Nagano Prefectural Art Museum
Rebuilt beside Zenkoji, its roof opened free to the public as a 'landscape museum' framing the town and mountains.
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Rebuilt beside Zenkoji, its roof opened free to the public as a 'landscape museum' framing the town and mountains.
Holds the 970 works Higashiyama gave to the province, in a Taniguchi building reflected in still water.
A construction family's collection running from Yokoyama Taikan to European modernism.
Yayoi Kusama was born here; her polka dots run from the permanent gallery out to the sculptures and even the vending machines.
The original Japanese craft fair, which established makers selling their own work and set the pattern for the rest.
For the picture-book painter Chihiro Iwasaki; the building lies low toward the Alps with no edge between museum and park.
For Morie Ogiwara, where modern Japanese sculpture began; built by donations from 300,000 local people.
Sculpture set inside a Romanesque-styled building, centred on Hiroatsu Takata, who studied under Rodin's shadow.
A picture-book gallery in a pine wood, showing the brushwork that printing always loses.
One of the world's great collections of Art Nouveau glass, including major works by Emile Galle.
Holds Fujisan, the only tea bowl by Hon'ami Koetsu designated a National Treasure, shown about once a year.
For Takei Takeo, who coined the Japanese word for children's illustration and made 139 hand-bound limited books.
Only painters who died young; their drawings hang in a dim room, most of them made before the artist turned thirty.
Said to last three generations; its striped and checked colourways follow local conventions.
Hokusai came here four times in his eighties; the waves he painted on a festival float ceiling are shown still in the float.
A contemporary Nihonga painter shown alongside the town's festival floats, carved in Hokusai's own era.
Postwar Western and Japanese art collected in parallel, in galleries merged into a garden below Mt Asama.
A glass box in the middle of the resort, programming only Japanese art made after 1945.
Iron-rich local earth in the ground coat makes it exceptionally tough; it grew as souvenirs for travellers on the highway.
Kiso hardwoods turned on the lathe and often left unlacquered, so choosing the timber is the real skill.
In a Meiji silk merchant's house, hanging Nihonga in the same rooms as its collection of old kimono.
Two families keep two separate moulds and palettes in the same town - an unusual survival of parallel lineages.