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Featuring hundreds of illustrations, Japanese Prints: From Early Masters to the Modern is a comprehensive history and survey of Japan’s most famous visual art form. The author, Mr. Michener has illustrated the book with lesser-known masterpieces rather than with those few prints that have been reproduced almost ad nauseam. Unlike earlier books, this does not stop with the past century, but brings the subject completely up to date, introducing, in the modern Japanese print, some of the most exciting art being created in Japan—and in the world—today. Japanese Prints also becomes a revealing account of the collecting of Japanese prints, with many valuable hints to collectors based upon the author's own experiences in gathering together one of the best print collections of recent years: it is a collecting field in which many hints are needed, with prices varying from $5 to $5,000 per print, and with forgeries and doubtful attributions on every hand.
This lavishly illustrated book examines the profound influence of Japanese prints on the Impressionists and their American contemporaries.
"In James A. Michener the Japanese print has found its ideal commentator. Combining the finished literary style of an outstanding novelist with a mature knowledge of his subject, he is able to bring this great art form to life in words, directly communicating his understanding, love, and enthusiasm rather than obscuring his subject in pedantry. In fact, it might almost be said that he here lets the prints speak for themselves, in a wealth of magnificent illustrations and apt but unobtrusive commentary. It is only when one has finished the book that he realizes he has been conducted on a tour of three centuries of art, a tour so carefully arranged as to give a deep understanding of the history and aesthetics of Japanese prints, a new appreciation of a superlative art. The book has many other unique features. So far as consonant with his aim of presenting a full survey, Mr. Michener has illustrated the book with lesser-known masterpieces rather than with those few prints that have been reproduced almost ad nauseam. Unlike earlier books, this does not stop with the past century, but brings the subject completely up to date, introducing, in the modern Japanese print, some of the most exciting art being created in Japan--and in the world--today. The book also becomes a revealing account of the collecting of Japanese prints, with many valuable hints to collectors based upon the author's own experiences in gathering together one of the best print collections of recent years: it is a collecting field in which many hints are needed, with prices varying from $5 to $5,000 per print, and with forgeries and doubtful attributions on every hand. The final section of the book contains authoritative notes concerning each print, prepared by Richard Lane. In Mr. Michener's words, Dr. Lane "with his meticulous knowledge of Japanese and his love for ukiyo-e seems certain to become America's equivalent of the great German scholar Fritz Rumpf." It is appropriate that such a book should have been produced in Japan, and with the unstinting support of the Honolulu Academy of Arts--the increasingly important museum at the "crossroads of the Pacific"--Where Mr. Michener's collection is presently housed. No effort has been spared, especially in the faithfulness of the reproductions, to make it a worthy example of the high standards of modern Japanese bookmaking, drawing upon the same traditions and painstaking craftsmanship that produced the Japanese print."--Publisher's description.
"Crafts were central to daily life in early modern Japan. They were powerful carriers of knowledge, sociality, and identity, and how and from what materials they were made were matters of serious concern among all classes of society. In Craft Culture in Early Modern Japan, Christine M. E. Guth examines the network of forces--both material and immaterial--that supported Japan's rich, diverse, and aesthetically sophisticated artifactual culture between the late sixteenth and mid-nineteenth centuries. Exploring the institutions, modes of thought, and reciprocal relationships among people, materials, and tools, she draws particular attention to the role of women in crafts, embodied knowledge, and the special place of lacquer as a medium. By examining the ways and values of making that transcend specific media and practices, Guth illuminates the 'craft culture' of early modern Japan"--
Examines the transmission of painting traditions in Japan.
This straightforwardly written and highly informative book is designed as an introductory history and guide to Japanese prints for the student and the beginning collector. Not limited to "ukiyo-e", it also discusses medieval Buddhist prints and the prints of the modern era, from the Mieiji period to the present. Thus such modern luminaries as Onchi, Hiratsuka, and Munakata are presented alongside the Edo master printmakers Harunobu, Kiyonaga, Utamaro, Sharaku, Hokusai, and Hiroshige. A major virtue of the book is the attention it gives to the aesthetics of the prints and to the lives of the printmakers themselves. Illustrated with 14 prints in full color and 86 in black and white, it also offers a thoroughly useful chapter on the collection and care of Japanse prints, a glossary, and a valuable selected bibliography. -- From publisher's description.