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Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a Famous to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. All 104 prints are included here. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856 1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.
Visit Edo, modern day Tokyo, as experienced by Utagawa Hiroshige in this wonderful tourist guide from the 1850s. Experience Edo as the Japanese loved it, a sophisticated city catering to a wealthy elite of daimyo, local rulers that regularly had to spend time away from their lands, in Edo, where the shogun could keep an eye on them. The 100 Famous Views of Edo was one of the popular print series made in Japan, like Hokusais series Thirty-six Views of Mount Fuji, which had been published earlier in the 1830s and which influenced Hiroshige tremendously (ISBN ES 978-8-411-744-935). But much more important is the influence the 100 Famous Views of Edo had on European impressionists like Van Gogh, Degas, Manet and Monet. Hiroshige impressed with cropped items to create focus and with his horizontal format.
Keisai Eisen (1790 -1848) is especially known for his bijin-ga, pretty women, and landscapes. He is well known for his participation in the series 69 stations of the Nakasendo together with Hiroshige. The series A Tokaido Board Game of Courtesans, Fifty-three Pairings in the Yoshiwara use the Tokaido with landscape inserts as an excuse for showing courtesans and geisha, bijin-ga, to skirt the censorship. It was published 1821-1823. His bijin-ga are considered to be masterpieces of the "decadent" Bunsei Era (1818-1830). Most of them have impressive hairdo with many ornamental hairpins and combs. Their dress is extravagant with beautiful patterns and sublime embroideries. Their faces are elongated squares with long noses and small pouted painted mouths. Courtesans were desirable for their rich and splendid attire, not so much for their beauty and their names were actually like trademarks for a series of girls performing the same name role with the brothel in question.
Hokusai ́s 53 Stations of the Tokaido 1806 Horizontal is the last known full Tokaido series by Hokusai. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai explores novel ways of designing the print, further developing what he started in the 1804 Horizontal Tokaido. Hokusai experiments with person themes, voids and white space but also do great full landscapes and humorous encounters on the road.
All the way through Hiroshige follows certain design principles of proportion of elements, arranging elements and views by diagonals and parallels and balancing of color elements. Compared to most of his other Tokaido series Hiroshige in Aritaya focus on letting the landscape tell the story instead of letting people or legend do that, although this is not followed through completely.
Come on the journey from Edo, modern day Tokyo, to Kyoto, as experienced by Utagawa Hiroshige in, when he travelled the road to participate in an important procession in 1832. There were 53 post stations along this important road, apart from the start and terminus, in all 55 prints, which are all here in the order from Edo to Kyoto, In the Hoeido edition (1833-34). This was the most popular print series ever made in Japan. It was even more popular than Hokusai series Thirty-six Views of Mount Fuji, which had been recently published and which had influenced Hiroshige tremendously (ISBN ES 978-8-411-744-935). It is possible to travel the same road today and some villages are still looking quite like they did back then. The postal stations were constructed between 1601 and 1624.
This was the most popular print series ever made in Japan. It was even more popular series ever made in Japan. It was even more popular than the Hokusai series Thirty-six Views of Mount Fuji, which had been recently published and which had influenced Hiroshige tremendously (ISBN 9783756844104). There were 53 post stations along this important road, apart from the start and terminus, in all 55 prints, which are all here in the order from Edo to Kyoto, as in the Hoeido edition (1833-34).
This series, Fifty-three Pairings of the Tokaido Road, Tokaido gojusan tsui, popularly called Pairs Tokaido or 53 Parallels for the Tokaido Road, was published in 1845-1846. It is a unique cooperation between three artists: Utagawa Hiroshige, Utagawa Kunisada and Utagawa Kuniyoshi and five publishers: Ibaya Kyubei, (Ibaya Senzaburo (Dansendo)) and Kojimaya Jubei, Enshuya Matabei, Ebiya Rinnosuke (Kaijudo) and Iseya Ichibei. The special feature of this Pairs Tokaido is the pairing of a print for each station with a legend, a wonderful, dramatic, historic or supranatural story. These stories are told partly by the print theme, partly by accompanying text in a cartouche. Sometimes there is a poem. It is a very enjoyable tour!
The definitive book on the life and career of internationally acclaimed artist Yoshitomo Nara Yoshitomo Nara rose to prominence in the mid-1990s, a star in a generation of avant-garde Japanese artists associated with the neo-Pop 'Superflat' movement. This book, made in close collaboration with Nara himself, explores more than three decades of his work - and is the first truly authoritative monograph on the artist in more than a decade. Written by art historian Yeewan Koon and featuring texts by Nara himself, it includes his most recent work in painting, drawing, sculpture, and ceramics.
Throughout this stunning hardcover package, paper vellum overlays reproduce Saeki's unique method for adding colour to his b/w artwork. He does not apply colour directly, but instead uses overlays to indicate the exact colours he wants. He calls this method chinto printing - the picture is complete only after it has been printed - a modern version of ukiyo-e, a genre of Japanese woodcut prints.