Abstract
This article examines cross-national, geographical analogizing through the under-theorized example of an artist colony in Japan nicknamed the "Ikebukuro Montparnasse" (a title coined by the poet Hideo Oguma, 1901-40). Located in the Toshima Ward of Ikebukuro district, Tokyo, this community flourished in the 1930s and housed mostly young, impoverished painters and sculptors, evoking the Montparnasse area of Paris. The analogy with Montparnasse is significant for several reasons. First, the concept of an "artist's village" was just being introduced to Japan during this time, and the Ikebukuro quarter exemplified this trend. Second, at the height of Japanese nationalism, the Ikebukuro Montparnasse had an anti-establishment reputation, partly linked to the ideal of Parisian bohemianism. Artworld analogies can be sharply political. Many of the artists and poets in this community were criticized as hikokumin, "those who failed to support the country," during wartime. This study also elucidates what I see as a partial turn from Sinophilism to Francophilism in the modern Japanese art world. Overall, I demonstrate how becoming involved in a community seen as Tokyo's answer to Montparnasse was a way for Japanese modernists to forge a new collective identity.