DOCSLIB.ORG

List of Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
List of Works ❷1757 ❸ paper, persimmon tannin❹ 20.7×42.4 ❺ Tokyo University of the Arts ❻染織 207-133 ❼ T, 1049 List of Works Tokyo University of the Arts ❻染織 207-5 ❼ T, K M Paper Stencil with Pattern of “Yuri-ni- － － Kawarishima”, Lilies on Stripes 1028 1039 ❷ before 1874 ❸ paper, persimmon tannin❹ Paper Stencil with Pattern of “Aoikarakusa”, Paper Stencil with Pattern of “Misujikôshi-ni- 55.5×41 ❺ Musée de l’Impression sur Etoffes, Arabesques Pattern of Mallows Ran”, Orchids on Lattices Mulhouse ❻ 874.6.15 ❼ T, K, M ❷1758 ❸ paper, persimmon tannin❹ 20.6×42.2 ❺ ❷1830 ❸ paper, persimmon tannin❹ 21.7×40.8 ❺ － Tokyo University of the Arts ❻染織 207-86 ❼ K, Tokyo University of the Arts ❻染織 207-154 ❼ T, 1050 Legend 1006 1017 M K Paper Stencil with Pattern of “Hagi-to-Ichô- • The data on each work are listed in the following Paper Stencil with Pattern of “Shimadori-ni- Paper Stencil with Pattern of “Tai”, Sea － － ni-Tsuyushiba”, Japanese Bush Clovers, order: catalogue number, name of the artist, title Matsuba-ni-Hana”, Stripes, Pine Needles and Breams 1029 1040 Ginkgos and Grasses with Dewdrops of the work, ❶ place of production, ❷ date of Flowers ❷1812 ❸ paper, persimmon tannin❹ 27.2×41.7 ❺ Paper Stencil with Pattern of “Unryû”, Paper Stencil with Pattern of “Hachirashi”, ❷ before 1874 ❸ paper, persimmon tannin❹ production, ❸ materials, ❹ dimensions (in ❷1727 ❸ paper, persimmon tannin❹ 26.3×40.7 ❺ Suzuka City ❻ O9 ❼ M Dragons and Clouds Scattered Leaves 30.5×41.5 ❺ Musée de l’Impression sur Etoffes, centimeters), ❺ owner, ❻ registration number＊ ❻ ❼ Suzuka City ❻ O83 ❼ M ❷ ❸ ❹ ❺ ❷1840 ❸ paper, persimmon tannin❹ 25.2×41.4 ❺ Mulhouse 874.6.32 T, K, M acquisition data and ❼ Initials (T. K. M.) － 1761 paper, persimmon tannin 20.6×41.9 ❻ ❼ Tokyo University of the Arts ❻染織 207-58 ❼ K, － indicate the sites at which the work will be － 1018 Tokyo University of the Arts 染織 207-69 T, 1007 M 1051 exhibited (Tokyo, Kyoto, Mie). Paper Stencil with Pattern of “Kawaridake”, M Paper Stencil with Pattern of “Sakura”, • The works included in each chapter are divided Paper Stencil with Pattern of “Mugura-Baika- Bamboos － － 1041 Cherry Blossoms into eight categories and presented in the Ôgi”, Tangled Weeds, Japanese Apricots and ❷1819 ❸ paper, persimmon tannin❹ 25.8×40.6 ❺ 1030 following order: katagami, woodworking, Folding Fans Suzuka City ❻ O3 ❼ T Paper Stencil with Pattern of “Inaho-ni- Paper Stencil with Pattern of ❸ paper, persimmon tannin❹ 23.8×44.8 ❺ Japan ❷1730 ❸ paper, persimmon tannin❹ 20.7×41.3 ❺ “Waritsukegara”, Geometric Patterns Women’s University ❻ 3 ❼ T, K, M metalworking, ceramics, glass, textiles, graphics, － Suzume”, Ears of Rice and Sparrows ❻ ❼ ❷1850 ❸ paper, persimmon tannin❹ 20.2×41 ❺ and reference materials. Suzuka City O80 T 1019 ❷1765 ❸ paper, persimmon tannin❹ 20.4×41.3 ❺ － Tokyo University of the Arts ❻染織 207-344 ❼ T, 1052 • Within each category, works are organized by － Paper Stencil with Pattern of “Toridasuki-ni- Tokyo University of the Arts ❻染織 207-218 ❼ T, date of production. M 1008 Daishôarare-to-Chô”, Butterflies and K Paper Stencil with Pattern of “Tsuzumi”, • The number in brackets [ ] after the title of a Paper Stencil with Pattern of “Kôrin’ume- Hailstones on a Wavy Lattice － Hand Drums book is the date of its accession by the － 1042 Uguisu”, Japanese Apricots in Kôrin Style and ❷1842 ❸ paper, persimmon tannin❹ 20.9×41 ❺ ❸ paper, persimmon tannin❹ 24.6×44.3 ❺ Japan Bibliothèque Nationale de France and not 1031 Japanese Bush Warblers Suzuka City ❻ O29 ❼ M Paper Stencil with Pattern of “Kikukarakusa”, Women’s University ❻ 8 ❼ T, K, M necessarily the publication date. Paper Stencil with Pattern of “Yuinawa”, Tied ❷1734 ❸ paper, persimmon tannin❹ 21.3×40.7 ❺ Chrysanthemun Arabesques • Katagami are organized by date of production, － Ropes － Suzuka City ❻ O81 ❼ K ❷1856 ❸ paper, persimmon tannin❹ 25.8×41.5 ❺ 1053 if known; undated katagami are organized 1020 ❷1767 ❸ paper, persimmon tannin❹ 24.8×41.4 ❺ Tokyo University of the Arts ❻染織 207-67 ❼ T, Paper Stencil with Pattern of “Shida”, Ferns alphabetically by the name of the institution in － Paper Stencil with Pattern of Tokyo University of the Arts ❻染織 207-15 ❼ K, 1009 K whose collection they are found and the “Waritsukegara”, Geometric Patterns M ❸ paper, persimmon tannin❹ 24.1×44.1 ❺ Japan registration number. Paper Stencil with Pattern of “Ryûsui- ❷1713 ❸ paper, persimmon tannin❹ 22×43 ❺ － Women’s University ❻ 9 ❼ T, K, M Chidori”, Streams and Plovers － 1043 • The date stated for a katagami is the date in the Tokyo University of the Arts ❻染織 207-1 ❼ T, M 1032 － inscription on it. ❷1737 ❸ paper, persimmon tannin❹ 20.5×41.3 ❺ Paper Stencil with Pattern of “Koi”, Carp 1054 － Paper Stencil with Pattern of “Kikukarakusa”, • The name of each work is given in English, Suzuka City ❻ O78 ❼ M ❷1864 ❸ paper, persimmon tannin❹ 30.6×41.1 ❺ 1021 Chrysanthemun Arabesques Paper Stencil with Pattern of “Shokkô”, except for posters and books, for which the titles ❻ ❼ － Paper Stencil with Pattern of Tokyo University of the Arts 染織 207-199 K, Linked Circles and Squares are given in the original language. ❷1778 ❸ paper, persimmon tannin❹ 26.7×42 ❺ 1010 “Kawarachidori”, Plovers and Streams M ❸ paper, persimmon tannin❹ 23.7×44.6 ❺ Japan • The place of production is given in the original Tokyo University of the Arts ❻染織 207-27❼ T, Paper Stencil with Pattern of － ❻ ❼ ❷1718 ❸ paper, persimmon tannin❹ 21.2×41.8 ❺ M Women’s University 19 T, K, M language. “Takarazukushi”, Treasures 1044 • The dimensions are given as length × width for Tokyo University of the Arts ❻染織 207-369 ❼ T, － ❷1738 ❸ paper, persimmon tannin❹ 20.8×41.2 ❺ － Paper Stencil with Pattern of “Hishikôshi-ni- two-dimensional works; for three-dimensional K 1033 1055 Suzuka City ❻ O77❼ T Nanamejû”, Rhombuses and Crosses works, they are usually given as depth × width × － Paper Stencil with Pattern of “En-no-Mijin”, Paper Stencil with Pattern of “Kikukarakusa”, ❷1812 ❸ paper, persimmon tannin❹ 25.5×43.5 ❺ height or height × diameter; for exceptions, the － 1022 Minute Circles Chrysanthemun Arabesques place measured is indicated in parentheses. 1011 Paper Stencil with Pattern of “Kôshiji-ni- Kunstgewerbemuseum, Staatliche ❸ paper, persimmon tannin❹ 24.7×43.5 ❺ Japan ❷1782 ❸ paper, persimmon tannin❹ 20.2×42 ❺ ❻ Paper Stencil with Pattern of “Saya”, Key Frets tsuta”, Vines on Lattices Kunstsammlungen Dresden Kasten 32, Nr. Women’s University ❻14 ❼ T, K, M Tokyo University of the Arts ❻染織 207-30 ❼ T, 153 ❼ T, K, M ❷1751 ❸ paper, persimmon tannin❹ 20.9×40.2 ❺ ❷ ❸ ❹ ❺ 1722 paper, persimmon tannin 22×42.8 K － Suzuka City ❻ O75 ❼ K Tokyo University of the Arts ❻染織 207-3 ❼ K, － 1056 Part 1. The World of Paper Stencils － 1045 － M 1034 Paper Stencil with Pattern of “Ume-ni- Their history and development in Japan 1012 Paper Stencil with Pattern of “Yabure- Matsuba”, Japanese Apricots and Pine Paper Stencil with Pattern of “Arareji-ni- Hishikôshi-ni-Takedabishi-ni-Yotsuhana”, 1023 Needles Paper Stencil with Pattern of “Hishi-ni- Kotori”, Birds on Hailstone Patterns Broken Rhombushes, Four Diamonds and 1001 Yotsuhana”, Diamonds Enclosing Four-Petal Paper Stencil with Pattern of “Tsuta”, Vines ❸ paper, persimmon tannin❹ 24.4×41.6 ❺ Japan ❷ ❸ ❹ ❺ Four-Petal Flowers Paper Stencil with Pattern of “Ichôtachibana”, Flowers 1788 paper, persimmon tannin 20.5×41.8 ❻ ❼ ❷1725 ❸ paper, persimmon tannin❹ 21.2×43.4 ❺ Women’s University 1 T, K, M Ginkgo Leaves and Mandarin Oranges Tokyo University of the Arts ❻染織 207-32 ❼ K, ❷1812 ❸ paper, persimmon tannin❹ 24.4×43.5 ❺ ❷1773 ❸ paper, persimmon tannin❹ 20.8×41.5 ❺ Tokyo University of the Arts ❻ 207-164 ❼ T, 染織 M Kunstgewerbemuseum, Staatliche － ❷1707 ❸ paper, persimmon tannin❹ 21.6×41.3 ❺ Suzuka City ❻ O36 ❼ M 1057 M Kunstsammlungen Dresden ❻ Kasten 72, Nr. Suzuka City ❻ O85 ❼ T － Paper Stencil with Pattern of － － 1035 54 ❼ T, K, M － 1013 1024 “Takarazukushi”, Treasures Paper Stencil with Pattern of “Ichô”, Ginkgo － 1002 Paper Stencil with Pattern of “Kôshi-ni- ❸ paper, persimmon tannin❹ 23.5×39.2 ❺ Japan Paper Stencil with Pattern of “Midaregôshi- Leaves 1046 Paper Stencil with Pattern of “Toritsunagi”, Karakusa”, Arabesque Patterns on Lattice ❻ ❼ ni-take”, Bamboos on Lattices Paper Stencil with Pattern of “Inaho”, Ears of Women’s University 25 T, K, M Connected Birds ❷1796 ❸ paper, persimmon tannin❹ 20.8×42.7 ❺ ❷1777❸ paper, persimmon tannin❹ 26×41 ❺ ❷ ❸ ❹ ❺ 1731 paper, persimmon tannin 20.5×43.1 ❻ ❼ Rice － ❷1710 ❸ paper, persimmon tannin❹ 20.5×40.6 ❺ Suzuka City ❻ O21 ❼ K Tokyo University of the Arts 染織 207-161 T, Tokyo University of the Arts ❻染織 207-115 ❼ T, ❷ before 1829 ❸ paper, persimmon tannin❹ 1058 Suzuka City ❻ O89 ❼ K M － K 20×41.6 ❺ Museum Volkenkunde, Leiden❻ Paper Stencil with Pattern of “Kawarisandô- － 1014 － ni-Sakura”, Cherry Blossoms on Mountain － 1036 1-3448＊bought from Ph.F.B. von Siebold in 1003 Paper Stencil with Pattern of “Tori-ni-Arare”, 1025 1837 ❼ T, K, M Paths Paper Stencil with Pattern of “Karigane”, Paper Stencil with Pattern of “Ichômatsuba”, Birds and Hailstones Paper Stencil with Pattern of “Tessen-ni- ❸ paper, persimmon tannin❹ 24.9×40.8 ❺ Japan Wild Geese － Ginkgo Leaves and Pine Needles ❷1792 ❸ paper, persimmon tannin❹ 20.8×41.6 ❺ Kikukarakusa”, Clematis with 1047 Women’s University ❻17 ❼ T, K, M ❷1807 ❸ paper, persimmon tannin❹ 20.2×42 ❺ ❷1715 ❸ paper, persimmon tannin❹ 21.5×40.8 ❺ Suzuka City ❻ Q48 ❼ K Chrysanthemun Arabesques Paper Stencil with Pattern of “Omodaka-ni- － ❻ ❼ Tokyo University of the Arts ❻染織 207-43 ❼ T, Suzuka City J38 M － ❷1747 ❸ paper, persimmon tannin❹ 27×43.2 ❺ Tsubushi”, Sagittaria Trifolias and Drops 1059 K － 1015 Tokyo University of the Arts ❻染織 207-221 ❼ K, ❷ before 1829 ❸ paper, persimmon tannin❹ Paper Stencil with Pattern of “Yatsufuji-ni- 1004 Paper Stencil with Pattern of M － 19×42.5 ❺ Museum Volkenkunde, Leiden❻ Sakura”, Wisteria Wreaths and Cherry 1037 Blossoms Paper Stencil with Pattern of “Hishikôshi-ni- “Koborematsuba”, Pine Needles － 1-3448-b＊bought from Ph.F.B.
Load more

Recommended publications
  • Voorpagina 2
    Universiteit Gent Academiejaar 2011-2012 Brussel Bedrukt Affiches voor de tentoonstellingen van Brusselse kunstenaarsverenigingen 1880-1914 Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, Voor het verkrijgen van de graad van Master, Door Hadewych Hernalsteen (00803190). Promotor: prof. dr. M. Sterckx. Afbeelding: Georges Lemmen, affiche voor het 18 e salon La Libre Esthétique, 1911 (cat. 56.)... Universiteit Gent Academiejaar 2011-2012 BRUSSEL BEDRUKT Affiches voor de tentoonstellingen van Brusselse kunstenaarsverenigingen 1880-1914 Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, Voor het verkrijgen van de graad van Master, Door Hadewych Hernalsteen (00803190). Promotor: prof. dr. M. Sterckx. ABSTRACT [NL] De affiche kende haar eerste hoogtepunt na de industriële revolutie. Door de uitvinding van de moderne steendrukpers werd het mogelijk om op een relatief eenvoudige en snelle manier een grote oplage te drukken. Grote bedrijven maakten gebruik van de affiche als reclamemedium. Culturele groepen vonden met de affiche een nieuwe manier om zich op de kaart te zetten en hun activiteiten aan te kondigen bij een breed publiek. Dit onderzoek heeft tot doel om de affiches die gemaakt werden voor de belangrijkste Brusselse kunstenaarsverenigingen op het einde van de negentiende eeuw te verzamelen en hen binnen een bredere kunsthistorische context te plaatsen. Het uiteindelijke doel bestaat erin te zien in hoeverre de stijl en vormgeving van de affiches beantwoorden aan het programma van de vereniging waarvoor ze gemaakt zijn. In hoeverre is er een lijn te trekken in de verschillende affiches die voor een bepaalde vereniging werden gemaakt en in hoeverre is er een evolutie zichtbaar in de ontwerpen van deze affiches? Een andere vraag die zal onderzocht worden is in hoeverre de stijl van de ontwerper en de inhoud van de tentoonstelling tot uiting komen in het ontwerp van de affiche.
    [Show full text]
  • Des « Symbolistes » Aux « Nabis ». La Genèse D’Un Groupe Et D’Une Catégorie Singulière Catherine Méneux
    UNIVERSITÉ PARIS 1 PANTHÉON-SORBONNE CENTRE DE RECHERCHE HiCSA (Histoire culturelle et sociale de l’art - EA 4100) HiCSA Éditions en ligne CRITIQUE(S) D’ART : NOUVEAUX CORPUS, NOUVELLES MÉTHODES SOUS LA DIRECTION DE MARIE GISPERT ET DE CATHERINE MÉNEUX DES « SYMBOLISTES » AUX « NABIS ». LA GENÈSE D’UN GROUPE ET D’UNE CATÉGORIE SINGULIÈRE CATHERINE MÉNEUX Pour citer cet article Catherine Méneux, « Des “Symbolistes” aux “Nabis”. La genèse d’un groupe et d’une catégorie singulière », dans Marie Gispert et Catherine Méneux (dir.), Critique(s) d’art : nouveaux corpus, nouvelles méthodes, Paris, site de l’HiCSA, mis en ligne en mars 2019, p. 452-539. ISBN : 978-2-491040-02-4 DES « SYMBOLISTES » AUX « NABIS » LA GENÈSE D’UN GROUPE ET D’UNE CATÉGORIE SINGULIÈRE CATHERINE MÉNEUX En 1899, François Thiébault-Sisson rend compte d’une exposition importante organisée en hommage à Odilon Redon chez Durand-Ruel, qui réunit pour la première fois dans ses prestigieuses galeries des jeunes artistes de l’avant-garde 1. Ce début de consécration appelle au retour en arrière et, à propos de certains d’entre eux – les « symbolistes d’antan » –, Thiébault-Sisson se souvient de la « curiosité soulevée » par leur première exposition dans la galerie du marchand Louis-Léon Le Barc de Boutteville en 1891. Le critique évoque alors tour à tour Maurice Denis, Paul Sérusier, Pierre Bonnard, Paul Ranson, Jozsef Rippl-Ronai, Félix Vallotton, Édouard Vuillard, Charles Filiger et Ker-Xavier Roussel, avant de conclure sur une interprétation de leur démarche artistique ponctuée de paradoxes : « on voit que les symbolistes d’antan n’étaient symbolistes qu’à demi.
    [Show full text]
  • Press File Openning: 6 December 2013
    Press File Openning: 6 december 2013 Under the High Patronage of Their Majesties the King and the Queen Press service MUSEE FIN-DE-SIECLE MUSEUM BE CULTURE General Manager: Séverine Provost Project Coordinators: Charlotte Materne (FR) [email protected] - +32 (0)484 82 19 43 Lore Lambrechts (DU) [email protected] - +32 (0)478 43 66 67 T: (0)2 644 61 91 - [email protected] - www.beculture.be Communication & External Relations ROYAL MUSEUMS OF FINE ARTS OF BELGIUM Press - Barbara Porteman [email protected] - +32 (0)2 508 34 08 www.fine-arts-museum.be 1 SUMMARY 1. EDITORIAL BY MICHEL DRAGUET 3 2. PRESS RELEASE 7 3. MUSÉE FIN-DE-SIÈCLE MUSEUM, A BEACON OF BELGIAN HERITAGE 8 4. MUSÉE FIN-DE-SIÈCLE MUSEUM WITH EDUCATEAM 20 5. A TECHNICAL CHALLENGE 21 6. A UNIQUE MULTIDISCIPLINARY PARTNERSHIP 24 7. MUSEE FIN-DE-SIECLE MUSEUM AND BASE DESIGN 30 8. EUROPALIA INDIA 31 9. VISITOR INFORMATION 32 2 1. EDITORIAL BY MICHEL DRAGUET Many contemporary studies see a major role for culture and, more particularly, for cultural heritage, in the development of an economy in Europe in order to break out of the crisis. Characterized as “old” and aware of the need to develop an economy based on sustainable development, Europe has to draw a vital impulse from what makes it historically distinctive : a knowledge economy rooted in a heri- tage that brings together, within a single perspective, natural sites and the evidence of an unrivalled past. In 2009 the first edition of the Forum d’Avignon emphasized this dual aspect of the development of our territory that would combine sustainable development with the promotion of our cultural heritage.
    [Show full text]
  • La Réforme, No. 56 (25 Février 1885). Letter from Fernand Khnopff
    1885 Khnopff, Fernand, « Lettre adressée à La Réforme, » La Réforme, no. 56 (25 février 1885). Letter from Fernand Khnopff to La Réforme Lundi soir Monsieur, Vous écrivez dans la Réforme du 23: « M. Khnopff a pris, pour incarner Léonora, la tête, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis. » C’est faux. J’ai trouvé dans la description éparai de Joséphin Péladan (entre pages 2, 23, 69, etc.) les traits caractéristiques de ma figure; lorsque j’ai été averti de la ressemblance, j’ai fait tout ce qui était possible pour l’atténuer et si, à l’exposition, je n’ai pas retiré le dessin, c’est qu’on était loin de s’accorder sur la « frappante ressemblance. » Quant au reproche, venant d’autre part, d’ « avoir abusé de la complaisance de Mme. Caron pour exposer aux tableau dont elle repousse tout espèce de collaboration, alors que j’étais venu chez elle pour faire son portrait en tenue de ville, » il est absolument ridicule. Le portrait—commandé—est vu d’un tout autre coté que le dessin, et si j’avais voulu « prendre la tête » de Mme. Caron, il eut été plus facile et surtout plus rapide de me servir d’une photographe. Veuillez, Monsieur, insérer dans votre prochain numéro ces explications définitives et agréer l’expression de mes sentiments distingués. Fernand Khnopff P.S. Dans l’intérêt de l’art, je conseille à Félicien Rops de ne pas risquer, en ce moment, un exposition de son œuvre, ou ne se comptant plus les « têtes, d’une frappante ressemblance, d’une de nos artistes lyriques les plus belles et les plus applaudis.
    [Show full text]
  • From the Luxurious to the Rustic. Belgian Art Nouveau Ceramics Between Industry and Craftmanship Dr
    Strand 4. Research and Doctoral Thesis in Progress From the Luxurious to the Rustic. Belgian Art Nouveau Ceramics Between Industry and Craftmanship Dr. Mario Baeck Abstract Thanks to the lawyer Edmond Picard, who founded the ground breaking art gallery La Maison d'Art in Brussels, applied arts received a lot of attention in Belgium from the 1890s onwards. As a result, many leading figures from the art nouveau movement - including Henry van de Velde, Alfred William Finch, Omer Coppens, Arthur Craco and Isidore De Rudder - became interested in ceramics. Their work, often strongly influenced by the old Flemish rustic production, received a lot of attention at world exhibitions and in the avant-garde art magazines. Poterie Flamande pottery from the Céramiques de Courtrai (1898-1926), led by the engineer Pieter-Jozef Laigneil, also occupied an important position and was sold in the famous luxury store Liberty in London and even in New York. We discuss Belgian art nouveau ceramics for the years 1890-1914 as shown at ground breaking exhibitions of Les XX and La Libre Esthétique. Keywords: art nouveau ceramics, arts & crafts movement, William Morris, decorative arts in Belgium, Les XX, La Libre Esthétique, Alfred William Finch, Omer Coppens, Arthur Craco, Poterie Flamande 1 The art ceramics at Les XX and La Libre Esthétique in Brussels In the 1890s in Belgium applied arts and the so-called arts industriels - long only presented at world exhibitions - gradually gained more attention and appreciation as well in art circles as from a growing number of buyers, initially mainly at temporary exhibitions such as those of the internationally renowned artists' group Les XX and later La Libre Esthétique 1.
    [Show full text]