This study examines the effects of the Shirakaba school's acceptance of Western art with a focus on the “Shirakaba” and "Nika" groups. Since the Meiji period, Japan has implemented a national policy aimed at catching up with Western advancements and there has been a movement to reflect this trend in the art field. In the early Meiji period, the promotion of art grew under the protection of the government as part of national policy. The Meiji government established an art school and a government-sponsored exhibition to implement policies. However, there has been a series of abuse aimed at exhibition judges, undermining their authority and the nature of the policy that tried to bring advanced art into the system. Seiki Kuroda, a teacher at the Tokyo art school and then head of the Hakuba society attempted to overcome this situation. Shirakaba school formed the Nika group, insisting on seeing anti-academy and anti-exhibition participation. In the end, the Shirakaba school and Shirakaba magazine served as spearheads to promote Western art in Japan in the course of Japan's modern westernization as well as stepping stones to nurture students after school. Meanwhile, as Kojima Kikuo and Hosokawa Moritatsu who were involved in the Shirakaba school had a certain status in the Western art troupe of Japan, intervened in the production of the portrait of Yasui Sotaro. Finally, the Shirakaba school has led to excessive interference in the creative activities of their successors.