The Red of Ukiyo-E
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Timely Timeless.Indd 1 2/12/19 10:26 PM Published by the Trout Gallery, the Art Museum of Dickinson College, Carlisle, Pennsylvania 17013
Timely and Timeless Timely Timely and Timeless Japan’s Modern Transformation in Woodblock Prints THE TROUT GALLERY G38636_SR EXH ArtH407_TimelyTimelessCover.indd 1 2/18/19 2:32 PM March 1–April 13, 2019 Fiona Clarke Isabel Figueroa Mary Emma Heald Chelsea Parke Kramer Lilly Middleton Cece Witherspoon Adrian Zhang Carlisle, Pennsylvania G38636_SR EXH ArtH407_Timely Timeless.indd 1 2/12/19 10:26 PM Published by The Trout Gallery, The Art Museum of Dickinson College, Carlisle, Pennsylvania 17013 Copyright © 2019 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from The Trout Gallery. This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. First Published 2019 by The Trout Gallery, Carlisle, Pennsylvania www.trougallery.org Editor-in-Chief: Phillip Earenfight Design: Neil Mills, Design Services, Dickinson College Photography: Andrew Bale, unless otherwise noted Printing: Brilliant Printing, Exton, Pennsylvania Typography: (Title Block) D-DIN Condensed, Brandon Text, (Interior) Adobe Garamond Pro ISBN: 978-0-9861263-8-3 Printed in the United States COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856. Woodblock print, ink and color on paper. The Trout Gallery, Dickinson College, Carlisle, PA. 2018.3.14 (cat. 7). BACK COVER: Utagawa Hiroshige, Night View of Saruwaka-machi, from the series One Hundred Famous Views of Edo (detail), 1856. -
View Checklist
Mountains and Rivers: Scenic Views of Japan, July 10, 2009-November 1, 2009 The landscape has long been an important part of Japanese art and literature. It was first celebrated in poetry, where invoking the name of a famous location, or meisho, was meant to summon a certain feeling. Later, paintings of these same locations would bring to mind their well-known poetic and literary history. Together, the poems and imagery comprised a canon of place and sentiment, as the same meisho were rendered again and again. During the Edo period (1603–1868) the landscape genre, initially available only to the elite, spread to the medium of woodblock printing, the art of commoner culture. In the 19th century, when most of the works in this exhibition were made, several factors led to the rise of the landscape genre in woodblock prints. Up to this time, the staples of the woodblock print medium had been images of beautiful courtesans and handsome kabuki theater actors. First among these factors was the rising popularity of domestic travel. The development of a system of major roads allowed many people to travel for both business and pleasure. Woodblock prints of locations along these travel routes could function as souvenirs for those who made the trip or as fantasy for those who could not. Rather than evoking a poetic past, these images of meisho were meant to tantalize viewers into imagining romantic far-off places. Another factor in the growth of the genre was the skill of two particular woodblock print artists— Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858) (whose works are heavily represented here). -
Chapter5: Ainsworth's Beloved Hiroshige
No. Artist Title Date Around Tenpō 14-Kōka 1 150 Utagawa Kuniyoshi Min Zigian (Binshiken), from the series A Mirror for Children of the Twenty-four Paragons of Filial Piety (c.1843-44) 151 Utagawa Kuniyoshi The Ghosts of the Slain Taira Warriors in Daimotsunoura Bay Around Kaei 2-4 (c.1849-51) Around Tenpō 14-Kōka 3 152 Keisai Eisen View of Kegon Waterfall, from the series Famous Places in the Mountains of Nikkō (c.1843-46) Chapter5: Ainsworth's Beloved Hiroshige 153 Utagawa Hiroshige Leafy Cherry Trees on the Sumidagawa River, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) 154 Utagawa Hiroshige First Cuckoo of the Year at Tsukuda Island, from the series Famous Places in the Eastern Capital Around Tenpō 2 (c.1831) Clearing Weather at Awazu, Night Rain at Karasaki, Autumn Moon at Ishiyamadera Temple, Descending 155-162 Utagawa Hiroshige Geese at Katada, Sunset Glow at Seta, Returning Sails at Yabase, Evening Bell at Mii–dera Temple, Around Tenpō 2-3 (c.1831-32) Evening Snow at Hira, from the series Eight Views of Ōmi 163-164 Utagawa Hiroshige Morning Scene of Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 165 Utagawa Hiroshige A Procession Sets Out at Nihonbashi Bridge, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 166 Utagawa Hiroshige Morning Mist at Mishima, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5 (c.1834) 167 Utagawa Hiroshige Twilight at Numazu, from the series Fifty-three Stations of the Tōkaidō Road Around Tenpō 5-6 (c.1834-35) 168 Utagawa Hiroshige Mt. -
Utagawa Hiroshige
Utagawa Hiroshige Contemporary Landscapes Utagawa Hiroshige (Japanese: 歌川 広重), also Andō Hiroshige (Japanese: 安藤 広重; 1797 – 12 October 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō; and for his depictions of birds and flowers. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular Thirty-six Views of Mount Fuji series by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshige's compositions, and some, such as van Gogh, painted copies of Hiroshige's prints. Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo (modern Tokyo).[1] He was of a samurai background,[1] and was the great-grandson of Tanaka Tokuemon, who held a position of power under the Tsugaru clan in the northern province of Mutsu. -
Lesson 4 – Evolution of Nocturnes, Main Lesson 1 Lesson 4: Evolution
Lesson 4 – Evolution of Nocturnes, Main Lesson 1 Lesson 4: Evolution of Nocturnes, Towards Abstraction “Look how the Japanese understand this! the same colour reappearing continually here and there like the same thread in an embroidery … the whole forming in this way an harmonious pattern” - James McNeill Whistler to Henri Fantin-Latour “As the light fades and the shadows deepen, all petty and exacting details vanish, everything trivial disappears, and I see things as they are in great strong masses … And that, night cannot efface from the painter's imagination.” - James McNeill Whistler Introduction Guiding Questions Learning Objectives Background for Teachers Preparing to Teach This Lesson Suggested Activities Activity 1. Compare and Contrast the Hiroshige print Nihonbashi, “Portrait of Artist’s Mother”, and “Nocturne Southampton Water” Lesson 4.1 Small Images and Quotes Sheet Lesson 4.2 Compare Hiroshige, Mother, Nocturne Worksheet Art Image: Hiroshige, Nihonbashi, 1855 Art Image: Whistler, Arrangement in Grey and Black No.1, Portrait of the Artist's Mother, 1871 Art Image: Whistler, Nocturne: Blue and Gold--Southampton Water, 1872 Activity 2. View “Falling Rocket” Art Image: Whistler, Nocturne in Black and Gold, The Falling Rocket Activity 3. Read Whistler v. Ruskin: Aesthetics on Trial Lesson 4.3 Whistler v. Ruskin: Aesthetics on Trial Lesson 4 – Evolution of Nocturnes, Main Lesson 2 Activity 4 Assessment. Write an Analytical Criticism of Nocturne in Black and Gold, The Falling Rocket Lesson 4.4 Assessment of Critical Analysis of Falling Rocket assignment Activity 5 Studio. Paint a Nonliteral Scene from Memory Activity 6 Lesson Extension. Hiroshige and Whistler Comparison Activity 7 Lesson Extension. -
Eight Views of the Xiao and Xiang
1 College of Arts at the University of Canterbury Art History and Theory in the School of Humanities ARTH 690 Masters Thesis Title of Thesis: The Eight Views: from its origin in the Xiao and Xiang rivers to Hiroshige. Jennifer Baker Senior Supervisor: Dr. Richard Bullen (University of Canterbury). Co-Supervisor: Dr. Rachel Payne (University of Canterbury). Thesis Start Registration Date: 01 March 2009. Thesis Completion Date: 28 February 2010. Word Count: 30, 889. 2 Abstract This thesis focuses upon the artistic and poetic subject of the Eight Views of the Xiao and Xiang, from its origin in the Xiao-Xiang region in the Hunan province of China throughout its dispersal in East Asian countries such as Korea and Japan. Certain aesthetics and iconography were retained from the early examples, throughout the Eight Views’ transformation from the eleventh to the nineteenth century. The subject‟s close associations with poetry, atmospheric phenomena and the context of exile were reflected in the imagery of the painting and the accompanying verses. This thesis will discuss the historic, geographic and poetic origins of the Eight Views, along with a thorough investigation into the artistic styles which various East Asian artists employed in their own interpretations of the series. Furthermore, the dispersal and diaspora of the subject throughout East Asia are also investigated in this thesis. The work of Japanese artist Andô Hiroshige will serve as the concluding apogee. The Eight Views of the Xiao and Xiang is an important East Asian artistic subject in both poetry and painting and contains many pervasive East Asian aesthetics. -
Ukiyo-E Landscapes and Edo Scenic Places”
Volume 14 | Issue 16 | Number 2 | Article ID 4941 | Aug 15, 2016 The Asia-Pacific Journal | Japan Focus Selections from “Ukiyo-e Landscapes and Edo Scenic Places” Nagai Kafū Translated and introduced by Kyoko Selden and Alisa Freedman Introduction period prose style, influenced by classical Chinese and replete with wordplays, literary Author Nagai Kafū (1879-1959; given name allusions, and parenthetical references. The Nagai Sōkichi) is best known for hisbook was published without illustrations, but fictionalized personal travel accounts American his detailed descriptions enabled readers to Stories (Amerika monogatari, 1908) and French visualize the colorful prints and sense the Stories (Furansu monogatari, 1915), short moods that they evoked. Kafū collected ukiyo-e stories and novellas about Tokyo courtesans in Japan and was widely read in the history of and low-ranking geisha, and an extensive Western art. illustrated diary, Dyspepsia House Diary (Danchōtei nichijō, 1917-59). Kafū wasIn addition to offering a wealth of information fascinated with Edo-period (1603-1868)about ukiyo-e artists, schools, and movements culture, especially that of the chōnin, or urban and introducing texts written in English and commoners. He prided himself on hisFrench about them, this lyrical essay resemblance to Edo literati, such as poet Ōta epitomizes many of the themes of Kafū’s Nanpo (also known as Shokusanjin, discussed literature and shows the faith he had in the in the selection below), who used kyōka ability of artists to capture the tenor of their (playful, often satirical, poetry) as an elegant times and the power of art to shape the ways form of veiled social commentary. -
Redalyc.Ukiyo-E in the Gulbenkian Collection. a Few Examples
Bulletin of Portuguese - Japanese Studies ISSN: 0874-8438 [email protected] Universidade Nova de Lisboa Portugal Paias, Manuel Ukiyo-e in the Gulbenkian Collection. A Few Examples Bulletin of Portuguese - Japanese Studies, vol. 12, june, 2006, pp. 111-122 Universidade Nova de Lisboa Lisboa, Portugal Available in: http://www.redalyc.org/articulo.oa?id=36101207 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative BPJS, 2006, 12Ukiyo-e, 111-122 in the Gulbenkian Collection. A few examples 111 UKIYO-E IN THE GULBENKIAN COLLECTION. A FEW EXAMPLES Manuel Paias The Gulbenkian Museum has around two hundred Japanese woodblock prints in its collection, acquired by Calouste Gulbenkian in the early 20th cen- tury. These prints form an interesting ensemble, focusing on the late 18th and early 19th centuries, a period commonly considered to be the finest period of Japanese printmaking. As these wonderful prints are currently unavailable for public viewing, the Bulletin sought to obtain permission to publish a small part of the collec- tion, thus enabling it to be appreciated by a wider audience. A timely and thorough study of the collection and a painstaking selection was not possible, so the present piece is nothing more than a glimpse that we hope will be extended in the near future. The first print published here (Fig. 1) represents The Lion Dance (Shishi Mai) and is from Isoda Shunei or Shun’ei (1762-1819), a distinguished member of the Katsukawa School, a renowned pupil of Katsukawa Shunshõ (1726-1793), and a major influence on two of the greatest artists of the late 18th century: Sharaku (act. -
A Pure Invention: Japan, Impressionism, and the West, 1853-1906
A Pure Invention: Japan, Impressionism, and the West, 1853-1906 Amir Abou-Jaoude Senior Division, Historical Paper 2,494 words Introduction The playwright and poet Oscar Wilde traveled little outside of Europe, yet he felt as if he had journeyed to Japan. In 1891, he wrote that after careful examination of the woodblock prints of artists like Hiroshige and Hokusai, you could “sit in the park or stroll down Piccadilly, and if you cannot see an absolutely Japanese effect there, you will not see it anywhere”1—not even, Wilde proclaimed, in Tokyo itself. Forty years earlier, in 1851, Westerners had known little about the floating kingdom. Since the early 17th-century, Japan had been completely isolated from the West, save for a few Dutch traders who conducted business around Nagasaki. Then, in 1853, the American Commodore Matthew Perry forced Japan to trade with the West under threat of naval bombardment. Kimonos, fans, and especially woodblock prints by the great Japanese artists flooded European markets. These Japanese goods had a particularly profound impact on the arts. Debussy was inspired to write La mer (1905), his most groundbreaking and influential piece, after seeing Katsushika Hokusai’s print of Under the Wave off Kanagawa.2 The Soviet film director Sergei Eisenstein would turn to Japanese art as he was composing powerful cinematic images.3 Eventually, the image of the “Great Wave”4 that Debussy admired would become a symbol of all things Japan.5 The “Japanese effect” was most prominent in art. As Japanese art entered European salons, French artists were beginning to experiment with Impressionism. -
Life in the Floating World: Worksheet 2 Download File (PDF)
Life in the Floating World: Ukiyo-e Prints and the Rise of the Merchant Class in Edo Period Japan — http://edsitement.neh.gov/view_lesson_plan.asp?id=611 Activity Four: Worksheet Student Name ___________________________________________________ Date ________________ Look at the following ukiyo-e prints. Take notes about everything you see in the image that seems important. What is the location? Are there people in the image? Who are they? What are people doing? What are they wearing and carrying? What information can you gather from this image about life in Edo Period Japan? What information can you gather from this image about Japanese society at this time? All of the images are part of Japan’s Nagoya Television’s online ukiyo-e museum, which is available through the EDSITEment reviewed web resource Teaching (and Learning) About Japan. • Utagawa Hiroshige’s print April (The First Bonito Catch from the Nihonbashi Bridge). This image is one of a series completed by Hiroshige illustrating the months of the year. The cycle is called Annual Events and Sites of Interest in Edo. ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ -
Tokugawa Japan Online Image List: Woodblock Prints by Ando Hiroshige
www.colorado.edu/ptea‐curriculum/imaging‐japanese‐history Tokugawa Japan Online Image List: Woodblock Prints by Ando Hiroshige Use the links below to find the nine woodblock prints by Ando Hiroshige. Record your analysis on Handout T1. 1. Nihonbashi http://www.mfa.org/collections/object/no‐1‐nihonbashi‐from‐the‐series‐the‐ t%C3%B4kaid%C3%B4‐road‐the‐fifty‐three‐stations‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐ tsugi‐no‐uchi‐also‐known‐as‐the‐aritaya‐t%C3%B4kaid%C3%B4‐236785 2. Shinagawa http://www.mfa.org/collections/object/no‐2‐shinagawa‐yatsuyama‐from‐the‐series‐the‐ t%C3%B4kaid%C3%B4‐road‐the‐fifty‐three‐stations‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐ tsugi‐no‐uchi‐217436 3. Goyu http://www.mfa.org/collections/object/goyu‐from‐the‐series‐fifty‐three‐stations‐of‐the‐ t%C3%B4kaid%C3%B4‐road‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐tsugi‐also‐known‐as‐the‐ ky%C3%B4ka‐t%C3%B4kaid%C3%B4‐178060 4. Okazaki http://www.mfa.org/collections/object/no‐39‐okazaki‐yahagi‐bridge‐on‐the‐yahagi‐river‐ okazaki‐yahagigawa‐yahagi‐no‐hashi‐from‐the‐series‐famous‐sights‐of‐the‐fifty‐three‐stations‐ goj%C3%BBsan‐tsugi‐meisho‐zue‐also‐known‐as‐the‐vertical‐t%C3%B4kaid%C3%B4‐208026 5. Seki http://www.mfa.org/collections/object/seki‐from‐the‐series‐fifty‐three‐stations‐of‐the‐ t%C3%B4kaid%C3%B4‐road‐t%C3%B4kaid%C3%B4‐goj%C3%BBsan‐tsugi‐also‐known‐as‐the‐ ky%C3%B4ka‐t%C3%B4kaid%C3%B4‐178072 6. -
Pigments in Later Japanese Paintings : Studies Using Scientific Methods
ND 1510 ' .F48 20(}3 FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERIES VOL. 1 FREER GALLERY OF ART OCCASIONAL PAPERS ORIGINAL SERIES, 1947-1971 A.G. Wenley, The Grand Empress Dowager Wen Ming and the Northern Wei Necropolis at FangShan , Vol. 1, no. 1, 1947 BurnsA. Stubbs, Paintings, Pastels, Drawings, Prints, and Copper Plates by and Attributed to American and European Artists, Together with a List of Original Whistleriana in the Freer Gallery of Art, Vol. 1, no. 2, 1948 Richard Ettinghausen, Studies in Muslim Iconography I: The Unicorn, Vol. 1, no. 3, 1950 Burns A. Stubbs, James McNeil/ Whistler: A Biographical Outline, Illustrated from the Collections of the Freer Gallery of Art, Vol. 1, no. 4, 1950 Georg Steindorff,A Royal Head from Ancient Egypt, Vol. 1, no. 5, 1951 John Alexander Pope, Fourteenth-Century Blue-and-White: A Group of Chinese Porcelains in the Topkap11 Sarayi Miizesi, Istanbul, Vol. 2, no. 1, 1952 Rutherford J. Gettens and Bertha M. Usilton, Abstracts ofTeclmical Studies in Art and Archaeology, 19--13-1952, Vol. 2, no. 2, 1955 Wen Fong, Tlie Lohans and a Bridge to Heaven, Vol. 3, no. 1, 1958 Calligraphers and Painters: A Treatise by QildfAhmad, Son of Mfr-Munshi, circa A.H. 1015/A.D. 1606, translated from the Persian by Vladimir Minorsky, Vol. 3, no. 2, 1959 Richard Edwards, LiTi, Vol. 3, no. 3, 1967 Rutherford J. Gettens, Roy S. Clarke Jr., and W. T. Chase, TivoEarly Chinese Bronze Weapons with Meteoritic Iron Blades, Vol. 4, no. 1, 1971 IN TERIM SERIES, 1998-2002, PUBLISHED BY BOTH THE FREER GALLERY OF ART AND THE ARTHUR M.