Author: Frank WhitfordPublisher:
ISBN:
Category : Art
Languages : en
Pages : 278
Book Description
Looks at the impact of Japanese prints on Western artists, in particular the French artists in the 19th Century.
Japanese Prints and Western Painters
Author: Frank WhitfordPublisher:
ISBN:
Category : Art
Languages : en
Pages : 278
Book Description
Looks at the impact of Japanese prints on Western artists, in particular the French artists in the 19th Century.
Japonisme
Author: Siegfried WichmannPublisher:
ISBN:
Category : Art
Languages : en
Pages : 436
Book Description
Japan's door to the outside world was opened in 1858, ending a 200-year period of total isolation. The wealth of superb Japanese traditions of ceramics, metalwork and architecture, as well as printmaking and painting, reached the West and brought with it electrifying new ideas of composition, colour and design. In this book, Siegfried Wichmann, the internationally renowned expert on Japonisme, accompanies his breathtaking illustrations with a text that marshals a wealth of detail and opens up new lines of enquiry.
Maximum Embodiment
Author: Bert Winther-TamakiPublisher:
ISBN:
Category : Art
Languages : en
Pages : 260
Book Description
Maximum Embodiment presents a compelling thesis articulating the historical character of Yoga, literally the “Western painting” of Japan. The term designates what was arguably the most important movement in modern Japanese art from the late nineteenth to the mid-twentieth centuries. Perhaps the most critical marker of Yoga was its association with the medium of oil-on-canvas, which differed greatly from the water-based pigments and inks of earlier Japanese painting. Yoga encompassed both establishment fine art and avant-gardist insurgencies, but in both cases, as the term suggests, it was typically focused on techniques, motifs, canons, or iconographies that were obtained in Europe and deployed by Japanese artists. Despite recent advances in Yoga studies, important questions remain unanswered: What specific visuality did the protagonists of Yoga seek from Europe and contribute to modern Japanese society? What qualities of representation were so dearly coveted as to stimulate dedication to the pursuit of Yoga? What distinguished Yoga in Japanese visual culture? This study answers these questions by defining a paradigm of embodied representation unique to Yoga painting that may be conceptualized in four registers: first, the distinctive materiality of oil paint pigments on the picture surface; second, the depiction of palpable human bodies; third, the identification of the act and product of painting with a somatic expression of the artist’s physical being; and finally, rhetorical metaphors of political and social incorporation. The so-called Western painters of Japan were driven to strengthen subjectivity by maximizing a Japanese sense of embodiment through the technical, aesthetic, and political means suggested by these interactive registers of embodiment. Balancing critique and sympathy for the twelve Yoga painters who are its principal protagonists, Maximum Embodiment investigates the quest for embodiment in some of the most compelling images of modern Japanese art. The valiant struggles of artists to garner strongly embodied positions of subjectivity in the 1910s and 1930s gave way to despairing attempts at fathoming and mediating the horrifying experiences of real life during and after the war in the 1940s and 1950s. The very properties of Yoga that had been so conducive to expressing forceful embodiment now produced often gruesome imagery of the destruction of bodies. Combining acute visual analysis within a convincing conceptual framework, this volume provides an original account of how the drive toward maximum embodiment in early twentieth-century Yoga was derailed by an impulse toward maximum disembodiment.
Japanesque
Author: Karin BreuerPublisher: Prestel Publishing
ISBN: 9783791350820
Category : Color prints, Japanese
Languages : en
Pages : 0
Book Description
This lavishly illustrated book examines the profound influence of Japanese prints on the Impressionists and their American contemporaries.
Japanese Prints and Western Painters
Author: Frank WhitfordPublisher:
ISBN:
Category : Art
Languages : en
Pages : 272
Book Description
Looks at the impact of Japanese prints on Western artists, in particular the French artists in the 19th Century.
Looking East
Author: Helen BurnhamPublisher:
ISBN: 9780878468102
Category : Art, Japanese
Languages : en
Pages : 0
Book Description
"Published in conjunction with the exhibition Looking East, organized by the Museum of Fine Arts, Boston; Frist Center for the Visual Arts, Nashville, Tennessee, January 31-May 11, 2014; Setagaya Art Museum, Tokyo, Japan, June 28-September 15, 2014; Kyoto Municipal Museum of Art, Japan, September 30-November 30, 2014; Nagoya/Boston Museum of Fine Arts, Japan, January 2-May 10, 2015; Musee National des Beaux-Arts du Quebec, Canada, June 11-September 27, 2015; Asian Art Museum, San Francisco, California, October 30, 2015-January 24, 2016"--Colophon.
Western Influences on Japanese Art
Author: Hiroko JohnsonPublisher: Hotei Publishing
ISBN:
Category : Art
Languages : en
Pages : 182
Book Description
The Akita Ranga art school is a by-product of rangaku, 'Dutch learning', an important intellectual movement in eighteenth-century Japan. Akita Ranga artists, highly influenced by illustrations in Western books, created a new direction in Japanese art by using Western techniques such as chiaroscuro (shading) and perspective. Odano Naotake (1750-80), a leading Akita Ranga artist, illustrated Kaitai shinsho, Japan's first anatomy book. Dr. Johnson first analyses how Naotake applied new techniques to traditional Japanese art and created a quasi-Western style of painting. Secondly, she focuses on Lord Satake Shozan (1748-85), who wrote Japan's first art theory and criticism on Western art and whose complete text is translated and incorporated in this book. Shozan also based his three sketchbooks on foreign books, especially the Schouwtoneel der Natuur by Noel A. Pluche, and wrote an encyclopaedia of scientific lore. By focusing on the influence of illustrations in foreign books, Johnson brings a new perspective to Japanese art history.
Japanese Art in Perspective
Author: 高階秀爾Publisher:
ISBN: 9784866581804
Category : Art, Japanese
Languages : en
Pages : 191
Book Description
"How do Japanese and Western aesthetics differ? In this comparative cultural study, TAKASHINA Shūji, a leading scholar of Western art history and insightful commentator on Japanese art, compares the two artistic traditions to reveal the distinctive characteristics of the Japanese sense of beauty. The first section, Methods of Japanese Art, uses examples and cross-cultural comparisons to elucidate the techniques by which Japanese artists cultivated their unique approach. These include roving rather than fixed perspective, the 'aesthetic of negation' -- excising the unnecessary to emphasize what remains -- and the 'trailing bough' motif, which evokes a world beyond the work's borders and influenced Western artists such as Monet. In the second section, East-West Encounters, Takashina examines the history of cultural interaction between Japan and the West from the early modern period on and its influence on the art of both. The third section, Passing Beauty, Returning Memory, contains essays on Japanese culture more broadly, including its preference for recurring forms over fixed monuments and its tradition of combining multiple seasons in a single image. Japanese Art in Perspective is a guide not only to the art of Japan but to the essence of its spiritual culture." --
Japanese Prints
Author: Christie, Manson & Woods International IncPublisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
The Politics of Painting
Author: Asato IkedaPublisher: University of Hawaii Press
ISBN: 0824872126
Category : Art
Languages : en
Pages : 165
Book Description
This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.