Portraits Of Jennie By Yasushi Rikitake.108 -

A: Rikitake destroyed 36 of them in a performance titled "Forgetting." The remaining works are scattered in private collections. Version .108 is widely considered the pinnacle. If you have been moved by "Portraits Of Jennie By Yasushi Rikitake.108," consider supporting the Yamamoto Museum’s conservation fund—because even ghosts need caretakers.

But what exactly is Portraits Of Jennie By Yasushi Rikitake.108 ? Why does it resonate with such visceral power? To understand this work, we must first dissect its three components: the artist, the muse, and the mystical number. Yasushi Rikitake is a Japanese-born, Paris-based visual philosopher. Unlike his contemporaries in the hyper-realistic or purely abstract schools, Rikitake occupies a liminal space. His body of work is obsessed with mono no aware (the bittersweet awareness of impermanence) and yūgen (profound, mysterious grace). Portraits Of Jennie By Yasushi Rikitake.108

A: The estate has authorized only 108 archival pigment prints, each signed and annotated with a different layer number. They are priced at $18,000 and sell out within hours of release. A: Rikitake destroyed 36 of them in a

He locked himself in his Montmartre studio for 108 days. The result was a series of 144 works, of which is considered the master key. The Subject: Who is Jennie? To appreciate the ".108" iteration, one must understand the ghost of Jennie Appleton. In the original 1948 film, Jennie is a spectral figure who ages backwards. She is a metaphor for the art of memory itself—always present, always fleeing, never fully tangible. But what exactly is Portraits Of Jennie By Yasushi Rikitake

In version .108, Jennie is turned three-quarters away from the viewer. Her hair is charcoal black bleeding into unpainted canvas. Her lips are barely a suggestion. But her right eye—that singular, piercing orb—holds the entire narrative. Critics call it "the eye that sees the viewer from the other side of time." Why the suffix .108? In Rikitake’s own artist statement (published in the Bardo Journal of Transpersonal Art , 2021), he explains: “In Buddhism, there are 108 earthly desires. In Hinduism, 108 is the number of wholeness. In the human body, we have 108 marmas (energy points). But in love, 108 is the number of breaths before a ghost forgets your name.” For Portraits Of Jennie By Yasushi Rikitake.108 , the number refers to the layer count. Using a technique he calls kaze-nagashi (wind-flowing), Rikitake would apply oil paint, let it dry for 12 hours, then use a solvent to pull the pigment vertically downward—like rain on a windowpane. Layer 108 was the final "anti-layer." He did not add paint; he removed it.

Critics were divided. Artforum called it “pretentious sentimentality wrapped in academic mysticism.” But Frieze magazine declared it “the most genuine depiction of ghost love since Goethe’s Erikönig .”

Before the "Jennie" series, Rikitake was known for his "Vanishing Tokyo" collection—paintings of neon-lit alleyways dissolving into fog. However, in 2016, he discovered a deteriorating film reel of the 1948 classic Portrait of Jennie (directed by William Dieterle, starring Jennifer Jones). The film, which tells the story of a man who falls in love with a ghost moving backwards through time, triggered a creative seizure in Rikitake.