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Japanesque: The Japanese Print in the Era of Impressionism

As a quick follow-up to my Hanga 101 post, the Legion of Honor Museum in San Francisco is holding an exhibition of Japanese prints from 1700-1900 and their influence on the Impressionists. The exhibition runs from October 16, 2010 – January 9, 2011 and looks to be extraordinary, with over 250 prints.

Examples include Hiroshige’s Gion Shrine in the Snow from the series Famous Places in Kyoto ca. 1833–1834 compared to Henri Riviere’s La Tour en construction, vue de Trocadero, from the book Les Trente-Six Vues de la Tour Eiffel, 1902. Riviere’s calling the book “Thirty Six Views of the Eiffel Tower” is a direct nod to Hokusai’s classic ukiyo-e series, Thirty Six Views of Mt. Fuji.

Running concurrently is another exhibition entitled “Aspects of Mount Fuji in Japanese Illustrated Books” which includes illustrations from Hokusai’s series One Hundred Views of Mount Fuji.

Oh, how I wish I could go! (Robin, George and Betty, I expect a full report! ) And Lonny readers get 20% off if they use coupon code JLONNY.

I’ll have to settle for the exhibition book…

Image credits: 1. via October-November 2010 Lonny Magazine, 2. via Legion of Honor Museum website

Oct 21, 2010 By tokyojinja in Artist Spotlight Tags: hanga, Impressionism, japanese prints, ukiyo-e

On the Blind’s Side…Sudare and Curtains

Sudare are bamboo blinds used to screen out the sun and stay cool during the hot summer months in Japan. The blinds keep out the sun’s rays, while letting the breeze blow through. They also offer a modicum of privacy when doors and windows are thrown open (in a hopeful attempt to catch the aforementioned breeze). Traditionally hand-crafted, the art of making sudare has been lost to inexpensive imports from China, although craftsmen do still exist (particularly in Kyoto) and antique and vintage examples can be found at shrine sales and antique shops. Fancy sudare have decorative brocade trim around the edges, elaborate cording with tassels and engraved metal hooks to hold the blinds rolled open.

A typical view of a house in high sun in Kyoto, with sudare hanging over the veranda and front windows.

The decorative arts offer proof of the use of sudare through the ages. One of the first images that springs to mind is this amazing 17th century byobu (Japanese screen) depicting “The Tale of Genji” in the collection of the Isabella Stewart Gardner Museum in Boston. If you click on it to enlarge, you can see sudare hanging in the doorways and windows.

More recent Edo and Meiji period byobu create a direct window view using a trompe l’oeil sudare. This charming screen was for sale at the Heiwajima Antiques Fair.

A second one, styled in an apartment filled with Japanese objects – split tansu, map of old Tokyo, and shoji lanterns.

Built in 1878, the Fujiya Hotel was the first hotel in Japan that catered to Western tourists. It is an absolute fantasy of a building – all Victorianism and Japonism scrambled together and should not be missed by anyone interested in either. The grand dining room, built in 1930, has amazing botanical frescoes on the ceilings, carved ranma (transom) panels, and the loveliest decorative sudare I have ever seen. They are hard to see in the photo below, but I couldn’t resist the view of the building and the autumn foliage out the window.

The detail is a little easier to see in this photo.

So how to use my sudare in a modern interior? I have always loved the look of matchstick blinds hung behind curtains and if you open any decorating magazine today, it seems as if everyone else does too. Joni at Cote de Texas has an amazing post about curtains, both with and without blinds, and great suggestions on hanging curtains in all kinds of situations. To hang the blind correctly, you mount it on the outside of the window, filling the space between the window frame and the curtain rod, which has been hung as close to the ceiling as possible to maximize the illusion of height.

So, the plan is to take this window in the den/extra bedroom of the beach house (sorry for the poor photo – room under renovation)…

and add this lovely Indian block print fabric (Cream Hibiscus Flower Buta) from Aleta Fabrics…

or possibly this one (Aleta’s Cream Hibiscus Flower Branch), as floor length curtains hung from a slim aged brass curtain rod from Gracious Home (more on my love of aged unprotected brass another time)…

using the sudare from the top of the post as the blind.

Aleta’s fabrics were featured in the to-die-for apartment of Nancy Tilghman, designed by Daniel Sachs, in the October 2010 issue of House Beautiful, including the Cream Hibiscus Branch fabric which was used on a chair in the bedroom. The bedroom has just the feel of what I want the den/extra bedroom to look like, although taking the children into consideration, perhaps a little darker color scheme.

Image credits: 1,4,6,7,9 &12. me, 2. from il-ne-kore, 3. Property of Isabella Stewart Gardner Museum, photo via The Curated Object, 5. Okura Oriental Art, 8. via Cote de Texas, 10 & 11. from Aleta Online, 13. October 2010 House Beautiful, photographed by Ngoc Minh Ngo

Oct 19, 2010 By tokyojinja in Interior Design, Renovation and Decoration Report, Textiles Tags: byobu, curtains, textiles, The Tale of Genji

Hanga 101…a Quick Primer on Japanese Prints

Here is a speedy abridged version of the history of Japanese prints, mostly via images and touching on the big name players.

Ukiyo-e

Ukiyo-e, traditional Japanese prints, have existed since before the 17th century but truly flowered during the Edo period (1603-1868). They were mass-produced and created for mass-consumption by the common man. A four-part team of artist, carver, printer and publisher worked together to produce these images of “the floating world” – impermanent places of pleasure. Geisha and courtesans, kabuki actors and sumo wrestlers, were all common subjects, such as in Utamaro‘s “Beauty in Front of Mirror”. (At that period, the nape of the neck was considered one of the most erotic places on a woman’s body)

Landscapes also were popular and large series, such as Hokusai‘s “Thirty-six Views of Mt. Fuji” were common. This first image from the series has become one of the most iconic Japanese images ever.

During the Meiji Restoration, everyone (including artists) was so busy trying to modernize, and ukiyo-e fell out of favor. Artists wanted to study oil painting, often traveling to Europe to do it, only to discover that Monet had a houseful of Japanese prints. His dining room at Giverny had over 50 prints alone and his collection included “The Great Wave off Kanagawa” shown above, as well as over 200 others.

Monet was not the only artist influenced by Japanese prints. Van Gogh made his own version of Hiroshige‘s “Sudden Shower at Atake”. Many other 19th century artists also reflected Japanese sensibilities and themes in their work.

Just as the West was influenced by Japanese art, Western art had a huge influence on Japanese print makers. So, as the century turned, two new movements in Japanese print making were born.

Shin Hanga

Using new ideas about light, shadow and perspective learned from the Impressionists, the shin hanga (new prints) movement revitalized the traditional 4 tiered ukiyo-e structure. Like ukiyo-e, shin hanga prints could be produced in very large numbers, with some popular images running into the thousands. It is estimated that Hiroshi Yoshida’s “Avenue of Cherry Trees” has been printed over 3000 times.

The prints were not overly popular at home, but instead designed to appeal to a Western customer, with their romantic and nostalgic views of Japan.

Don’t you think Kawase Hasui’s “Fisherman at Sunset” could almost be mistaken for a Van Gogh?

Sosaku Hanga

Simultaneously, the sosaku hanga (creative prints) movement began around 1910 and gathered steam during the pre-war years, reaching success after World War II. Artists of the sosaku hanga movement believed that they needed to carry out each step – design, carving and printing – for the work to be classified as art and not a commercial product. This definition feels correct to the modern reader, although in truth, many of the great European painters throughout the centuries had studios with students and helpers working on their paintings. But the creative prints movement scorned the “copies” made by the shin hanga artists.

Some of the early print artists actually had bad and/or primitive technique as they were often self-taught. Yet the prints have a sense of sincerity and naivety. Kanae Yamamoto, the “father” of the movement, created simple wood engravings that still feel fresh today, as seen in his 1912 “On the Deck”.

As Yamamoto turned his attention to his other idealistic ventures, Koshiro Onchi took up the mantle of the sosaku hanga movement and continued at its core and key mentor through the war years. This period also signals the start of true modernism in Japanese art, as the creative prints movement turned away from representational art and explored abstraction. I love the title of the Onchi print below: “Allegory: Columbus’s Egg”.

Like shin hanga prints, Westerners were the main purchasers of art by the sosaku hanga group, particularly after WWII as they were aesthetically tuned toward modern art and abstraction. This was spurred on by the publication of Modern Japanese Prints: An Art Reborn by Oliver Statler, who became an influential collector, critic and spokesperson for Japanese printmakers. I recommend that anyone interested in modern art procure a copy.

Contemporary prints (such as those in the CWAJ Print Show) are the heirs of the sosaku hanga movement. Advances in technology have allowed artists to add techniques to their repertory, but the artist is still the creator at every step in the process .

Image credits: 1.Utamaro Kitagawa, “Beauty in Front of Mirror” via kimonovintage.blogspot.com, 2. Hokusai Katsushika, “The Great Wave at Kanagawa” and 3. Monet’s dining room at Giverny via intermonet.com, 4. Utagawa Hiroshige “Sudden Shower at Atake” and Vincent Van Gogh “The Bridge in the Rain” via wikipedia.com, 5. Hiroshi Yoshida “Avenue of Cherry Trees” and 6. Kawase Hasui “Fisherman at Sunset” via hanga.com, 7. Kanae Yamamoto “On the Deck” via Nihon no Hanga 8. Koshiro Onchi “Allegory: Columbus’s Egg”

Oct 17, 2010 By tokyojinja in Artist Spotlight Tags: hanga, Impressionism, japanese prints, shin hanga, sosaku hanga, ukiyo-e

Just One More Crazy Quilt…

Stumbled across this photo of Gloria Vanderbilt at Habitually Chic from The World of Gloria Vanderbilt by Wendy Goodman. It turns out that Gloria went through a “quilt phase” and that the bedroom I posted last week is hers!

Oct 16, 2010 By tokyojinja in Textiles Tags: crazy quilts, Gloria Vanderbilt

Artist Spotlight…55th CWAJ Print Show

For the past 6 years I have had the honor of working with the College Women’s Association of Japan on their annual exhibition of hanga – Japanese contemporary prints. This year is no exception. Featuring 195 prints by 181 artists, including the foremost printmakers in the field as well as 32 debut artists, the show gives viewers a real taste of the breadth of work being made. The prints span the full range of different printmaking techniques, from traditional woodblock to intaglio to silkscreen, as well as variety of subject matter.

Since the inception of the Print Show in 1956, CWAJ has worked tirelessly to produce one of the most prestigious hanga shows, using the proceeds to fund their respected scholarship program. What I find even more extraordinary than the artwork itself is the strength of the commitment that has kept an exhibition of this size and stature running by an entirely volunteer organization for 55 years.

In discussing the prints below, I have left family names in all capital letters (a CWAJ convention to avoid name confusion) and titles in parenthesis are English translations.

While some artists are more local names, many are well-known abroad including Yuji HIRATSUKA. His print TRADERS is my favorite one of his since Rock Around the Clock from Print Show 2006. What really stands out is the layered texture and color detail of his intaglio/chine collé technique – her skirt just makes me want to get up and dance!

The perennially popular Daniel Kelly returns to koi fish in his offering WHATS UP for this year’s show. I love the perspective and the narrow elongated form of his piece. Not all makers of hanga are Japanese – Daniel Kelly is an American artist who has been living and working in Kyoto for years.

For those wanting traditional woodblock prints with the old sōsaku hanga feel, look no further than two of the best (and more expensive) prints in the show. Akira KUROSAKI’s best print in years, Eight Views of Omi “Descending Geese at Katata” is a direct play on Hiroshige’s famous series while Isamu MORISHIMA’s The Moon at Musashi Plain makes me feel as if it could be 1920 filtered through a modern-day lens.

In contrast, a new gritty, almost photographic direction is taken by Kin-ichi MAKI in Which way to go 1 and Tadanori YOKOO (Soul and Body Intersected)

Looking to buy a print that is good for the environment? In addition to being beautiful, Atsuhiko MUSASHI’s BLIND FLOWERS 10-FEB is a green print. His technique, polymer intaglio, is non-toxic and does not require acid to etch the image, instead using a photosensitive polymer plate.

Highlighted in the 2007 Show, Keisuke YAMAMOTO’s dramatic monochrome prints, like Staircase D at left, sold out. This year he has submitted two prints on a completely different theme – almost romantic views of Kiyomizu Temple in Kyoto – one in snow and the other in spring. While his topic has changed, his painterly command of the lithographic process has not. That is why they are “almost romantic”, as the preciseness of his technique keeps them from being at all saccharine.

If you are looking for a nostalgic print, Takeyoshi NAKAYAMA’s (Night before Gion Festival[Sugimoto Residence] ) is one of his most charming in years. The soft rose tones of the lantern make it a perfect piece for a daughter going away to college or setting up her first apartment.

Another good “old Japan” choice is Noboru YAMATAKA’s traditional woodcut (Kabukiza Theater) as they will soon be knocking the theater down. Kill two birds with one stone and own both a piece of art and a piece of history.

My favorite newcomers include Mio OHMORI (Flower in water-Standing) as I am a sucker for its watery lavender thistles or the abstract expressionism of Eiji OBA’s (Blue and Black-101).

Another print close to my heart is Nature story-(heaven) by the Young Printmaker Award winner Kyung Sun KIM as I was the co-chair of the YPA committee this year. Evaluating student artwork and their grant proposals is a joy, as the level of the work has been so high. The scanned photo below doesn’t begin to do justice to the color and detail in this woodcut, nor does it suggest how large it is (100cm x 150cm). It is a very small edition of 3, so I imagine it will be gone by the end of the Donor and Artist Reception Thursday night.

My guess on what will sell out? The catalog cover print, Onbu by Sohee KIM, and not simply because it is the cover print and only an edition of 15. For Kim, the image represents “the burden she [the figure] is feeling from the overwhelming affection and expectations of her family and friends.” Affection and expectations? Well she might see it that way, but every woman I know has had an absolutely visceral response to what they see as an amazingly huge (but beautiful) pile of laundry.

I could write about every print in the show, but neither space nor time allow. The 55th CWAJ Print Show opens to the public in Tokyo on Friday, October 15 (10a.m.-8p.m.), Saturday, October 16 (11a.m.-6p.m.) and Sunday, October (11a.m. –5p.m.) at the Tokyo American Club. Free admission. Membership is not required for attendance. I’ll be working as a docent on Friday morning until 1:30 and Sunday until 2p.m. Please stop by – this is a don’t miss event!! The following weekend it travels to the Kobe Club, so if you live in the Kansai region you can catch it there.

Interested in working on the Print Show? Join CWAJ and get started. Volunteers are needed for returning day in November and that will give you a chance to actually touch and see the work close up.

Image Credits: All images except #9 from the 55th CWAJ Print Show catalogue. Image #9 form the 52nd CWAJ Print Show catalogue.

Oct 13, 2010 By tokyojinja in Artist Spotlight Tags: CWAJ Print Show, hanga, japanese prints