{"id":"tachisme","no":472,"name":"Tachisme","ja":"タシスム","era":"1945–1960","family":"抽象表現","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Tachisme","url":"https://www.tate.org.uk/art/art-terms/t/tachisme"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/t/tachisme","credit":"Tate — Art Terms: Tachisme","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/T46-17%20(1946)%20-%20Hans%20Hartung%20(1904%20-%201989)%20(39225331995).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:T46-17%20(1946)%20-%20Hans%20Hartung%20(1904%20-%201989)%20(39225331995).jpg","credit":"Hans Hartung《T46-17》1946 — Wikimedia Commons / CC BY 2.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Wols%2C%20D%C3%A9sirs%20de%20libert%C3%A9%20(Freiheitsdrang)%2C%201940.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Wols%2C%20D%C3%A9sirs%20de%20libert%C3%A9%20(Freiheitsdrang)%2C%201940.jpg","credit":"Wols《自由への渇望》1940 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Peinture%20murale%20de%20Jean%20Fautrier%2C%20la%20Grande%20Ourse.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Peinture%20murale%20de%20Jean%20Fautrier%2C%20la%20Grande%20Ourse.jpg","credit":"Jean Fautrier《おおぐま座》壁画 — Wikimedia Commons / CC BY-SA 4.0"}]},"essence":"タシュ（染み）から名を得た、筆触と滴りの偶然性を主役にするヨーロッパの抽象。計画された構図を捨て、絵具が置かれ流れる速度そのものが画面の秩序になる。アンフォルメルの中でも身振りの速さに焦点を置く呼び名。","cues":["染みと滴りの集積","速い身振りの筆跡","中心を持たない配置","白地の余白との対比"],"intents":["遊び"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["art-informel","abstract-expressionism"],"study":["アンフォルメルとの用語の重なり","身振りと時間の記録性","書との比較論"],"en":{"essence":"A European abstraction named after the tache—the stain—that gives the leading role to the chance of touch and drip. Planned composition is abandoned; the very speed at which paint lands and flows becomes the order of the surface. Within Art Informel, the name that focuses on the swiftness of the gesture.","cues":["Accumulations of stains and drips","Marks of rapid gesture","Arrangements without a centre","Contrast with reserves of white ground"],"works":["Identity systems energised by authentic ink splashes and calligraphic speed","Title sequences and posters where a single fast gesture is the hero"],"recipe":{"type":"One quiet grotesque, small and stable, set against the moving marks","layout":"Off-centre clusters of gesture surrounded by generous white; no grid, only momentum","material":"Fluid ink and thinned paint that stains, drips and splashes on a white ground"},"avoid":"Avoid retouching or composing the splash after the fact—corrected gestures lose the recorded speed that is the style's entire content.","study":["The overlap in terminology with Art Informel","Gesture as a record of time","The debate comparing it with calligraphy"]}}