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The beginnings of "My Bestwork" date back to 2007. Masao Hoki, the founder of the museum, wanted to create something that would become the hallmark of the museum when he established the museum. He gathered a group of artists and asked them to paint a large work over F100 (French standard sizes) paintings on a theme of their own choosing that would become "My Bestwork" in the future over a period of three years.

The paintings were then displayed in a special exhibition room called the Gallery 8, at the opening of the museum in 2010. While most of the rooms in museum are located with white walls and white floor, Gallery 8 consists of black walls and black floor. Each work is displayed in a space that are six meters in distance from eachother, separated by a glass wall.

The artists have been working on their own masterpieces and have been refining their own works without cutting any corners. The artists do not know each others works until they are exhibited. Of course, we do not know until we receive the works. There are about 60 artists in the Hoki Museum collection at present, but the artists whose works are on display here are the brightest at the moment. The works will be on display for three years. Thus, the "My Bestwork" exhibition has changed exhibits four times and is now in its fifth iteration.

This exhibition will be accompanied by guide that allows visitors to they can read explanations of the works by the artists themselves. Please use the QR code placed next to the artwork to access the dedicated website.

All the works have been newly drawn by 13 artists over the three years.

The exhibition brings together over F100 (French standard sizes) paintings,and is at the forefront of realistic paintings, in which the artists themselves are proud to depict their masterpieces.





「私の代表作」展は、作家の方々に “自身にとっての代表作となるものを描いてください” という作品制作を依頼することも大きな特徴です。本来であれば多くの人に評価されて初めてそう呼ばれる、いわば鑑賞者によって生まれるものとも言える「代表作」の創作を依頼されることほど、描き手にとっては困難なこともありません。そういった中での、出展作家らの挑戦あふれる、渾身の作品に出会えることは本展の醍醐味でもあります。






館内にFREE Wi-fi が設置されました。



館内にFREE Wi-fi が設置されました。いままで電波が入らなかった地下階でも通信が可能になります。


Hiroshi Noda, Toshiro Aoki, Fumihiko Gomi

Masayuki Hara, Toshihiro Ohata, Osamu Obi

Kenichiro Ishiguro, Atsushi Suwa

Ryo Shiotani, Emi Hiroto, Takaya Fujita

Tomohiro Yamanashi, Kei Mieno


Hiroshi Noda

Toshiro Aoki

Fumihiko Gomi

Masayuki Hara

Toshihiro Ohata

Osamu Obi

Kenichiro Ishiguro

Atsushi Suwa

Ryo Shiotani

Emi Hiroto

Takaya Fujita

Tomohiro Yamanashi

Kei Mieno

Artist Voice

Hiroshi Noda

This painting depicts Kaga Otohiko. He is the rare Japanese long-form author who died last year at the age of 93. Kaga and I had various connections. He was my best friend, my friend who I would go out drinking with until very recently.

I first met him when there was talk about whether or not I would do the illustrations for his novel Marshland, then being published as a serial in the morning edition of the Asahi Shimbun newspaper. Up until then I knew nothing about Kaga, so in a panic I tried to read his major novel, most difficult novel Conviction. I decided “well I think I should paint them,” yes, I thought, it looks interesting so why not try.

But having to paint one picture a day, trying seemed the hardest, the most troublesome, I tried to draw a bird’s nest. So that took two weeks, and I thought that is probably not going to work. So I then thought that I should meet Kaga, apologize for not being able to keep my promise, refuse the job and go home. But then I explained the situation, and that is why it is impossible and said all that. And he said, “That is ok, that is just fine, it is ok,” saying he did not understand. So basically he tricked me into deciding there was nothing I could do but paint the pictures.

It was horrible to be conned like that and I was truly troubled to have to paint illustrations from dawn to dusk every day, but in the end, that is how I became close friends with Kaga.

Then the same thing happened again when he was 90. What is that place just before Karuizawa, Oiwake? Kaga had his country house there, and it was called the Karuizawa Bungakukan, and for years he was the director. When he turned 90, all sorts of people gathered to congratulate him, and he said, “I think it would be even better if the portrait of me that you paint for me were here.” So once again he did it to me, so once again after decades it was time for “Kaga-speak.”

At that point I had not yet been able to do anything. I had been able to sketch Kaga, but had not yet gotten to the stage of painting him. As he got weaker and weaker he then died, but this time, at last, I did it.

As Paul Valéry said, “nothing is finished,” and “poems are never finished, just abandoned.” In that sense, it is a painting that I somehow brushed, and here for now it is finished.

'Noble Being,Op.9'







Fumihiko Gomi

I wonder when this tree was born, but by the time it had a topknot on its head, it was already the size of a man.

When the tree was big enough to overpower the surrounding area, smoke could be seen in the west. It is said that a group of people called the Chogitai fought a battle and lost. Decades later, the earth shook and a huge black smoke billowed up in the western sky for days. Many people died. In another few decades, silver wings, so many that they could be seen as stars, flew high into the sky to the west and turned the city into a sea of fire. Another few decades passed. The northern lands shook, there was a great tsunami and radiation poison was spread.


I want to paint a history. But not history paintings.

A large tree that has lasted for a hundred or two hundred years lives in good health, has been hit by storms, has been deeply wounded, has thirsted under the sun, knows the soil, knows insects and animals, has been hot and cold, and remembers all of this with its whole body, in the bumps on its trunk, in the branches and leaves, everywhere and everywhere.

I can't read them, but I copy them one by one, memorise their shapes, and love them. This is the history of this big tree as I see it.

'A hundred winds, a hundred rains, a hundred suns.'

Masayuki Hara

These are sheep pastures in the village of Hartsop in England’s Lake District. Sheep graze peacefully in late autumn, when the purplish red heather blossoms still blanket the hills’ middle flanks. Sounds that have resonated across these hillsides since time immemorial, the bark of the sheepdog herding sheep, the shepherd’s skillfully whistled commands. Since antiquity humans and nature have coexisted and quarreled in this landscape. Thus, I found many important reasons to paint this scene as a landscape painting.

I wonder how much time and labor it took to stack stone upon stone to create the dry stone walls.

That which is made by humans weathers with time, harmonizing, unifying as it returns to surrounding nature. And those things are essential for this landscape.

'Sheep Pastures in Hartsop'












「細胞融合増殖抑制装置(Injection Devices)」

諏訪 敦



塩谷 亮





「Simone con la mitologia」

Emi Hiroto

A somewhat dilapidated wooden sofa. My son, sitting right in the middle of it, looking out at us. Next to him is his favorite soft stuffed toy. Light pours in through the thin curtain. For me, just my son being there I see this world as a complete place. That space too, Illuminated by the light shining in from the window, Feels powerful, beautiful. I wanted to convey how the small world around me Is special, complete. I painted this picture with the thought that it might help in weaving “his tale” to come.

A somewhat dilapidated wooden sofa. My son, sitting right in the middle of it, looking out at us. Next to him is his favorite soft stuffed toy. Light pours in through the thin curtain. For me, just my son being there I see this world as a complete place. That space too, Illuminated by the light shining in from the window, Feels powerful, beautiful. I wanted to convey how the small world around me Is special, complete. I painted this picture with the thought that it might help in weaving “his tale” to come.

'A Tiny Tale'






「anatomical model / figure」




三重野 慶




Nov. 23, 2023 (Thu.) - Nov. 2026

10am to 5:30pm
Admission will be accepted until 5:00 pm, 30 minutes before closing time.
Information on closed days calendar Please confirm.
Hoki Museum Gallery 8

Exhibition Overview


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〒267-0067 3-15 Asumigaoka Higashi, Midori ward, Chiba City, Chiba Prefecture

tel. +81-43-205-1500 / fax. +81-43-205-1511

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