How Ukiyo e influenced the Impressionists

Anais do Congresso de Iniciação Científica da Unicamp, 2015

This study approaches the aspects of drawing in ukiyo-e woodblock prints, which emerged in Edo period Japan (1603-1867). It is intended to investigate stylistic and historic origins of the prints along with the technical process of producing one, but the research focus will be on graphical and spatial specificities within the drawing involved. Also, there will be a brief discussion over the main topics-or "commonplaces" for expressions-depicted in the prints and a listing of Edo period's main artists, according to renown and influence on Western art. The research covers an interview with Professor Madalena Hashimoto Cordaro, Ph.D., specialist in Japanese art and literature from the University of São Paulo.

Ukiyo-e prints of the Edo period (1603-1868): Social and economic factors, technical matters

Impressions, 2004

Ars Orientalis, 2019

Contributors to this volume have linked the flourishing of art-historical art in the Song period (960-1279) and beyond to an overall change in historical consciousness. The surge in art-historical art in eighteenth-and early nineteenth-century Japan similarly marks a fundamental change in historical consciousness and methodology. From the early 1700s onward, Japan saw the dawn of an information age in response to urbanization, commercial printing, and the encouragement of foreign books and learning by the shogun Yoshimune (in office 1716-45). This essay explores the impact of this eighteenth-century information age on visual art, distinguishing new developments from earlier forms of Japanese art-historical consciousness found primarily in the Kano school. Printed seventeenth-and eighteenth-century Chinese painting albums and manuals arrived in Japan shortly after their issuance, but certain conditions had to be met before similar books could be published in Japan. First, artists and publishers needed to circumvent the ban on publishing information related to members of the ruling class (including paintings owned by these elites). Second, independent painters who had been trained in the Kano school also were obliged to find a means of breaking with medieval codes of secret transmission in a way that benefited rather than harmed their careers. Finally, the emergence of printed painting manuals was predicated on the presence of artists and audiences who saw value in the accurate transcription of existing paintings and their circulation in woodblock form. In the 1670s and 80s, the Edo-based painter Hishikawa Moronobu (1618-1694) popularized the ezukushi (exhaustive compendium) form of illustrated book. While some of his images were based loosely on existing paintings, his books show little interest in faithful reproduction. By the late eighteenth century, by contrast, the market saw the appearance of numerous books about painting with the stated goal of the reproduction and circulation of painting models for the historical or practical benefit of their audiences. Ōoka Shunboku (1680-1763), one of the most important contributors to this trend, presented his own compilations of pictorial models as a response to Honchō gashi (A History of Painting of Our Realm), the textual history of Japanese painting that had been published in Kyoto in 1693. From this, we can conclude that the rise of woodblock-printed painting compendia emerged from broader changes in historical consciousness, and would, in turn, come to affect the ways in which painters and audiences perceived the act of creating new paintings.

Microchemical Journal, 2019

Colours of the « images of the floating world ». non-invasive analyses of Japanese ukiyo-e woodblock prints (18th and 19th centuries) and new contributions to the insight of oriental materials

2004

[Note Japanese names are given surname first] It might seem appropriate here just to look at the reception of Monet's oeuvre in Japanese art, but as Japanese authorities such as Takumi and Miyasaki indicate, this reception has to be placed in the context of the Japanese reception of European oil painting in the late 19th century. Indeed, for reasons which will become clear, the general impact of Monet on works of art produced by Japanese, or on Japanese artviewing audiences, was very limited and indirect until the Japanese mass exhibitions for Impressionist painting of the 1970s and 1980s.

Nostalgic Femininity / From Flowers to Warriors: Japanese Woodblock Prints from the St. Catherine University Archives & Special Collections, 2019

Exhibition catalogue for the concurrent shows Nostalgic Femininity in The Catherine G. Murphy Gallery and From Flowers to Warriors in the St. Catherine University Library. These shows explore Japanese woodblock prints of the Meiji period. Both shows are on view from April 13 - May 26, 2019.

Living Proof: Drawing in 19th Century Japan, 2017

Living Proof: Drawings from 19th-Century Japan examines varying approaches to draftsmanship by Japanese artists in the nineteenth century, shining a light on this underappreciated and understudied body of work. While traditional Japanese woodblock prints are widely admired, this exhibition is the first of this kind in the United States in more than three decades, presenting a range of drawings and sketches that were intended as didactic tools, meditative exercises, or preliminary proofs for woodblock carvings. More than seventy works are featured from such celebrated figures as Hokusai, Kuniyoshi, and Yoshitoshi, as well as lesser-known but significant artists. These materials reveal much about their methods, from re-workings of initial sketches in various stages of the creative process to collaborative engagement of subsequent woodblock carvers and printers. By highlighting the often-unseen processes, alterations, and even imperfections that have been excluded from a celebrated history of printmaking in Japan, Living Proof offers a rare opportunity to witness the artist's hand directly, reframing these preliminary drawings as artworks in their own right. For the great care, attention, and commitment with which they organized this exhibition, I wish to extend my deep gratitude to Kit Brooks, independent curator, and Tamara H. Schenkenberg, Associate Curator of the Pulitzer Arts Foundation. Working in collaboration, Kit and Tamara have brought together an unprecedented range of works that speak to the varied functions and roles common at the time of their creation. I thank Kit and Tamara for realizing Living Proof, and for revealing the great wealth of surprises, details, and delights that these works present to the viewer. This exhibition would not be possible without the judicious care and stewardship of the collectors and institutions that loaned these works for this installation.

2020

The collection of Japanese prints, albums and illustrated books (ehon) in the Museum of Oriental Art in Venice is the result of the last stop in Japan of a journey to the Far East of Prince Henry Bourbon-Parma, Count of Bardi and his wife Adelgunde of Bragança, during the years 1887-1889. The gathering of more than thirty thousand objects became the core of the present collection. Among these there are about 500 illustrated books of famous ukiyoe masters, surimono, and colour prints nishikie. The creation of catalogue entries in Japanese and Italian and the analysis of each print reveals an amazing quantity of unpublished ukiyoe masterpieces and allows a division into different groups according to the subject matter. At the same time, this distinction into different genres shows an interesting tendency in the formation of the collection together with a possible new classification of the prints themselves. This study aims to shed a new light on this particular collection while focusi...

10th GRID 2020 INTERNATIONAL SYMPOSIUM ON GRAPHIC ENGINEERING AND DESIGN, 2020

Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in the 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post-Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of world wars, and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment for the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contains some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.

This is a continuation of my paper on the influence/influencing of Japanese arts associated with Japanism, Arts and Crafts and most importantly Art Nouveau

Journal of Japonisme, 2018

"Snow, moon, and flowers / In these moments I lovingly think of you" (setsugekka no toki motto mo kimi wo omofu) ⸪ This tender couplet originally written by the Chinese poet Bai Juyi (772-846), and featured in exhibition wall labels and in the exhibition pamphlet, beau tifully fitted the modern and momentary aesthetics of Japanese ukiyo-e, the Edo period's 'images of the floating world.' In three large painted tableaux, the genre's grand artist Kitagawa Utamaro (1753-1806) situated this theme of love and beauty in three of Edo's (now Tokyo) well-known pleasure districts. This set of paintings formed the stunning centerpiece of the Freer Gallery of Art's exhibition Inventing Utamaro: A Japanese Masterpiece Rediscovered. Occasioned by the rediscovery of Snow at Fukagawa (ca. 1802-6), announced by the Okada Museum in 2014, the exhibition reunited Snow with the Wadsworth Atheneum's Cherry Blossoms at Yoshiwara (ca. 1793) and the Freer | Sackler's Moon at Shinagawa (ca. 1788) for the first time in over a century (Fig. 1). But rather than simply present Snow at Fukagawa's triumphant return to the art world, curators Julie Nelson Davis (Professor of History of Art, University of Pennsylvania) and James Ulak (Senior curator of Japanese art, Freer Gallery of Art) engaged viewers with robust questions concerning, alongside the meaning of the triad's imagery, commission, provenance, and even attribution. The exhibition transparently explored the answers to these questions and was the first to investigate "the notion of the Utamaro 'brand' ."1 In the absence of personal documents or writings by Utamaro, scholars of Utamaro's work have turned to the artist's dazzling oeuvre (over two thousand print designs and thirty paintings)2 for contextual information to interpret his life. The curators provided an abbreviated history of the Utamaro brand that has evolved with shifting markets, tastes, and ideals of beauty across three continents over two centuries. Exhibition viewers journeyed from publishing houses, galleries in

Annals of the Náprstek Museum, 2022

This article deals with the collection of prints Yokohama-e and kaika-e, which are part of the collection of woodblock prints in the Náprstek Museum. The Yokohama-e and kaika-e woodblock prints were created in the second half of the 19 th century in response to Japan's changing politics, the arrival of foreigners, and the modernization of the country, thus capturing both the first introduction to Western innovations and the manner in which these subjects were presented to the public in Japan. The modernization prints in the Náprstek Museum have not yet been evaluated by scholars; the aim of this article is to provide information concerning this part of the woodblock print collection -the artists of the prints, the subjects depicted, and the question of the donors through whose agency the prints came into the museum's possession.