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Hokusai

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Title: Hokusai


1
Hokusai Katsushika
Red Fuji from Hokusai's series, 36 Views of Mount
Fuji
2
Hokusai Katsushika October or November 1760May
10, 1849
  • Katsushika Hokusai (????) was a Japanese artist,
    ukiyo-e painter and printmaker of the Edo period.

  • In his time he was Japan's leading expert on
    Chinese painting.
  • Hokusai is best-known for woodblock print series
    Thirty-six Views of Mount Fuji (1831) which
    includes the iconic The Great Wave off Kanagawa,
    (1820s he was 60)
  • Hokusai created 36 Views" both as a response to
    a domestic travel boom and as part of a personal
    obsession with Mount Fuji (Mount Fuji has
    traditionally been linked with eternal life),
    that secured Hokusais fame both within Japan and
    overseas.
  • Hokusai was born to an artisan family, in the
    Katsushika district of Edo, Japan
  • Hokusai began painting around the age of six,
    possibly learning the art from his father, whose
    work on mirrors also included the painting of
    designs around the mirrors.
  • Hokusai was known by at least 30 names during his
    lifetime, more then any other major Japanese
    artist. His name changes often related to changes
    in his artistic production and style
  • By 1800, Hokusai adopted the name he would most
    widely be known by, Katsushika (part of Edo where
    he was born) Hokusai ('north studio'.).
  • In 1800 Hokusai published two collections of
    landscapes, Famous Sights of the Eastern Capital
    and Eight Views of Edo. He also began to attract
    students of his own, eventually teaching 50
    pupils over the course of his life.
  • He became increasingly famous, both due to his
    artwork and his talent for self-promotion. During
    a Tokyo festival in 1804, he created a portrait
    of the Buddhist priest Daruma said to be 600 feet
    (180 m) long using a broom and buckets full of
    ink. Another story places him in the court of the
    Shogun Iyenari, invited there to compete with
    another artist who practiced more traditional
    brush stroke painting. Hokusai's painting,
    created in front of the Shogun, consisted of
    painting a blue curve on paper, then chasing a
    chicken across it whose feet had been dipped in
    red paint. He described the painting to the
    Shogun as a landscape showing the Tatsuta River
    with red maple leaves floating in it, winning the
    competition
  • Hokusai transformed the art form from a style of
    portraiture focused on the courtesans and actors
    popular during the Edo Period into a much broader
    style of art that focused on landscapes, plants,
    and animals.
  • Impressionists, including Monet, Degas and
    Toulouse-Lautrec, enthusiastically embraced
    Hokusais work.

3
  • Courtesan
  • Painting on silk.
  • 1812-1821.
  • Collection of Moshichi Yoshiara.
  • The courtesan is almost buried the weight of her
    luxuriously textured and detailed kimono.
  • Hokusai pays attention to precision and detail
    of the cloth.
  • The important issue is the flattening of
    surfaces and the use of color fields.
  • This became a major influence on Western artists
    in the late 1800s into the 1900s.

4
Bushu Senju in Musashi Provence. (The Thirty-Six
Views of Mt. Fuji) 1823
5
Hokusai Katsushika The Breaking Wave Off
Kanagawa. (The Thirty-Six Views of Mt. Fuji)
  • The high point of Japanese prints. The original
    is at the Hakone Museum in Japan. Hokusai's most
    famous picture and easily Japan's most famous
    image is a seascape with Mt. Fuji.
  • The waves form a frame through which we see Mt.
    Fuji in the distance. Hokusai loved to depict
    water in motion the foam of the wave is breaking
    into claws which grasp for the fishermen - mans
    vulnerability when faced with the power of
    nature. The large wave forms a massive yin to the
    yang of empty space under it. The impending crash
    of the wave brings tension into painting.
  • In the foreground, a small peaked wave forms a
    miniature Mt. Fuji, which is repeated hundreds of
    miles away in the enormous Mt. Fuji which shrinks
    through perspective the wavelet is larger than
    the mountain. In contrast to the fury of the
    ocean, Mt Fuji stands motionless and serene.
    Instead of shoguns and nobility, we see tiny
    fishermen huddled into their sleek crafts as they
    slide down a wave and dive straight into the next
    wave to get to the other side. The yin violence
    of Nature is counterbalanced by the yang relaxed
    confidence of expert fishermen. Although it's a
    sea storm, the sun is shining.
  • To Westerners, this woodblock seems to be the
    quintessential Japanese image, yet it's quite
    un-Japanese. Traditional Japanese would have
    never painted lower-class fishermen (at the time,
    fishermen were one of the lowest and most
    despised of Japanese social classes) Japanese
    ignored nature they would not have used
    perspective they wouldn't have paid much
    attention to the subtle shading of the sky. We
    like the woodblock print because it's familiar to
    us. The elements of this Japanese pastoral
    painting originated in Western art it includes
    landscape, long-distance perspective, nature, and
    ordinary humans, all of which were foreign to
    Japanese art at the time. The Giant Wave is
    actually a Western painting, seen through
    Japanese eyes.
  • Hokusai didn't merely use Western art. He
    transformed Dutch pastoral paintings by adding
    the Japanese style of flattening and the use of
    color surfaces as a element. By the the 1880's,
    Japanese prints were the rage in Western culture
    and Hokusai's prints were studied by young
    European artists, such as Van Gogh and Whistler,
    in a style called Japonaiserie. Thus Western
    painting returned to the West.
  • The Great Wave is from Hokusai's later years.

6
The Great Wave off Kanagawa (The Thirty-Six
Views of Mt. Fuji). 1823-1829
7
Hokusai Katsushika Thunderstorm Beneath the
Summit . (The Thirty-Six Views of Mt. Fuji)
  • This is a pure landscape, similar to Red Fuji in
    composition.
  • Hokusai offers a simplified image of Mt Fuji. Its
    almost abstract form and composition capture the
    essence of the mountain.
  • In this simple, yet powerful, vision of Fuji, the
    work is enhanced by the artists use of blues and
    red-browns to create depth and shading.
  • The lack of a human or animal form is unusual in
    Japanese landscape. Thunderstom is purely a
    landscape, evoking the mystery of nature.
  • In this work Hokusai has darkened the foreground
    around a dramatic lightning bolt.
  • The artists Thirty-six Views of Mt Fuji feature
    many different images of the mountain, in a
    variety of seasonal conditions. Through these
    images, Hokusai expresses the power of nature,
    and, in doing so, questions the relationship of
    man to the natural world.

8
Thunderstorm at the foot of the mountain.(The
Thirty-Six Views of Mt. Fuji)1823
9
Mount Fuji seen from water wheel at Onden.
(The Thirty-Six Views of Mt. Fuji) 1825-29
10
Hokusai Katsushika Viewing Sunset over Ryogoku
Bridge from the Ommaya Embankment. (The
Thirty-Six Views of Mt. Fuji)
  • This was one of a number of ferry crossings
    between the Sumida bridges.
  • By the time Hokusai began his Mt. Fuji series, he
    was able to unify vast persepectives into calm
    paintings.
  • Here, a boatload of passangers gaze at Mt. Fuji,
    in a quiet, plebian scene of ordinary people in
    their daily life.
  • This realism is Hokusai's unique contribution to
    Japanese art. This print is from the 1840s, when
    Hokusai was already in his 70s and fully
    developed in his artistic skill.
  • Hokusai experiments with diverse styles mixed
    Eastern tradition and Western techniques. To
    achieve this mix, Hokusai simplified the formal
    elements of composition, color and line.

11
The sunset view across the Ryogoku bridge from
the bank of the Sumida River (The Thirty-Six Vi
ews of Mt. Fuji). 1823-1831

12
Hokusai Katsushika In the Mountains of Totomi
Province. (The Thirty-Six Views of Mt. Fuji)
  • The location was in what is now the western part
    of Shizuoka
  • Prefecture and shows a poor logging family, two
    of whom are sawing planks from a huge log
    supported by wood trestles.
  • To the left another man is sharpening a saw.
  • Smoke curles up from a fire and clouds encircle
    Fuji.
  • One of the finest designs from Hokusais most
    famous series Fugaku sanju-rokkei, the
    Thirty-six Views of Mount Fuji. (published by
    Eijudo c. 1830-32).
  • An exceptional example of this design, printed,
    apart from light brown bokashi to the edge of the
    smoke cloud, in aizuri, Prussian blue ( Japanese
    berorin, ie Berlin blue, from the place of
    manufacture ).

13
In the Mountains of Totomi Province. (The
Thirty-Six Views of Mt. Fuji). 1823

14
Hokusai Katsushika Fuji seen from the second
floor of the Mitsui clothing store just north of
Nihonbashi . (The Thirty-Six Views of Mt.
Fuji)
  • This was considered a fine spot to view a
    snow-capped Fuji on New Year's Day
  • Hokusai suggests New Year's Day with the kites
    being flown.
  • The signs on the gateposts, left and right,
    state "Payment in cash" and "No padded prices."

  • Mitsui clothing store just north of Nihonbashi
    became the Mitsubishi department store of modern
    times

15
Fuji seen from the second floor of the Mitsui
clothing store just north of Nihonbashi. (The
Thirty-Six Views of Mt. Fuji)

16
Hokusai Katsushika Hodogaya on the Tokaido.
(The Thirty-Six Views of Mt. Fuji)
  • Before the time of Hokusai the realistic
    portrayal of a scene had not been a part of
    traditional Japanese art. The use of perspective,
    shading, and three-dimensional drawing, deriving
    from European art had an undeniable impact on
    non-traditional Japanese artists. They gradually
    included these elements of expression in their
    work. The use of realistic methods such as
    Western perspective had an undeniable impact on
    Japanese artists, especially of the Ukiyo-e
    school.
  • In Hodogaya on the Tokaido Road, Mount Fuji is
    seen through a screen of twisted pines, planted
    to offer protection from the weather. In the
    foreground a lively group of travellers make
    their way from Edo, to the imperial capital,
    Kyoto.
  • For Monet, a screen of trees framing a background
    offered interesting compositional possibilities.
    He explored these possibilities in his Poplar
    series. Foreground and background are painted
    with little indication of the space between them.
    This seems to bring the background forward one
    moment, then push it back the next, helping to
    create a visually intriguing composition.

17
Hodogaya on the Tokaido. (The Thirty-Six Views
of Mt. Fuji)

18
Nobuto Ura, Bay of Noboto (The Thirty-Six Views
of Mt. Fuji).

19
Shimomeguro, a rural village in Edo. (The
Thirty-Six Views of Mt. Fuji). 1823

20
The waterfall where Yoshitsun washed his horse
, Yoshino,
Yamato Provence 1832
21
  • The poet Li Po ( Japanese Ri Haku ) admiring the
    Lo-shan Waterfall. (series of ten prints Shika
    shashinyo, the Poets of China and Japan.)
  • Doesnt interpret specific poems.
  • Published c 1833.
  • Li Po is shown in deep contemplation of the
    waterfall, being held back from toppling over by
    two small acolytes.

22
  • Fighting Cocks.
  • Painting on silk.
  • Hakone Museum.
  • Hokusai also did freehand paintings on paper and
    silk.
  • Very few Japanese artists were able to work in
    both woodblock and painting.
  • Note the rooster's very proud and aggressive
    stance.

23
  • Peonies and Canary
  • Woodblock.
  • National Museum at Tokyo.
  • Before Hokusai, ukiyo-e artists such as Utamaro
    and Kunsai drew birds and flowers as
    illustrations in books.
  • Hokusai was the first artist to make these
    bird-and-flower artworks primarily as prints.
  • 1833-1834

24
Hokusai Katsushika Sangi Takamura. Women diving
for abalone. (Hundred Poems Explained by a
Nurse)
  • Woodblock. National Museum, Tokyo.
  • This is from the late 1840s.
  • A group of women dive for abalone.
  • Women at the lower left are interlaced through
    waves and water.

25
Sangi Takamura. Women diving for abalone.
(Hundred Poems Explained by a Nurse)
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