“Max Touret” Marubeni Gallery

Last updated on 2026-05-25

My impressions after viewing “Max Touret: The Unknown Post-Impressionist Painter” at the Marubeni Gallery in Takebashi, Tokyo in May 2026.

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Exhibition Overview
My impression
Summary
Reference links

Exhibition Overview

Exhibition Title: Max Touret: The Unsung Post-Impressionist Painter
Dates: March 17, 2026 (Tue) – May 23, 2026 (Sat)
Hours: 10:00 – 17:00 (Last entry at 16:30)
Closed: Sundays, national holidays, New Year’s holidays (December 26, 2025 – January 4, 2026), and during exhibition changeovers
Location: Marubeni Gallery, Takebashi, Tokyo
Admission Fee: 500 yen (Cashless payment only; cash not accepted)
Photography of some works is permitted; please refer to the notices posted at the gallery for details.

My impression: “Realism and pointillism, various techniques”

This exhibition is divided into the following themes:

Waterside Landscapes – 12 pieces (1-12)
Rural Landscapes – 9 pieces (13-21)
Alley Scenes with Houses – 10 pieces (22-31)
Figure Paintings and Nudes – 5 pieces (32-36)
Historical Scenes – 6 pieces (37-42)
Still Life Paintings – 6 pieces (43-47)

One reason for this themed exhibition is that the dates of creation of many of the works are unknown.

The painter Max Touret (May 26, 1872–February 26, 1963) gained widespread recognition in 2023 when the Eugène Boudin Museum in Honfleur, France, held an exhibition commemorating the 60th anniversary of his death. According to the preface written by the former director of the Eugène Boudin Museum, this exhibition appears to have originated from the one held in France.

The three pointillist paintings depicting “Caudbeck en Caux” in Chapter 3 impressed me the most. In particular, painting number 25, “Caudbeck en Caux: Woman Praying in a Church,” struck me because it depicted three figures: a goddess, a person praying, and a portrait. Adjacent to it was a realistic street scene that also made a strong impression due to its contrast with the Pointillist style.

The self-portrait and the portrait of his wife in chapter four were interesting because they differed in technique, likely due to the different periods in which they were painted.

Most of the works exhibited in Japan this time had a soft, warm style. If all of the artist’s works were like this, it would be unusual for the era in which he was active. According to the biography in the preface, he served in World War I for five years. By World War II, he was nearly 70 years old and apparently too old to go to the battlefield.

The preface mentions that his technique and style changed chronologically. However, since the exact production dates of many works are unknown, a deeper understanding of the artist’s life could be gained if the order of creation were clarified and the works were organized more systematically. I look forward to future research progress.

Summary

This exhibition premiered in France and traveled to Japan shortly afterward. It may visit several other countries. If so, it will likely be quite some time before it returns. I was very pleased to see the works of an artist I was previously unaware of, even though I saw the exhibition just before it ended.

If there’s ever an opportunity to see this artist’s entire body of work, said to comprise around 350 pieces, I’m curious to see if there are any pieces with a different style than those I saw this time.

Reference links

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