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The sophistication and variety of painting in Japan's Edo period, as seen through a preeminent US collection Over more than four decades, Robert and Betsy Feinberg have assembled the finest private collection of Edo-period Japanese painting in the United States. The collection is notable for its size, its remarkable quality, and its comprehensiveness. It represents virtually every stylistic lineage of the Edo-period (1615-1868)--from the gorgeous decorative works of the Rinpa school to the luminous clarity of the Maruyama-Shijō school, from the "pictures of the floating world" (ukiyo-e) to the inky innovations of the so-called eccentrics--in addition to sculpture from the medieval and early modern periods. Hanging scrolls, folding screens, handscrolls, albums, and fan paintings: the objects are as breathtaking as they are varied. This catalogue's 12 contributors, including established names in the field alongside emerging voices, use the latest scholarship to offer sensitive close readings that bring these remarkable works to life. Distributed for the Harvard Art Museums
Filled with over 100 vivid works of art and insightful essays, In the Moment is an extensive work, featuring several Japanese art forms and crafts. Inspired by an early love of Japanese aesthetics, tech entrepreneur and avid art collector Larry Ellison has assembled an impressive collection of Japanese art spanning some eleven hundred years of history. The current selection, which introduces the collection to the public for the first time, is organized into four areas: sculpture, painting, lacquer, and metalwork. Highlights include a remarkable wood figure of Shotoku Taishi at age two, dating to the late 1200s or early 1300s; painted screens showcasing the use of classical Japanese and Chinese themes by Kano school artists in the late 1500s and early 1600s; and whimsical paintings of animals by innovative masters active in Kyoto in the 1700s. The catalogue also features lacquers representing the Rinpa and Ritsuo traditions of craftsmanship and design; examples of the Japanese armor maker's art; and bronze vases and objects from the Meiji (1868–1912) and Taisho periods (1912–1926).
From the late nineteenth to the early twentieth century, Japan was a vital world center for postcard art. Art of the Japanese Postcard presents 300 full-color examples of these cards, culled from the vast Leonard A. Lauder Collection. Authoritative essays by leading scholars of Japanese art and culture, plus a statement by the collector himself, highlight the design, development, and cultural function of these rarely studied, but highly influential and visually exciting, expressions of graphic genius. From the late nineteenth to the early twentieth century, Japan was a vital world centre for postcard art. More than just casual mail pieces, these postcards were often designed by prominent artists and had a visual impact that belied their modest format. Remarkably beautiful examples of graphic design in their own right, they also recorded the shifting definitions of 'East' and 'West' at a time when such European currents as Art Nouveau began to show up in Japanese visual productions. Art of the Japanese Postcard presents 350 full-color examples of these cards, culled from the vast Leonard A. Lauder Collection. printing, but also for the insight they provide into contemporary Japanese artistic practices - insights not relayed in standard histories that focus on painting and sculpture - as well as for the fluid interplay of European and Japanese modes. Authoritative essays by leading scholars of Japanese art and culture, plus a statement by the collector himself, highlight the design, development, and cultural function of these rarely studied, but highly influential and visually exciting, expressions of graphic genius.
Focusing on the themes of abject politics, transcending media, performativity, and satire and simulation, 'Parergon' presents the work of over twenty-five visual artists including Kodai Nakahara, Tatsuo Miyajima, Kazumi Nakamura, Yukie Ishikawa, Tsuyoshi Ozawa and Yukinori Yanagi in an array of media spanning painting, sculpture, duration performance, noise, video and photography.00The title makes reference to the gallery in Tokyo (Gallery Parergon, 1981-1987) that introduced many artists associated with the New Wave phenomenon, its name attributed to Jacques Derrida?s essay from 1978 which questioned the?framework? of art, influential to artists and critics during the period. Parergon brings together some of the most enigmatic works that were first generated during a rich two-decade period that are pivotal to the way we perceive and understand contemporary Japanese art today. In the aftermath of the conceptual reconsideration of the object and relationality spearheaded by Mono-ha in the 1970s, this era opened up new critical engagements with language and medium where artists explored expansions in installation, performance, and experimental multi-genre practices.00The book follows the exhibition at Blum & Poe which ran in two parts from February to May 2019 in Los Angeles.
Accompanies an exhibition of the same name held at the Harvard Art Museums, Cambridge, Massachusetts, February 14-July 26, 2020.
This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.
Designed for Pleasure is a dazzling probe of Japan's famous "floating world" of spectacle and entertainment. From luxury paintings of the pleasure qurters to Hokusai's iconic "Red Fugi," Designed for Pleasure presents a focused examinatin of the priod's fascinating networks of art, literature, and fashion, proving that the artists and the publishers and patrons who engaged them not only morrored the tastes of their energetic times, they created a unifying cultural legacy. Contributors include John T. Carpenter, Timothy Clark, Julie Nelson Davis, Allen Hockley, Donald Jenkins, David Pollack, Sarah E. Thompson, and David Boyer Waterhouse.
"This extensively illustrated catalogue is published in conjunction with the first comprehensive exhibition devoted to the arts of the samurai, including the finest examples of swords - the spirit of the samurai - as well as sword mountings and fittings, armor and helmets, saddles, textiles, and paintings. The works in the catalogue, drawn from public and private collections in Japan, include 34 officially designated National Treasures and 64 Important Cultural Properties, the largest number ever to be shown together at one time. Dating from the 5th to the early 20th century, these majestic objects offer a complete picture of samurai culture and its unique blend of the martial and the refined." "Many of the greatest Japanese swordsmiths are represented in this volume, from early masters such as Yasuie (12th century) and Tomomitsu (14th century) to the Edo-period smiths Nagasone Kotetsu and Kiyomaro. The blades by these and other masters, cherished as much for their beauty as for their cutting efficiency, were equipped with elaborate hilts and scabbards prized for their exquisite craftsmanship and fine materials such as silk, rayskin, gold, lacquer, and certain alloys unique to Japan. Japanese armor is also fully surveyed, from the rarest iron armor of the Kofun period (5th century) to the inventive ceremonial helmets made toward the end of the age of the samurai." --Book Jacket.
Exhibition of paintings, lacquerwork, ceramics, textiles, calligraphy, and other media all in the Rinpa style from 1600 to the present day.