Japanese Prints: From The Early Masters To The Modern

Japanese Prints: From The Early Masters To The Modern

Language: English

Pages: 294

ISBN: 1258819287

Format: PDF / Kindle (mobi) / ePub

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Shibui Kiyoshi, noticed that on many prints hitherto ascribed to Moronobu appeared the character Mura or the inconspicuous word Jihei, and working upon this clue he began to resurrect the artistic personality of Sugimura Jihei and to take from Moronobu many prints that were once ascribed to him. This collection contains two additional Sugimura prints of high quality, the black line being especially good, but they are too erotic in content to be reproduced. I regret this, for they demonstrate what

showing human figures standing against solid-color backgrounds, and these are powerful prints. The Eishi Print 183 is in this tradition, as are certain Kiyonagas, but the form reaches its apex with the works of Toyokuni. The prints shown here are masterpieces of the type and their appeal is instantaneous. This stems partly from the fact that one instinctively feels them to be a culmination of an art form that started back at the beginnings of ukiyo-e, and one can see in the Toyokunis an honored

1718. Kuzo as Miura Arajirō in Zen kunen yoroi-kurabe, performed XI/1718, Morita-za. Signature: Torii Kiyonobu hitsu. Publisher's seal; Emiya, Shimmei-mae, yoko-chō. Condition good (creased, stained, backed). From Chandler, 1905. Urushi-e: 2 colors by hand. 29.5 X 15.8. Kiyomasu I Torii Kiyomasu I (worked mid-1690's to early 1720's). Little is known of Kiyomasu's early work, but during the 1710's his signed prints far outnumber those by Kiyonobu, who may have been his elder brother. Kiyomasu's

which certain things have been done-but never by Harunobu-and it is interesting that each of the things done to the paper can also be subtracted one by one, for they are tactile accomplishments: the colors can easily be faded out by either sunlight or bleaches; the lines can be removed; and the paper itself can be lifted away strand by strand until mysteriously what was, is suddenly no more. You are thus driven, whether you like it or not, perilously close to the Platonic concept that your print

Hiratsuka. 240. AFTERNOON SUN. 1952. This print, which ends the Statler book on modern prints, is a favorite of many connoisseurs. Its mosaic construction is achieved technically by gluing small fragments cut from wooden lunch boxes to the block, but artistically it derives from Seurat's pointillism and from Byzantine mosaic work. This print required three traditional blocks for ground color, and seven mosaic blocks, from which thirty separate printings were pulled. Signed and sealed. Condition

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