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Shinsui Ito was born 4 February 1898 in the Fukagawa district of Tokyo and died 8 May 1972. Shinsui Ito was his pseudonym. Shinsui designed mostly bijin-ga and only more occasionally landscape prints, see Shinsui Ito Landscapes by authors. At the age of ten, young Hajime found employment at the Tokyo Printing Company after his father ́s business went bankrupt, and here he began to show serious interest and talent in Nihonga, Japanese-style painting. In 1911 he was introduced to Kaburagi Kiyokata, a renowned painter, and became Kiyokata's student. It was Kiyokata that gave Hajime his artist's name, Shinsui. When Shinsui was eighteen years old, his paintings were seen by the publisher Watanabe Shozaburo at an exhibition at Kiyokata's art school.
"[An] impressive volume, with a valuable amount of information not otherwise available in one source." --Choice Companion volume to Merritt's Modern Japanese Woodblock Prints. This volume is a reference work that is both comprehensive and rigorously chronological.
Tradition confronts modernity in early-twentieth-century Japanese woodblock print depictions of women
Featuring over 100 unique prints, Modern Japanese Prints is a testament to the continuity of Japanese art and creativity. By far the most vitally creative group of artists working in Japan today, modern print-makers are truly international in appeal. Although they owe much of their heritage to the famous ukiyoe techniques of the past, they depart from their forebears in at least two important respects. In the first place, whereas in the ancient ukiyoe tradition a print was the joint production of three men— the artist-designer, the artisan who carved the blocks, and the printer—these modern artists perform all these functions themselves, thus satisfying their demands for individual artistic expression at every step of the creative process. Another distinguishing feature of this artistic school is that its inspiration is derived neither solely from its own Japanese past nor solely from the West. This book carefully traces the history of the modern print movement through detailed discussions of the life and work of twenty-nine of its most noteworthy and representative artists. It describes vicissitudes which the movement has undergone and the high artistic ideals which have motivated its members in spite of public apathy and the hostility of the traditionalists.
The introduction by Lawrence Smith gives a concise history of the medium since 1912, charting the two 'golden ages' (1915-40 and 1950-75) and the assimilation of new international techniques and styles. The book also contains biographies of all the 78 artists illustrated, a comprehensive bibliography and a glossary of Japanese terms.
"In 1930 the Toledo Museum of Art organized a landmark exhibition of "modern Japanese prints." Featuring the work of ten artists, including Hashiguchi Goyō, Kawase Hasui, and Hiroshi Yoshida, it has stood as a watershed in the success of the shin hanga ("new prints") movement that revived traditional Japanese woodblock prints for a new era. The exhibition's small, limited-edition catalogue (now long since out of print), with its invaluable descriptions and thumbnail black-and-white images, has likewise been considered a shin hanga "bible" for scholars and collectors. Fresh Impressions: Early Modern Japanese Prints, published to complement the exhibition of the same title at the Toledo Museum of Art (October 4, 2013--January 1, 2014), reproduces and re-examines all 343 prints from the original 1930 exhibition catalogue. It features retranslated and updated information about each print and essays by four distinguished authors who explore the context and importance of the 1930 Toledo exhibition, the key players who brought it about, and shin hanga's continuing legacy"--Publisher's website.
The first biographical dictionary in any Western language devoted solely to Chinese women, Biographical Dictionary of Chinese Women is the product of years of research, translation, and writing by scores of China scholars from around the world. Volume II: Twentieth Century includes a far greater range of women than would have been previously possible because of the enormous amount of historical material and scholarly research that has become available recently. They include scientists, businesswomen, sportswomen, military officers, writers, scholars, revolutionary heroines, politicians, musicians, opera stars, film stars, artists, educators, nuns, and more.
"This study of modern Japan engages the fields of art history, literature, and cultural studies, seeking to understand how the “beautiful woman” (bijin) emerged as a symbol of Japanese culture during the Meiji period (1868–1912). With origins in the formative period of modern Japanese art and aesthetics, the figure of the bijin appeared across a broad range of visual and textual media: photographs, illustrations, prints, and literary works, as well as fictional, critical, and journalistic writing. It eventually constituted a genre of painting called bijinga (paintings of beauties).Aesthetic Life examines the contributions of writers, artists, scholars, critics, journalists, and politicians to the discussion of the bijin and to the production of a national discourse on standards of Japanese beauty and art. As Japan worked to establish its place in the world, it actively presented itself as an artistic nation based on these ideals of feminine beauty. The book explores this exemplary figure for modern Japanese aesthetics and analyzes how the deceptively ordinary image of the beautiful Japanese woman—an iconic image that persists to this day—was cultivated as a “national treasure,” synonymous with Japanese culture."