atomic bomb, and furthermore that unless Japan surrendered, many atomic bombs might be dropped on other cities in Japan. In fact, far from entertaining the possibility of accepting the Potsdam terms, the cabinet was blatantly more combative against the United States, deciding to lodge a formal protest against the use of the atomic bomb.