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Reproduces 200 prints by the most important and prolific Japanese artists of the 19th century.
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.
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.
"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.
This is an ebook version of a very rare Japanese woodblock print collection. Originally published in 1962 in a limited edition of 475 copies, The Modern Japanese Print soon became a collector's item. Included in the folio-sized volume were ten original woodblock prints by contemporary Japanese artists. The idea for this unique presentation had originated with author, James Michener who hoped to assist this little known group of dedicated men achieve wider recognition. The original works of art in The Modern Japanese Print were selected in a contest judged by art experts in the United States and Japan who sought to find the best examples representing " the richness and power of the modern Japanese print movement ." The ten original woodblock prints are reproduced in full color; Mr. Michener's text is retained completely. Aside from the artists whose works are shown, the author discusses many others who are contributing to the continuing development of this art form. James Michener's perceptive, informative introduction to modern Japanese printmaking, with commentary on each of the works, including full technical details, is written with critical acumen and notable prose.
The Floating World by novelist James A. Michener is a classic work on the Japanese print of the Edo period (1615-1868). Mr. Michener shows how the Japanese printmakers, cut off from revivifying contacts with the art of the rest of the world and hampered by their own governmental restrictions, were able to keep their art vital for two centuries through their vigor and determination. For this new edition, Howard A. Link updates the scholarship and expands on many theoretical aspects introduced in Michener's study.
From a great master of historical fiction comes a brilliant tale of love amid war. James A. Michener combines powerful storytelling with deep sensitivity in this novel of a U.S. Army man who, against all odds, falls for a fascinating Japanese woman. Stationed in the exotic Far East, Major Lloyd Gruver considers himself lucky. The son of a general, dating the daughter of another powerful military family, he can look forward to a bright future. And he just can’t understand guys like Private Joe Kelly, who throw away their lives in the States by marrying local girls. But then Lloyd meets Hana-ogi. After that, nothing matters anymore . . . nothing but her. BONUS: This edition includes an excerpt from James A. Michener's Hawaii. Praise for James A. Michener “A master storyteller . . . Michener, by any standards, is a phenomenon.”—The Wall Street Journal “Sentence for sentence, writing’s fastest attention grabber.”—The New York Times “Michener has become an institution in America, ranking somewhere between Disneyland and the Library of Congress. You learn a lot from him.”—Chicago Tribune “While he fascinates and engrosses, Michener also educates.”—Los Angeles Times
Made in Japan examines the artistic dialogue between East and West as it played out between 1945 and 1970. During this post-World War II period, Japanese printmakers effectively acted as ambassadors, bringing their aesthetic traditions into fruitful interaction with contemporary American trends and forging ties with artists, scholars, museums, and collectors. This volume presents for the first time an integrated history of innovative visual experimentation and pioneering cultural patronage. The creative print (sosaku hanga) movement originated in the early twentieth century, when Japanese artists sought to modernize their practice by embracing Euro-American concepts of originality and autonomy. The movement matured in the decades following World War II, when second- and third-generation sosaku hanga printmakers continued to experiment in stylistic, technical, and thematic terms. From the early 1950s, Japanese printmakers participated in a newly global art scene, achieving great success at international art exhibitions sponsored by the American and Japanese governments. The prints in this book range widely in treatment and medium, embracing woodcut, stencil, lithography, etching, mezzotint, aquatint, and screenprint. Made in Japan includes essays by Alicia Volk and Helen Nagata and biographies of the artists.