Ryuson Chuzo Matsuyama was born in Aomori, Japan in 1880 and began his extensive training in various media, including watercolour, in Tokyo, before relocating to England in 1911 to further his artistic pursuits, studying at the Chelsea School of Art. Matsuyama was best known for his landscape paintings, capturing scenes of London and Surrey. His work showcases his versatility and his remarkable ability to merge the artistic traditions of his Japanese heritage with the British watercolour tradition.
Artist Ryuson Chuzo Matsuyama was born in 1880 in Aomori, Japan. He began his extensive training in various media, including watercolour, in Tokyo. At the age of thirty, he relocated to England in 1911, with the aim of refining his watercolour techniques. His settling in London marked the beginning of a lifelong connection with Britain, further consolidated by his marriage to Mabel Davies in Chelsea in 1914. Throughout the First World War and afterwards, he collaborated with the British Red Cross, offering aid and entertainment to injured soldiers through art, lacquerwork, and later, demonstrations of Judo and Kendo. His activities were initially based at Kitchener House in Hyde Park and later moved to Richmond House in Surrey. A notable moment was captured in a photograph entitled East Meets West published in the Nottingham Journal in 1920, which depicted Matsuyama at Kitchener House teaching a disabled soldier the art of lacquering. He received a commendation from the British Red Cross Society for his contributions.
Matsuyama's artistic career in London was diverse; he studied at the Chelsea School of Art and was involved in decorative painting, restoration, and lacquer repair. From 1926, perhaps due to challenges in sustaining a living solely through his paintings, he fully committed himself to working as a theatrical and scene painter in the vibrant West End of London. Despite the allure of London's cityscapes, Matsuyama was mostly inspired by the English countryside, particularly in Surrey, around Dorking and his residence in Holmwood, which frequently featured in his works. His artistic endeavours were recognised within both the Japanese expatriate community and the broader British art world. Matsuyama was a regular exhibitor at venues such as the Japanese Club in Cavendish Square, alongside notable figures such as Frank Brangwyn and George Clausen, supporters of Japanese art. Matsuyama had a significant presence in the British art scene, exhibiting his work at the Royal Academy of Arts, London; Royal Scottish Academy, Edinburgh; National Portrait Society, and numerous regional galleries. His contributions to these exhibitions often garnered attention in the press, where he was commonly referred to as ‘R. C. Matsuyama’. In 1919, he participated in the Japan-British exhibition. Additionally, he was a member of the Holborn Artists’ Society. Latterly, despite encountering challenges post-World War Two, which culminated in his resignation from the British Watercolour Society in 1947, Matsuyama's reputation as an artist remained intact.
Matsuyama's oeuvre encompassed a wide range of subjects, showcasing his versatility and ability to blend the artistic traditions of his Japanese heritage with the British watercolour tradition. A review of The Scooter, displayed at the 1919 International Society of Sculptors, Painters and Gravers exhibition, perfectly encapsulated this blend: 'In this artwork, Matsuyama skillfully transforms quintessentially English figures into distinctly Japanese ones, save for their attire, which, despite being Western, carries a Japanese essence in its design' (Saturday Review, p. 498).
Matsuyama was best known for his landscape paintings, capturing scenes of London and Surrey, especially the area around Holmwood. His early works included floral still-lifes reminiscent of Urushibara Mokuchu's prints, reflecting the influence of the Japanese shin-hanga movement, which sought to blend traditional ukiyo-e techniques with Western realism, particularly in its treatment of light and shadow. His exploration of quintessentially English themes, often populated with figures in contemporary attire and set against iconic landmarks or rural settings, showcased his adeptness at capturing the essence of his adopted homeland. Matsuyama's artistic journeys extended beyond the Surrey countryside to Newlyn in Cornwall (a popular location for many prominent landscape artists), North Wales, the Lake District, and even to the battle-scarred landscapes of Flanders and Northern France post-World War I, capturing the sombre aftermath in works such as his view of Ypres. His mature works from the 1920s and ‘30s, characterised by vibrant colours and dynamic compositions, particularly highlighted the English countryside's seasonal rhythms and pastoral scenes. These landscapes, marked by saturated colours and precise outlines, not only demonstrated Matsuyama's mastery over his medium but also conveyed his genuine delight in his subjects, often annotated with dates and locations, revealing personal connections to the scenes depicted. A subtle humour and charm infuse some of his works, offering glimpses into everyday life and the artist's personal experiences. Matsuyama died in England on 1 January 1954. A major exhibition of his work was held in 1987 by J Collins & Son in Bideford, Devon. Matsuyama’s work is not currently included in UK public collections.