Japanese art and culture: Yoshu Chikanobu provides a rich glimpse into Japan

Japanese art and culture: Yoshu Chikanobu provides a rich glimpse into Japan

Lee Jay Walker

Modern Tokyo Times

Yoshu Chikanobu (Toyohara Chikanobu) lived between 1838 and 1912 and much of his art highlights the changing nature of Japan. The opening up of Japan after the Meiji Restoration provided many new dreams for Japanese citizens but it also was the start of the death knell for many artisans. This applies to the technological changes taking place and the changing values and thinking during this period of history.

Chikanobu, like other ukiyo-e artists in the Meiji era, understood the need to adapt because many new art forms were altering the artistic landscape in Japan. Western art especially impacted on the new generation of artists and political elites wanted to encourage modernism. Therefore, the new crème de la crème of young artists mainly adopted concepts outside of the powerful ukiyo-e art form which was so potent during the Edo period.

At the same time, technological advancements and photography were impacting greatly on ukiyo-e from a virtually negative point of view. The old ways which nurtured art in the Edo period, along with other forms of art, were being challenged by many new art movements. Also, photography would eat away at the need for ukiyo-e because it could not compete on a technological level playing field.

Chikanobu highlights an array of subjects in his art and this applies to the power of the past to the changing nature of Japanese society. He also depicted powerful historical figures in Japanese history to highlighting the nationalist side of the Meiji period which applies to war. Also, when you view Chikanobu’s art you can visually witness the imperial aspects of Western powers, which were being replicated in dress styles when it applied to elites.

Cultural wise, Chikanobu also painted many adorable themes. This applies to the Japanese tea ceremony, ikebana, kabuki, fashion in the changing Japan, and a plethora of other subjects. In this sense, Chikanobu opens up many aspects of Japan related to many themes. These themes also apply to the “old world” and “new world.”

The Toshidama Gallery (http://toshidama.wordpress.com) comments that “Chikanobu is one of the giants of the Meiji era of Japanese Woodblock prints. With Kunichika and Yoshitoshi, Chikanobu distinguished the turmoil of Japanese culture as it came to terms with the new age. Like them his life and career were inextricably linked to the upheavals in Japanese history and the near civil wars that characterized the time.”

Chikanobu and the series titled A Mirror of the Ages is also a classic because of the rich cultural themes related to women and fashion throughout the changing times. The Toshidama Gallery highlights this series strongly by stating that “This whole series is one of the outstanding achievements of late nineteenth century Japanese art. One of his best series, A Mirror of the Ages showed women by fashion and hair style throughout history. There is of course the longing for the past and yet these prints are unmistakably modern and of their time….The quality of printing is outstanding, especially in Chikanobu’s use of white for the rendering of the powdered faces. It is often forgotten by art historians that this was the period about all others when the technique of woodblock printing achieved its zenith whilst at the same time there were artists of stature to execute it.”

Other adorable print series include “Chiyoda no Ooku” (Court Ladies of the Chiyoda Palace) and “Shin Bijin” (True Beauties). Of course, Chikanobu produced many amazing pieces of art but both the above named series relate to genuine aspects of female beauty in Japan. This is highlighted by traditional clothes, for example the kimono, to the changing nature of the time which applies to Western dress styles.

In a past article about Chikanobu I comment that “Chikanobu not only witnessed the new revolutionary period and how elites looked to the West but by the late 1880s and early 1890s nostalgia also returned.  Obviously for the masses they were outside both themes and the only important thing was survival and adapting.”

The art of Chikanobu stands out dramatically and this not only applies to the exquisite skills that he was blessed with, but also to the themes that Chikanobu highlights. He certainly provides many glimpses into Japan which relate to the “old world,” cultural aspects of Japan, and the modernization of the Meiji period.

Overall, Chikanobu is one of the greats of the ukiyo-e art movement and given the plethora of fantastic ukiyo-e artists, this highlights his richness to the full. Therefore, if you adore Japanese art, culture, and history, then Chikanobu will appeal greatly because of the broad themes he depicted in his art.

 

http://www.toshidama-japanese-prints.com/item_216/Chikanobu-A-Mirror-of-the-Ages.htm

Please visit http://toshidama.wordpress.com for more articles and information.

Please visit http://toshidama-japanese-prints.com/ –   On our site you will see a wonderful selection of Japanese woodblock prints for sale. Ukiyo-e (the Japanese name for woodblock prints of the 18th and 19thcenturies) are beautiful, collectible and a sound financial investment

http://www.depauw.edu/news/index.asp?id=20942

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leejay@moderntokyotimes.com

Japanese art and Yuzo Saeki: the “outsider” who died in a distant land in an insane asylum

Japanese art and Yuzo Saeki: the “outsider” who died in a distant land in an insane asylum

Lee Jay Walker 

Modern Tokyo Times

The artist Yuzo Saeki gave much to the Japanese art world despite dying at the age of 30. Yuzo Saeki was born in 1898 and passed away in 1928. However, despite his time on this earth being brief he did much and left an intriguing legacy which also applies to areas outside of art. This applies to the way he was “thrown to the wolves” while feeling entrapped by health problems, cultural factors, and being abandoned by a culture which did not love him back.

In many ways, Yuzo Saeki represents the “outsider” which resides in all nations throughout the world, and within nations where the marginalized are unloved. Also, he highlights the complexity of culture and how individuals may adore aspects of a new culture – but this “new culture” isn’t able to respond in kind. Therefore, the society that abandoned him was the French culture that he admired and desired to belong. However, he always remained to be the “outsider” in a country which inspired him and pulled away at his tormented soul.

Yuzo Saeki provides a genuine glimpse into the “real separation” of “a love affair” which refused to acknowledge his deep love of Paris and France. This applies to many art pieces whereby the distance from his vantage point is noticeable by the confused lettering of certain places he depicted. Also, the manic and confused lines within some of his art may denote all the inner-confusions and utter desperation that he felt at times. Despite this, and being in extremely poor health, he could not pull himself away from a culture which inspired him to create stunning pieces of art.

Yuzo Saeki was born in the vibrant city of Osaka and from a very early age he fell in love with art. The Buddhist faith ran through his veins when a child because his father was a Buddhist priest. On top of this was the changing nature of Japanese society which also swept away many traditions and depleted many rich trades. In this sense, modernization in both France and Japan was ripping many lives apart. Yet, on the other hand both societies were providing new opportunities.

The Meiji and Taisho periods in Japan were full of mass contradictions because on the one hand a new modern dynamic was part and parcel of the “new” Japan. Opposite to this, was a new nationalist period whereby Japan would join “the Western club” and “Islamic club” of colonialism. Amidst all these contradictions was a very talented artist called Yuzo Saeki who meant no negative things towards anyone. Instead, he just wanted to focus on the vocation that he adored. Sadly, life is never that simple for some individuals and ultimately his vocation also created great suffering for Yuzo Saeki.

Western art in Japan was provided with a small “window” in Nagasaki by the Dutch during the Edo period. However, in the period of Yuzo Saeki no other city was more vibrant than Paris when it came to new art movements. The old world of influence from China and Korea was on the wane for many artists and the same applies to the rich traditions of Japanese art. Therefore, the pull of Western art was extremely strong for Yuzo Saeki and in time Paris and France would become “a love affair” with “a poison chalice.”

It must be stated that many other Japanese artists didn’t suffer the same fate in France. Given this, it is clear that the deep passion within Yuzo Saeki was extremely unique but what tipped everything in the wrong direction near the end, applies to the tragic circumstances of his life. This notably applies to poor health; poverty; alienation in a country he adored; mental exhaustion because he could feel “the gates of death beckoning;” isolation; and trapped by his own “love affair” with a culture which was alien to him despite being familiar with France.

In an earlier article I state that all “…these negatives conspired together because at the age of 30 Yuzo Saeki died in destitution in a mental hospital in France. The culmination of tuberculosis, a nervous breakdown brought on by overwork, limited means to survive, still painting outside despite worsening health conditions and other factors; all led to a very sad ending of what should have been a bright future.”

It is easy to imagine Yuzo Saeki eating inadequately based on poverty while at the same time coughing up blood because of tuberculosis. Near the end he manically painted new pieces of art because he felt “the gates of death.” Therefore, even when the weather was negative he continued to paint while bringing up blood would have interrupted him from time to time.

This meant that the reality of different thought-patterns, diverse movements within the respective art scenes of both France and Japan, and other complex factors, could easily “swallow up” individuals who were beset by various issues. Given this, when Yuzo Saeki needed guidance and support he had nobody to help him in a distant land. His “moment in time” was very different to the norms of the art scene in Paris and different cultural factors meant that he was isolated internally.

The final year alone in France was a far cry from 1924 when he moved to this nation with his wife and young daughter. Then he at least had the home comforts to placate the other “love affair” which didn’t love him back.

Michael Brenson commented in the New York Times that “When European art began to question its own traditions, however, as it did increasingly during and after World War I, there was a potential for trouble. Artists could find themselves with neither a European tradition to learn from nor a Japanese tradition to hold onto. When Saeki Yuzo, who is perceived in his country as a tragic hero, the Japanese van Gogh, died at the age of 30 in an insane asylum in Paris in 1928 – perhaps a suicide – he had been trying to paint in this void. Saeki continues to be an example to Japanese artists abroad of the difficulties in reconciling East and West…His paintings reflect his isolation. His cafe windows and stores are filled with signs, some illegible. In his “Snowy Landscape,” figures are on the verge of illegibility. His signs seem like scars of an internal pressure to resolve a conflict between the independence and picturesque subject matter of Paris and a dependence upon his native calligraphic and woodcut tradition.”

The comments made by Michael Brenson are extremely illuminating because it paints a picture of an artist who is trapped by the cultural realities of both nations. At the same time, he appears to notice his isolation and withdraws from a distance whereby the signs are often illegible. However, it is not only the signs which sometimes become illegible because also the human form enters a dark and sinister world where the scars of life are all too real.

Yuzo Saeki also highlights the “outsider” who never can belong despite his love of the host nation. This shared experience can be felt by individuals throughout the world who often feel the same pressure and isolation. Often, it may not always be the host nation because much can depend on cultural differences and certain “norms” which clash strongly in some cultures.

However, with the visible signs of tuberculosis, the mental strains of creating more art pieces because of the knowledge that death was getting nearer, and the grind of daily poverty pulling away at him; it is clear that nobody stepped in . Therefore, not one single individual in Paris cared enough to help Yuzo Saeki to the full. This culminated in the sad reality that his passionate “love affair” was one way because in his “time of need” he was abandoned to the ravages that befell him.

In the end Yuzo Saeki sacrificed his life and his family because he died based on the factors that entrapped him and took away his life. This applies to tuberculosis, poverty, and suffering from a mental breakdown. Michael Brenson also hints that he may have committed suicide in the end. However, the fact that this is debatable highlights the reality that Yuzo Saeki had been “thrown to the wolves.” Therefore, near the end he was just “another number” who was unloved and who died in an insane asylum in a distant land.

 

http://www.art.com/gallery/id–a228566/yuzo-saeki-posters.htm

http://www.nytimes.com/1987/12/25/arts/when-japan-s-art-opened-to-western-winds.html

http://www.japantimes.co.jp/text/fa20070301a1.html

leejay@moderntokyotimes.com

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Alfred Sisley and Fujishima Takeji: Art, Impressionism and the Paris connection

Alfred Sisley and Fujishima Takeji: Art, Impressionism and the Paris connection

Lee Jay Walker

Modern Tokyo Times

Alfred Sisley and Fujishima Takeji were both born in the nineteenth century and their common factors apply to the stunning art they produced and the richness of Paris which influenced both artists. They both also studied at the Ecole des Beaux-Arts de Paris in France.  However, the generational gap meant that both individuals studied at this important institution at different periods.

Fujishima Takeji (1867-1943) and Alfred Sisley (1839-1899) may have been born in two very different parts of the world but the Paris connection brought them together in the artistic sense. Alfred Sisley retained his British citizenship throughout his life despite being born in Paris and residing mainly in France. Therefore, Alfred Sisley was firmly based in Europe while Fujishima Takeji understood the diverse complexities of both Japanese art and European art.

However, Alfred Sisley would have connected with the birth place of Fujishima Takeji because he was born in Kagoshima. The reason for the connection applies to the countryside which meant so much to Alfred Sisley who adored landscape art. This also is another common theme shared by both exquisite artists.  The same also applies to Impressionism which meant so much to both artist but for Alfred Sisley the power ofImpressionist landscape was much deeper.

The stunning Impressionist landscape art of Alfred Sisley amazingly appears to be massively underrated when it comes to the fame of his name. Of course, for people who adore Impressionist art and art in general, then Alfred Sisley will be known to many. However, even within the art world his name doesn’t spring to mind when compared with other Impressionist artists. This is extremely surprising because he produced many sublime pieces of art which strikingly standout.

One important difference between Fujishima Takeji and Alfred Sisley is that Alfred Sisley never left the path ofImpressionist landscape art. Impressionism meant the world to Alfred Sisley. However, for Fujishima Takeji the influence of Japanese art and searching for new ideas meant that other art movements were equally important.

Fujishima Takeji had originally started studying traditional Japanese painting when he relocated to Tokyo in 1884. During this period he studied under Gyokusho Kawabata and prior to this he had learnt brush stroke techniques under Togaku Hirayama. However, the lore of Western art appealed greatly to Fujishima Takeji therefore he soon changed his art direction and focused on Western-style paintings. He was lucky enough to study under Hosui Yamamoto and Yukihiko Soyama when he made this transition and it soon became apparent that Fujishima Takeji had taken the right path.

Outside of Japan Fujishima Takeji became known for his importance in focusing on and developingRomanticism and Impressionism which graced the Japanese art scene called yoga (Western-style). This change of direction would also witness Fujishima Takeji becoming influenced by Art Nouveau. Yet despite the many influences it was the yoga path which became instrumental to him by the mid-1880s. Great credit for enhancing his abundant talent must be given to Hosui Yamamoto and Yukihiko Soyama for their expert guidance.

Ironically, the industrialization and innovation of the Meiji Restoration (1868) meant that new opportunities were occurring within all strata’s of society. This enabled many Japanese artists to focus on new art forms and to free their minds whereby many paths were open to talented artists outside of the traditional art forms of Japan. However, for Alfred Sisley his stunning art bypassed the power of industrialization and instead it would appear that nature was in the ascendancy. This was also done without any political or romantic bias because everything seemed so natural and this is the beauty of Alfred Sisley.

Another different aspect to the lives of Fujishima Takeji and Alfred Sisley applies to material wealth and certainty. Alfred Sisley was born into a wealthy family but after the 1870-1871 Franco-Prussian war, everything changed because poverty and challenging times would now become the norm. In this sense, Fujishima Takeji overcomes material obstacles because his later life was extremely stable when it came to financial matters. However, for Alfred Sisley this area remained problematic for him despite having wealthy patrons which enabled him to travel to Britain from time to time.

Despite poverty remaining with the Sisley family this never dampened his spirit and love of Impressionism. Therefore, he rose above everything and continued to produce stunning landscapes throughout his remaining years on this earth. Also, when the Sisley family moved away from Paris and relocated near to the forest of Fontainebleau, this decision turned out to be very fruitful because it suited his style of art. Given this, Alfred Sisley became refreshed by the surrounding environment because he did not need the trappings of major cities by this stage in his life.

Meanwhile the life of Fujishima Takeji in the 1880s was given a huge boost by the novelist and art critic, Ogai Mori. This applies to the fact that Ogai Mori was highly respected and well connected. Therefore, Fujishima Takeji was now moving in the right circles and he clearly utilized all the wisdom and skills that he had learnt from Togaku Hirayama.

The Marubeni Art Collection states that “In 1905, Fujishima traveled to Europe and studied under Fernand Cormon at the Ecole des Beaux-Arts de Paris in France and Carolus-Duran, President of the Academie de France in Italy. Cormon’s speciality was historical paintings, while Duran excelled in portraiture.”

This meant that Fujishima Takeji also studied at the same institution and while Alfred Sisley had sadly passed away in 1899, his spirit and the power of the art he produced remained strong. Therefore, the same art institution and the trappings of Paris will have been felt richly for both stunning and gifted artists. The meaning of the art institution and their time in Paris will have meant different things. However, certain connections will have flowed in their veins even if the outcome was different for both individuals.

The Marubeni Art Collection continues by stating that “On his return, in 1910, Fujishima was nominated Professor of Tokyo Art School and became a member of the Imperial Art Academy (the Teikoku Bijutsu-in), as well as a member of the jury for its exhibitions, known in abbreviations at the Tei-ten. In 1937, he received the very first Order of Culture (Bunka Kunsho), a decoration given by the Government to those who have contributed greatly to the development of art, science and other fields of culture, along with Saburosuke Okada.”

Overall, the beauty of the art work of Alfred Sisley and Fujishima Takeji is abundantly clear when you view their most famous pieces of art. Certain flows of history and important circles naturally entered both of their respective worlds irrespective if the outcome was different. These two amazing artists have left a rich legacy and both need to be studied more in the modern period because of the richness of the art they both produced.

 

http://www.alfredsisley.org

http://www.vincentvangoghclaudemonet.org/artist/Fujishima_takeji.html

Image 1-3-5-7-9-11-13-15 are pieces of art by Alfred Sisley and number 2-4-6-8-10-12-14 are art pieces by Fujishima Takeji.

leejay@moderntokyotimes.com

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Claude Monet was smitten by Japanese art: Impressionism and ukiyo-e

Claude Monet was smitten by Japanese art: Impressionism and ukiyo-e

Lee Jay Walker

Modern Tokyo Times 

Claude Monet was very important within French Impressionism and despite new artistic movements like Cubism and Fauvism altering the artistic landscape, he remained firmly committed to Impressionist art. Another major art theme which would shape Claude Monet was Japanese ukiyo-e because he was smitten by this art form when he witnessed it with his own eyes. Therefore, Claude Monet utilized these two powerful art movements and the upshot of this was stunning fresh art pieces which remain etched within the memory.

The Impressionist art movement altered the artistic world dramatically and created a new energy to art. However, for Claude Monet, and others, Impressionism was a philosophy which remained with him until parting from this world.

He was born in 1840 in Paris and died in 1926. Throughout his long life he created extremely stunning art which is internationally admired. From an early age Claude Monet adored art and in the early period he took lessons from Jacques-Francois Ochard. However, his early mentor who taught him about using oil paints was Eugene Boudin, a fellow artist, whom he met when still a teenager. Claude Monet and Eugene Boudin also benefitted from the influence of Johan Barthold Jongkind.

The year 1857 was very dramatic and full of sadness because Claude Monet’s mother died. From this period to the early 1860s he witnessed many highs and lows because other family members were opposed to his strong focus on art. In the early 1860s he served in the French army in Algeria and was meant to have stayed for seven years. However, after suffering from typhoid fever he was allowed to leave after two years because of the actions of his aunt and the reported prompting of Johan Barthold Jongkind.

Claude Monet in 1862 could once more fully concentrate on art but he wasn’t interested in following traditional art. He now became a student under Charles Gleyre in the dynamic city of Paris. In time he would meet powerful artists like Alfred Sisley, Pierre-Auguste Renoir and Frederic Bazille. These artists were focused on new approaches to art and in time the Impressionist movement would radically alter the artistic landscape. Therefore, because of these individuals and others who were dedicated to new artistic concepts, a rich flow of art would galvanize the art world which remains vibrant today.

The 1870s was a very dramatic period for Claude Monet because the Franco-Prussian war of 1870-1871 and the revolutionary fervor which gripped Paris, led to many upheavals. During the same period he was touched by Japanese print making called ukiyo-e. This love affair would stay with him for the rest of his life. However, the death of his wife from tuberculosis in 1879 after several years of illness shattered Claude Monet because he doted on Camille Doncieux.

Turning back to the impact of Japanese art on Claude Monet the writer Don Morrison, Time Magazine, commented in his article (Monet’s Love Affair with Japanese Art) that “One day in 1871, legend has it, a French artist named Claude Monet walked into a food shop in Amsterdam, where he had gone to escape the Prussian siege of Paris. There he spotted some Japanese prints being used as wrapping paper. He was so taken by the engravings that he bought one on the spot. The purchase changed his life — and the history of Western art.”

“Monet went on to collect 231 Japanese prints, which greatly influenced his work and that of other practitioners of Impressionism, the movement he helped create. Under the new Meiji Emperor, Japan in the 1870s was just opening to the outside world after centuries of isolation. Japanese handicrafts were flooding into European department stores and art galleries. Japonisme, a fascination with all things Japanese, was soon the rage among French intellectuals and artists, among them Vincent van Gogh, Edouard Manet, Camille Pissarro and the young Monet. Perhaps for that reason Impressionism caught on early in Japan and remains ferociously popular there.”

While it is known that Claude Monet adored ukiyo-e you still have major debates about how Japanese prints influenced him personally. This topic is still up in the air to many art experts and the opinion varies greatly.

On the following website (http://www.intermonet.com/japan/) it is stated that “Art historians do not agree about this point: was Monet really under Japanese influence, or did he seek confirmations of his own research in Eastern art?”

“However, an attentive eye can establish interesting connections. The influence of the prints on Monet’s art can be noted in the subjects he chose, in the composition, in light……But Monet knew how to be inspired without borrowing. His paintings diverge, from the prints by many aspects. The Japanese artists liked to feature the anecdotic or dramatic moments, Monet concentrated on light, which was the very subject of the canvas – the object was no more than (a) medium to convey the plays of light.”

Art historians can either play up or play down the influence of ukiyo-e within the art of Claude Monet. However, he was clearly charmed by the ukiyo-e of individuals like Hokusai, Hiroshige, and Utamaro. This isn’t open to debate because not only did Claude Monet buy vast amount of ukiyo-e art prints but he also created a Japanese garden in his cherished home. He, and many other important Impressionists, was clearly inspired by many aspects of ukiyo-e.

The cultural dimension could never be bridged because of different thought patterns and factors behind both respective art movements. However, the richness of ukiyo-e and the freshness of this style did reinvigorate many artists in Europe and North America. Therefore, while the degree of influence may vary to respective artists who adored ukiyo-e, it is clear that new artistic concepts within ukiyo-e did inspire new thinking within many Impressionists.

Don Morrison comments that “Perhaps the greatest gift Japan gave Monet, and Impressionism, was an incandescent obsession with getting the play of light and shadow, the balance of colors and the curve of a line, just right — not the way it is in reality, but the way it looks in the artist’s imagination. “I have slowly learned about the pattern of the grass, the trees, the structure of birds and other animals like insects and fish, so that when I am 80, I hope to be better,” Hokusai wrote 16 years before his death at age 89. “At 90, I hope to have caught the very essence of things, so that at 100 I will have reached heavenly mysteries. At 110, every point and line will be living.” Monet spent the last decades of his life painting his water lilies, and then painting them again, until he lost his sight in quest of an elusive, transcendent perfection that might best be called Japanese.”

The love affair that Claude Monet found with Japan in his lifetime remains powerful in modern Japan. After all, without a shadow of a doubt Claude Monet is one of the most popular artists in this country. Therefore, the “love affair” worked both ways and this “spark” remains extremely bright today in Japan amongst art lovers.
http://www.time.com/time/magazine/article/0,9171,1573943,00.html#ixzz1uXJiJOmX

http://www.intermonet.com/japan/

leejay@moderntokyotimes.com

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Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Japanese art and Asai Chu: the eclipse of ukiyo-e by western style art

Lee Jay Walker

Modern Tokyo Times

 

The Meiji Restoration of 1868 led to many social convulsions and like all revolutionary periods you had many winners and losers. This applies to individuals who could adapt to the rapid changes in society and the art world was no exception in Japan. Asai Chu (1856-1907) belonged to this changing world. However, in some ways he was lucky because he was young enough to understand these momentous events in Japanese history.

The old world of ukiyo-e would become eclipsed in the lifetime of Asai Chu despite some amazing Meiji ukiyo-e artists. Not surprisingly, Asai Chu became involved in the new wave of Japanese art which was heavily influenced by Western style artists. Of course, it wasn’t all one way because many Western artists like Van Gogh, Paul Gauguin, Claude Monet, Edgar Devas, James Abbott McNeill Whistler, Mary Cassatt, Henri de Toulouse-Lautrec, and many others, adored ukiyo-e and Japanese style paintings.

However, the technological developments of photography and other areas meant that ukiyo-e could not compete on a level playing field based on modernization alone. Also, different cultural influences and Japanese artists living abroad meant that new dynamics were at work. This implies that while technological change speeded up the artistic transition, the old order would have been usurped anyway because of cultural interaction and changing thought patterns. Therefore, for individuals like Asai Chu these were exciting times.

Ironically, the Meiji period did witness many fantastic ukiyo-e artists and it is because of these individuals that it managed to cling on for so long. Notable Meiji ukiyo-e artists include Yoshitoshi, Chikanobu, Kobayashi Kiyochika, Ogata Gekko, Kawanabe Kyosai, Toyohara Kunichika, Utagawa Yoshifuji, Mizuno Toshikata, Ginko Adachi, and several others. However, they were swimming “against the tide” despite their collective skills blessing the art world and enriching Japanese art.

Traces of the old world survived in modern Japan through new movements like shin-hanga but this area was limited when compared with the days of Hokusai, Hiroshige, Utamaro, and many other amazing artists, who belonged to the world of ukiyo-e. However, this isn’t to underestimate the shin-hanga movement because it produced many stunning artists like Ito Shinsui, Hiroshi Yoshida, and Kawase Hasui (to name just a few). Also, the bridge of the shin-hanga movement meant that “the shadow” of the old world was ticking but fused with new changes and thinking within this intriguing art form.

Asai Chu blossomed under Kunisawa Shinkuro and he was lucky enough to study under Antonio Fontanesi. The reason why he had this opportunity was because of the Meiji elites who wanted to transport the best of the Western world and fuse this with the best of Japan. Therefore, in the area of science, the arts, law, industrialization, military thinking, commerce, political systems, and so forth, the power of the West became embodied within the psyche of the new Japan. Of course, while new thought patterns emerged, the power of Japanese culture and different thought patterns meant that you had a lot of fusions. Therefore, in certain areas “a new way” emerged based on Japanization.

In an earlier article I stated that “The Meiji government hired Antonio Fontanesi in order that he would introduce oil painting from Europe and clearly Asai Chu learnt much because his passion and sophistication grew. When Asai Chu was in his forties he resigned from being a professor in Tokyo and moved to France for two years. This decision was wise because by studying at an impressionist art school he managed to enhance his artistic skill and techniques.”

“Also, the cultural aspect of studying in France meant that new styles of thinking and artistic creativity would further enrich his rich talents. This decision also shows that Asai Chu was still searching and despite the relative comfort of being a professor in Tokyo he was willing to take risks in order to pursue his love of art.”

The inquisitive nature of Asai Chu and his love of art meant that France would enhance him personally, and in turn he would influence many important Japanese artists when he returned home. This must have pleased the Meiji leaders who were involved in the arts because the younger generation of aspiring artists had an individual to look up. This is based on his stunning art and the rich knowledge that he had obtained in Japan and France.

Therefore, artists like Yasui Sotaro, Suda Kunitaro, Umehara Ryuzaburo, and many others, learnt many things from Asai Chu. On returning to Japan he became a professor at Kyoto College of Arts and Crafts and because of his enthusiasm for art, he was involved in many clubs related to this field. Therefore, just like the dynamic Meiji period it is abundantly clear that Asai Chu was equally creative and vigorous.

In my earlier article about Asai Chu and the role of the Meiji political leadership, I comment that “Meiji political leaders impacted on art in this period and introduced new art forms from outside of Japan. However, at the same time political leaders were concerned about preserving the richness of Japanese art and culture. This minefield wasn’t easy and conservatives and liberals understood what was at stake but for individuals like Asai Chu the issue was “art” and not politics or cultural engineering.”

Ukiyo-e was clearly on “borrowed time” because of the prevailing conditions and artists like Asai Chu re-invigorated Japanese art. The shin-hanga movement meant that the power of ukiyo-e was kept alive for many decades throughout the twentieth century. It matters not that the thought patterns, concepts, and art, were very different because the link is evidently clear for all to see.

However, the world of Asai Chu would impact greatly on Japanese art because so many other fellow nationals were inspired by Western art. However, in truth, each new movement will one day be eclipsed by new concepts, styles, and thinking. Therefore, the diversity of Japanese art is blessed by each special art movement irrespective if the roots began in Japan, China, France, Holland, or wherever.

leejay@moderntokyotimes.com

http://moderntokyotimes.com

Japanese art and Utamaro Kitagawa: striking ukiyo-e artist

Japanese art and Utamaro Kitagawa: striking ukiyo-e artist

Lee Jay Walker

Modern Tokyo Times

The exact date of the birth of Utamaro Kitagawa and strong details about his parents remain shrouded in mystery. It is known that this striking ukiyo-e artist was born in the middle of the eighteenth century and that he died in the early nineteenth century. However, while these details may remain sketchy the artistic skills of this ukiyo-e artist aren’t sketchy because he left a powerful legacy.

Utamaro was especially known for his bijin-ga (art of beautiful women) and studies of nature. In the middle of the nineteenth century his stunning ukiyo-e portraits reached many acclaimed artists in Europe, notably in France. The upshot of this was that he influenced European Impressionists because of aspects of his art related to partial views and other areas related to light and shade.

In the early art of Utamaro you can see the influence of Torii Kiyonaga and Harunobu Suzuki. Also, it is widely accepted that he studied under Toriyama Sekien and that the publisher Tsutaya Juzaburo enabled Utamaro to develop and prosper. This applies to the early part of his artistic career but in time the relationship would cease once Utamaro reached new heights in the early 1790s.

Therefore, from 1791 he concentrated on single portraits of ladies rather than women in groups, which was very popular at the time. His half-length portraits would also inspire many artists in later generations in Japan and much further afield.

It is stated that Utamaro would find models from either the streets of Tokyo or from the sexual known area called Yoshiwara, which is still known for this feature in modern day Tokyo. Also, in the streets of Harajuku, Shibuya, and Shinjuku in modern times, you will often see men asking beautiful ladies for work related to modeling and other areas. Therefore, it is easy to envisage Utamaro doing the same in the late eighteenth century and early nineteenth century.

Utamaro didn’t just limit himself to bijin-ga because he also did work related to nature studies, animals, insects, and shunga (erotica). Often, this side of Utamaro is overlooked but clearly he was multi-dimensional. Also, it must be stated that shunga may appear to be more sexual from the non-Japanese point of view. However, in Japan this art form was a way of focusing on the natural side of human behavior.

Dieter Wanczura on the website Artelino comments that “When reading about this artist, you will often find phrases like “No other ukiyo-e artist has painted the beauty of women as deeply as he did”. This has indeed a point. Utamaro’s women express a certain sensitivity that no ukiyo-e artist had achieved before him. He had experimented with some new techniques to display the flesh tones of his women portraits in a different and softer manner.”

“But the artist certainly did not show women in their real natural physiognomy. His women are idealized with extremely tall and slender bodies. The heads are twice longer than broad. The noses are extremely long and the eyes and the mouth are depicted as tiny little slits. His women have long necks and small shoulders.”

“The typical physiognomy of a Japanese woman of the late eighteenth century was certainly far different from the designs of Utamaro. Indeed, his women look more like the models in today’s fashion magazines. Is this the key for an explanation of the success of Utamaro prints?”

Sadly, the last few years witnessed bouts of depression after being imprisoned in 1804 because of his art. This applies to an historical print that he produced which showed Toyotomi Hideyoshi (a pre-Edo leader who helped to unify Japan) with five concubines and his wife. However, this displeased the ruling elites and for this he was put in prison for a brief period (some say 50 days others state the period was much shorter).

Irrespective of the length of time, he took this badly because he felt humiliated and clearly this incident tarnished his reputation amongst the elites. He died two years later but his legacy remains strong because of the stunning pieces of art he produced

 

http://www.artelino.com/articles/utamaro.asp

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Edgar Degas and Japanese art: inspired by ukiyo-e

Edgar Degas and Japanese art: inspired by ukiyo-e

Lee Jay Walker

Modern Tokyo Times

Japanese ukiyo-e inspired many artists in distant lands and Edgar Degas was one of the many international artists who came to admire this art form. Edgar Degas (1834-1917) was born in Paris into a wealthy family and he was blessed to study at the Ecole des Beaux-Arts in Paris. This intriguing individual in time would join the Impressionists but he also adored the art of the Renaissance.

Therefore, after studying he moved to Italy and copied the great masters of the Renaissance for five years. During this period he learnt the richness of this era and meticulously he would study the artists who blessed the art world with their respective lasting legacies. Not only did he study in Italy about the heritage of Renaissance art but he also copied each detail and this methodology suited his style.

The Impressionists were also igniting the art world during his lifetime and Edgar Degas was deeply inspired. Therefore, from 1874 to 1886 he also became fully embroiled in this art movement and entered his work to be shown in the many exhibitions of this timeframe. This period enabled Edgar Degas to expand and grow and not surprisingly the fusions of many different art forms blessed his art and creativity.

Ukiyo-e was also very important to Edgar Degas who was fascinated by the richness of Japanese art. Van Gogh had commented that “I envy the Japanese artists for the incredible neat clarity which all their works have. It is never boring and you never get the impression that they work in a hurry. It is as simple as breathing; they draw a figure with a couple of strokes with such an unfailing easiness as if it were as easy as buttoning one’s waist-coat.”

Edgar Degas also loved the diversity and creativity of ukiyo-e and you can draw parallels with his art regarding ballet dancers, bathers, stage performers, and other areas. Van Gogh, Paul Gauguin, Claude Monet, and a host of other artists, felt the pull of Japanese art and clearly Edgar Degas was also inspired. Therefore, if you change the ballet dancer and stage performers to bijin-ga and kabuki, you can see a rich vein materializing whereby his own artistic culture fused with Japanese art.

Also, not only did Edgar Degas collect ukiyo-e prints but many of his friends had a deep knowledge of this art form. Therefore, artists like Utamaro, Hokusai, Sharaku (an individual shrouded in mystery), Hiroshige, and other famous ukiyo-e artists, were highly admired. This factor clearly rubbed off onto Edgar Degas and just like Renaissance art and Impressionism had inspired him, the same can be said for Japanese art.

On the Yale Univeristy Press website Jill DeVonyar and Richard Kendall comment about the book calledDegas and the Art of Japan that “Degas and the Art of Japan explores the French Impressionist’s lifelong fascination with the work of his Japanese counterparts. Adding substantially to previous studies, the authors propose new links between some of Degas’s characteristic themes, such as laundresses and horse racing, and the woodblock designs of Ukiyo-e masters. Fresh light is also shed on another signature trait of the artist—his fascination with women in their public and private lives—which is echoed in the prevalence of female subjects in Japanese woodblock imagery.  Equally significant are revelations about Degas’s access to specific Japanese prints belonging to collectors and dealers in Paris.”

“Works by Degas in all media are considered—paintings, pastels, drawings, lithographs, etchings, monotypes, and sculpture—and juxtaposed with Japanese prints, illustrated books, and decorated fans. Comparable human predicaments and parallels in visual language are all part of this wide-ranging analysis, which deepens our understanding of one of the world’s greatest artists.”

The book called Degas and the Art of Japan clearly digs deep within the many aspects of his life. This notably applies to the legacy of the Japanese connection and how ukiyo-e inspired this amazing artist. Therefore, just like other notable artists he also understood the richness of ukiyo-e and this further sheds more light on this amazing art form.

Dieter Wanczura, a notable individual with rich knowledge of Japanese art, comments that “All things Japanese were suddenly stylish and fashionable. Shops selling Japanese woodblock prints, kimonos, fans and antiquities popped up in Paris like mushrooms. The Impressionist painters and Post-Impressionists like Claude Monet, Edgar Degas, Toulouse-Lautrec or Paul Gauguin were attracted and impressed by Japanese woodblock prints. In 1875 Claude Monet created his famous painting La Japonaise, showing his wife dressed in a Kimono and holding a Japanese fan.”

This was the art world in this period of history in Paris and other major artistic cities where Japanese prints were growing in stature. Yet, the individuality of Edgar Degas also shines through because he was also an intriguing artist who fused many different art forms within his work.

http://yalepress.yale.edu/book.asp?isbn=9780300126334　

leejay@moderntokyotimes.com

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Japanese art and Yasui Sotaro: the allure of Paris and uniqueness of Japanese art

Japanese art and Yasui Sotaro: the allure of Paris and uniqueness of Japanese art

Lee Jay Walker

Modern Tokyo Times

Yasui Sotaro (1888-1955) was born in Kyoto and he is famous for yoga (Western-style) portraiture. It is clear that this talented individual understood his vocation because he pursued a career in art despite his family desiring a more commercial career. Therefore, from an early age he was clearly determined and focused and in time he would blossom in the art field.

He was very fortunate to have studied under Asai Chu who sadly died in 1907 when Yasui Sotaro was still a teenager. Asai Chu was a stunning Japanese painter who inspired many artists in Japan. This notably applies to Yasui Sotaro, Suda Kunitaro, Umehara Ryuzaburo, and other artists who were inspired by Asai Chu.

Not surprisingly, Yasui Sotaro also moved to France just like Asai Chu had done during his lifetime. He moved to Paris in 1907 and stayed until 1914 and this period of his life was very beneficial. Indeed, it is clear that Yasui Sotaro was extremely lucky to have studied under Asai Chu in Japan and then under Jean-Paul Laurens at the Academie Julian.

During his stay in Paris he became influenced by the art of Paul Cezanne, Jean-Francois Millet, and Pierre-Auguste Renoir. It is stated that he was especially influenced by Paul Cezanne. Therefore, the fusions of Japanese art and European art along with the rich vibrancy of the Paris art scene, impacted greatly on this talented individual. However, with the outbreak of World War One he had to return to Japan but Paris had clearly inspired him during his stay in France.

Yasui Sotaro, Umehara Ryuuzaburo, Ishii Hakutei, and Fujishima Takeji, had all gained from their experience in France. They also studied in this country in the same timeframe. Indeed, the power of France influenced Ishi Hakutei to introduce the art of Rodin and Renoir to the Tokyo art scene.

The following decade witnessed recurring problems related to the health of Yasui Sotaro but from an art point of view it was a time of further growth. Yasui Sotaro in this period focused on vibrant colors and outlines which were clear. Therefore, you can notice his style within the landscapes and portraits that he produced. Also, traditional Nihonga techniques fused naturally with realism and other thought patterns that he learnt  in France.

Notable art pieces by Yasui Sotaro include Black-haired Woman, Portrait of a Woman,  Early Summer, Autumn at Lake Towada, A Suburb of Kyoto, Girl in New-Year Clothes, Roses, and Chin-Jung.However, throughout his career he produced many stunning pieces of art which have blessed the art world.

 

leejay@moderntokyotimes.com

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Japanese art and Ito Shinsui: bijinga and fashion in stylish art form

Japanese art and Ito Shinsui: bijinga and fashion in stylish art form

Lee Jay Walker

Modern Tokyo Times

Ito Shinsui (1898-1972) is a “famous son” of Japanese art because his art is blessed with elegance, sophistication, and serenity. This is equally matched with natural simplicity and adorable color schemes when applied to his images of beautiful ladies and landscapes. Therefore, if you want to imagine the natural beauty of “the old world” and the stylish nature of traditional Japanese fashion styles for ladies, then Ito Shinsui does this with panache, amazing color schemes and elegant depictions of stunning ladies.

Indeed, the art work of Ito Shinsui is not only extremely beautiful and charming but the facial features of the ladies are very mysterious. This reality of the art work of Ito Shinsui is most striking. For he possesses a style which conjures up sublime beauty but within settings which are at one with nature and which don’t need to be sensationalized.

Also, the adorable color schemes highlight the exquisite beauty of traditional Japanese clothes for ladies. In terms of fashion, he enables the richness of Japanese culture to be seen through the majestic styles and color co-ordinations of traditional clothes, which just beg for admiration.

Therefore, in the modern world of fashion you will see many amazing boutiques which highlight the rich embroidery, creativity, and amazing fabrics, of modern day fashion. The same applies to visiting famous fashion shows in Paris, New York, Milan, Tokyo, London, and other high octane fashion exhibitions which highlight elegant models and various styles. However, the art of Ito Shinsui and the amazing styles he depicts would grace any modern fashion show. This applies to panache, grace, color schemes, rich fabrics, buzzing creativity, and other important factors.

On the website called Fujiland by B.C.Liddell it is stated that “Shinsui Ito was a central figure in Japan’s artistic identity crisis during the 20th century. As wave after wave of artistic ‘isms’ from overseas broke upon these shores, native artists felt compelled to either abandon their own rich artistic traditions or embrace them even more strongly. Ito … was one of those artists who chose the latter course, joining the Nihonga movement, which looked to Japan’s past for inspiration rather than the confusing plethora of ideas pouring in from abroad.”

“When he was 18, he joined Shinhanga Undo, a group which aimed to revive the methods and styles of ukiyo-e. This had a profound influence on the style and themes of his paintings which abound with the images of nature and feminine beauty found in traditional Japanese wood block prints. Joshin (Unsullied Morning) (1930), a beautiful picture depicting a group of naked women bathing in a natural hot spring combines both of these aesthetics. The color of the bathers is so softened by the steam and blended into the surrounding nature, that it is only the blackness of their hair that first alerts us to their presence.”

“Nihonga differs markedly from Western painting in the materials used. The emphasis, as with so much in Japanese culture, is on the use of entirely natural materials. Paper and silk, mounted on board, wall scrolls or on folding screens, are used instead of canvas.”

The most notable comment on this website about Ito Shinsui is that “Japanese art inspired by the imported artistic movements of the 20th century often looks derivative and dated, but the work of Shinsui Ito retains its sincere beauty and timeless appeal.”

Therefore, not only did Ito Shinsui maintain a connection with past Japanese art but his bijinga art is also timeless. This most certainly applies to his finest collection because you can connect the image with the most exquisite kimono during the Taisho and Showa period. However, because of the adorable color schemes and highlighting the stunning nature of traditional Japanese clothes – then, the fashion angle is equally rewarding because his powerful art isn’t out of place in the modern period.

Ito Shinsui truly belonged to the Shin Hanga art movement and Watanabe Shozaburo, a famous publisher, must be credited with opening up many doors for this amazing artist. Their relationship would remain strong for many decades and both individuals benefited.

The beauty of Ito Shinsui is that he connects the old art world of Japan with the new world in a way which is natural. His gracefulness is a wonder to behold. Therefore, he is fondly remembered for the art he produced and the “timeless” nature of his art is truly remarkable.

 

http://www.artelino.com/articles/ito_shinsui.asp

http://www.hanga.com/bio.cfm?ID=36

http://www.vernegallery.com/japanese-prints/Ito-Shinsui/32

http://frclarke.com/shinhanga/shinsui/shinsui.html

http://www.hanga.com/series.cfm?ID=29 

http://fujiland-mag.blogspot.jp/2010/10/exhibition-shinsui-ito.html

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Japanese art and Nishikawa Sukenobu: Imperial city of Kyoto, women and politics

Japanese art and Nishikawa Sukenobu: Imperial city of Kyoto, women and politics

Lee Jay Walker

Modern Tokyo Times

Nishikawa Sukenobu was born in 1671 and until his death in the middle of the eighteenth century, this stunning artist opened up aspects of the role of women in Japanese society. Also, with Sukenobu being based in Kyoto then this provides a rarity within the ukiyo-e art movement. Therefore, with Sukenobu being based in the imperial city of Kyoto this provided him with more freedom and his thinking would be influenced by the environment he resided in.

It is stated about this stunning artist that his images of women were more natural and unassuming and this fact left a lasting legacy. From the political point of view, he appears to have been disenchanted with bakufureforms which were infringing on artists. However, instead of accepting these reforms he appears to have rebuked the bakufu by expressing his thinking through his artwork.

Jenny Preston, School of Oriental and African Studies, University of London, comments that “Between 1710 and 1722, Sukenobu published some fifty erotic works; following the Kyôhô reforms of 1722 outlawing erotica, he began producing works generally categorized as fûzoku ehon — versions of canonical texts, poems and riddles, all executed in a contemporary idiom. This study contends that these works were an expression of political disaffection; that Sukenobu used first the medium of the erotic, then the image-cum-text format of the children’s book to articulate anti-bakufu and pro-imperialist sentiment.  This radical re-reading of Sukenobu’s work is supported by close reference to the literary output of his numerous collaborators, to contemporary diary and pamphlet literature, and to the corpus of Edo and Kyoto machibure edicts. The study will hopefully shed new light on the role of popular art in the eighteenth century, and its profound political engagement.”

The research by Jenny Preston is very important because it highlights that artists couldn’t be fully constrained by bakufu reforms in their entirety. If, like stated, he had pro-imperial sentiments then this confirms his attachment to Kyoto and the power mechanisms of this city. Also, it shows that the bakufu would tolerate certain dissent in this period but at the same time central institutions were worried about the impact of art when it was deemed unsavory to the sentiments of the bakufu.

The University of Alberta Art Collection website comments that “Nishikawa Sukenobu was a Japanese woodblock print designer, book illustrator and painter. Unlike most of his contemporaries, who worked out of Edo, Sukenobu was based in the imperial capital, Kyoto. He produced book illustrations for the celebrated Kyoto publisher Hachimonjiya Jishō, as well as drawings for several kimono pattern sample books which portray scenes of women choosing kimonos. Sukenobu is best known for his orihon (folded books) and for his unsurpassed skill in presenting graceful and charmingly realized beauties. Sukenobu’s work greatly influenced numerous artists throughout the history of ukiyo-e.”

This bio by the University of Alberta is just highlighting brief facts about Sukenobu but it is clear that this individual artist is viewed with great acclaim when it comes to his depiction of women. Also, the Kyoto angle is highlighted and clearly Sukenobu is opening up a window to the fashion styles of this period in Kyoto. Similarly, he is providing a glimpse into the world of Kyoto with regards to the role of women in society.

Therefore, irrespective if the glimpse is limited or based on a male perception, it is still of cultural importance because his images are very realistic. For this reason, Sukenobu is of great importance because he opens up the keys to imperial Kyoto and the freedoms of women within certain areas of life.

His artwork called Appreciating 100 Women (Hyakunin joro shinasadame) is highly acclaimed because he covers a broad spectrum of different themes. This focus also highlights that his world was very rich and that he could mix easily irrespective of the situation. Therefore, Hyakunin joro shinasadame focuses on issues from the empress to ladies who were employed in the sex trade. Also, irrespective of the subject matter in this series of images, the importance is the style he did this in because the images are very realistic and this reality is what makes his work so powerful.

In another article about Sukenobu which was published by Modern Tokyo Times it was stated that “…with Sukenobu focusing on women from various different classes then he opens up the reality of old Japan. This in itself is very fascinating because it provides glimpses into the Edo period and this applies to stratification, roles of women, and freedom of women in Japan in this period. Therefore, the Hyakunin joro shinasadame is very important with regards to not only art but because it also relates to social issues and thought patterns of the day.”

“Sukenobu also highlights aspects of fashion with regards to elegant kimono designs. Indeed, many kimono-makers commissioned Sukenobu because of his creativity and the fact that he focused heavily on beautiful women and their lifestyle. Therefore, kimono-makers believed rightly that he could focus on new textile designs and this fact highlights the popularity of his work.”

The political angle to Sukenobu is also extremely fascinating and the same applies to the huge cultural differences within Japan. Imperial Kyoto had many different political intrigues and the world of Sukenobu meant that he was mainly an “outsider” in the world of ukiyo-e.

 

http://www.scholarsresource.com/browse/artist/2142567952　

http://collections.museums.ualberta.ca/uaac/uaac/details.aspx?key=18058&r=1&t=1

http://www.soas.ac.uk/jrc/awards-and-grants/kayoko-tsuda-bursary-recipients.html

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