Hajime Kato was born on February 7, 1925, in Kanda, Tokyo, and lived his life with extraordinary drive—both as a dedicated painter and a competitive cyclist—until his passing in Paris on February 10, 2000.

In his early years, Kato immersed himself in the world of cycling. After World War II, from 1947 to 1949, he earned numerous titles across various categories and was considered a strong candidate for Japan’s Olympic team bound for Helsinki. However, financial hardship struck his family due to a large land tax imposed on their property, forcing him to abandon his Olympic aspirations. Instead, he turned professional in the Keirin cycling discipline, a move seen as a step down for elite athletes of the time. Despite the disappointment, Kato transformed this setback into fuel for his ambitions.

His efforts in the world of professional cycling culminated in his appointment as Vice President of the International Professional Cycling Federation, where he achieved three major milestones: elevating Keirin to the status of a recognized World Championship event, ensuring the participation of a Japanese cyclist in the World Championships, and securing the opportunity to host a World Championship in Japan.

Kato’s passion for art had been evident since childhood. Fascinated by airplanes, he spent hours sketching them in intricate detail, capturing even the texture of the materials. His early interest in art ran parallel with his athletic career, but a turning point came when he reached the age of 33—the same age his father had died when Kato was just two years old. With a sense of urgency and determination, he left everything behind in Japan to pursue painting full-time in Paris.

Settling in the French capital, Kato dedicated the next 42 years to refining his craft. The first decade was spent experimenting with fresh ideas, resisting the influence of prevailing Parisian art trends. It wasn’t until the late 1960s that he began to solidify his personal artistic voice.

By the 1970s, his signature style emerged—characterized by flowing, curved lines symbolizing “l’envol” (flight). Seeking a translucent effect in his work, Kato moved away from impasto techniques and instead developed a unique approach involving multiple thin layers of paint.

In 1970, Kato became a member of the prestigious Salon d’Automne, an annual Parisian exhibition founded in 1903 that has showcased major figures of modern art such as Renoir, Cézanne, Matisse, and Picasso. That same year, he began exhibiting regularly at both the Salon Comparaison and the Salon National des Beaux Arts (SNBA).

His 1983 solo exhibition at the Aubusson National School of Decorative Arts drew high praise. At the opening, the French Minister of State for European Affairs, Mr. Chandernagor, described Kato’s work as a “joyful union of East and West, as well as tradition and the modern age.”

In 1991, Kato was honored with a special award from the French Ministry of the Environment during the centennial celebration of the Salon National des Beaux Arts.

Reflecting on his dual careers in sports and art, Kato often said that while a bicycle race ends with a white finish line, art has no such final destination—likening it instead to chasing a mirage. “My life has not been dramatic like a film,” he once wrote. “I was simply one among many Japanese men who lived through the Showa era. To stop meant to fall, so I kept going. I’ve always been consumed by the urge to move at full speed, and that feeling still drives me. If that passion ever disappears, maybe I have no choice but to gracefully fade away.” These poignant words were written in the foreword to his autobiography.

Kato’s unwavering dedication to painting persisted until the very end of his life. Even as his health declined, he continued to travel daily to his studio until just two and a half months before his death. He completed a painting for the Salon d’Automne exhibition that year. In late January 2000, between doses of morphine, he was asked, “What is it that you want to do most?” His final clear words were: “I want to paint.”