Who painted Short Nap on a Long Summer Day?

Short Nap on a Long Summer Day was painted by Okada Beisanjin in 1795.

Where can I see Short Nap on a Long Summer Day?

Short Nap on a Long Summer Day is held by Cleveland Museum of Art.

What movement is Short Nap on a Long Summer Day?

Short Nap on a Long Summer Day is associated with Romanticism.

Artwork

Short Nap on a Long Summer Day

Okada Beisanjin , 1795

Short Nap on a Long Summer Day is a work on paper by the Romanticist artist Okada Beisanjin. It dates from 1795 and is held in the collection of the Cleveland Museum of Art.

About this work

A man dozes on a woven mat under a tree, his hat tipped over his face.

This small painting was likely swapped between friends—Nanga artists traded works like letters. The loose brushstrokes and quiet scene feel personal, not grand. It’s more about a lazy afternoon than a famous moment.

To see how other Edo artists painted everyday life, look up the subject: *japan, edo period (1615–1868)*.

Overview

“Short Nap on a Long Summer Day” is a modestly sized work typical of the Nanga, or Southern School, tradition that flourished in Japan during the 17th and 18th centuries. The painting depicts a solitary figure reclining on a woven mat beneath a tree, his hat shielding his face as he rests. Its intimate scale and informal subject place it within the private exchanges that characterized the genre.

Subject & Meaning

The scene captures a moment of quiet repose, emphasizing the everyday pleasure of a summer afternoon. By portraying a lone individual in a state of relaxation, the work reflects a broader aesthetic appreciation for simplicity and the fleeting nature of leisure, rather than commemorating a historic event or narrative.

Technique & Style

Executed with fluid, loosely applied brushstrokes, the painting conveys a sense of immediacy and personal touch. The understated palette and minimal detailing align with Nanga artists’ preference for spontaneous expression, drawing on Chinese literati ideals while adapting them to Japanese sensibilities.

History & Provenance

Works of this size were commonly exchanged among Nanga practitioners as informal correspondence, often compiled later into shared albums that recorded gatherings of artist friends. This particular sheet likely circulated within such a network, serving both as a creative token and a record of communal artistic interaction.