In 1931, at the age of 19, in June, he formed Pacific Modern Art Society (1931) with Shinichi ISHIDA, Takeshi SONODA, Katsuyoshi KATSUMOTO, Inashiro TAJIRI, and others. Saburo ASO and Masaaki TERADA also participated. He published “Sen” (Line), the journal of Pacific Modern Art Society. The name of the magazine is given by Shunsuke.
On September 14, it published a journal “Sen” No.2, which was discontinued.
Around this time, his father Katsumi began to devote himself to the movement of “Seicho no Ie” advocated by Masaharu TANIGUCHI, and influenced his older brothers Akira and Shunsuke.
In 1932, at the age of 20, in April, he organized Sekkaku (1932) with the central members of Taiheiyo Kindai Geijutsu Kenkyukai. He rented his studio at Sasagaoka in Kitaarai, Nagasaki-cho, Kitatoshima-gun (Current 1-chome, Kano-cho, Toshima Ward), and he used it as his research institute together.
Around this time, he began to interact with Aimitsu.
Around September, there was a conflict within Red Sukage, and the Society was dissolved. Even after the dissolution of the lower house, the group gathered in Liliom and continued exchanges. Masao TSURUOKA, Tatsuoki NANBATA, Aso and Terada also gathered.
In 1933, at the age of 21, in April, 5 works including <> (1933) were exhibited in the 5th Hokutokai art exhibition.
In August, his older brother Akira started the publication of ‘art of life’ an in-house magazine of “Seicho no Ie”. Shunsuke also contributed articles and illustrations such as “Detsu-san” “human landscape” from October to the last issue in October 1936, and was involved in editing.
In June, he exhibited 3 pieces including <> in the 6th Hokutokai art exhibition.
In the summer, when “Komyo Thought Promotion Society” was established to sell publications of “Seicho no Ie” her father Katsumi and mother Hana went to Tokyo and the family moved to Harajuku, Shibuya Ward, 2- 170 No.8 (The current address is 14 -15, Jingumae 3-chome, Shibuya-ku.). Shunsuke will also help promote and edit the Komyo Thought Promotion Society.
In December, he contributed “Memoirs of the Gallery” to the Journal of NOVA Art Association, ‘NOVA’ No.2.
In 1935, when he was 23 years old and January, he entered 3 pieces including (1935) in the 5th Nova Art Association Exhibition and became a member of the Dojin <>. He also contributed “Memoirs of the Gallery” to the 3rd issue of ‘NOVA’.
In September, he submitted <> to the 22 Nika Exhibition and won his first prize.
In 1936, when he was 24 years old and January, he exhibited 15 works including <> and sketches at the 6th Nova Art Association Exhibition (1936).
In September, he resigned from Komyo Shiso Kankokai.
In the same month, he submitted <> to the 23 Nika Exhibition.
October: ‘art of life’ ceased publication with its October issue. Many writers and painters such as Jun TAKAMI, Haruo SATO, Kotaro TAKAMURA, Toshiyuki HASEGAWA, Ichiro FUKUZAWA, Aimitsu and Aso contributed essays and sketches.
In the same month, he started to issue ‘miscellaneous journal’ a monthly essay magazine he had been planning to publish with Sadako. It was issued in the studio “Sogo Kobo”. Fumiko Hayashi, Sakutaro Hagiwara and Kotaro Takamura wrote and Tsuguharu Fujita, Ichiro Fukuzawa and Tsuruoka wrote drafts for the magazine. He also wrote and drew sketches for “miscellaneous journal” etc.
In 1937, when he was 25 years old and January, he exhibited 21 works including <> and <> in the 7th Nova Art Association Exhibition (1937).
In September, he exhibited <> in the 24 Nika exhibition.
In November, he formed the Black Bean Society with the members of Red Sukage and Liliom and holds meetings every month.
In December, ‘miscellaneous journal’ ceased publication with its 14 issue.
In 1938 (1938), at the age of 26, in the first half of the year, he imitated and studied a portrait from Masamu YANASE ‘proletarian painter Georges Gros’ (Tetto Shoin, published in 1929).
In September, he exhibited 2 pieces of <> in the 25 Nika exhibition.
In 1939, (1939) at the age of 27, in February, 5 works including <> were exhibited in the 7th Forum Exhibition.
In September, he exhibited <> in the 26 Nika exhibition.
November: He exhibited <> in the 1st Rokugeikai exhibition.
In 1940, (1940) at the age of 28, in March, he submitted 2 pieces of <> <> to the 2nd Kumurokai exhibition and became a member thereafter.
In August, he exhibited <> <> in the 27 Nika exhibition and received a special discount.
In October, he held his first solo exhibition, Shunsuke Matsumoto’s, at the Nichido Gallery in Ginza, and exhibited 30 works.
In the same month, he exhibited <> in the 2nd Western-style painting exhibition held in 2600 A.D.
In 1941, when he was 29 years old and March, (1941) “living painter” was published in the April issue of the same magazine in response to the discussion article “National Defense and Art” published in the January issue of ‘Mizue’.
In May, he held an exhibition of Shunsuke Matsumoto and Yasutake Funakoshi in Morioka, and exhibited 30 works including <>.
August: He exhibited <> (Later, the exhibition traveled to Morioka.) in the 1st Iwate Art Association Tokyo Exhibition.
In September, he exhibited <> <> in the 28 Nika exhibition and became his friend.
In 1942, at the age of 30, in February, he held Shunsuke MATSUMOTO’s 2nd private exhibition at Nichido Gallery, where he exhibited 35 works including <> (1942).
In September, he exhibited 2 pieces of <> <> in the 29 Nika exhibition.
In October, he held an exhibition of Tetsuro SAWADA, Yasutake FUNAKOSHI and Shunsuke MATSUMOTO in Morioka, and exhibited 10 works.
This year, he was employed in the production of wall paintings at “Lady Beauty Salon” in Ikebukuro, “Blue Hawaii” in Kamata, “Wings of the Century” in Sugamo, and “Bar-Goldwin” in Gotanda, through the introduction of Koichi SAGA, his friend from Hanamaki.
1943 (1943), April 31, Aso, processing in Chinese