Analysis Of Utagawa Kuniyoshi's Tatsu Tora

The influence of Katsushika Hokusai’s artworks is tremendous and extensive in western art history. For instance, Katsushika Hokusai’s Thirty-six Views of Mount Fuji inspired Claude Monet’s Haystack, Snow Effect in the year 1891. More specifically, as National Museum of Australia demonstrates that The technique of depiction of the forms about escarpment and lines of trees emerging in icy morning mists of Monet was came from In Shichirigahama in Sagami Province by Hokusai.

In Yi Yang-Ji’s “Koku”, the sound of the second-hand “Tick, Tick, Tick” appears at least six times in her article and every time it appears strengthen or change the narrator’s sense of self. It really evokes stronger and stronger emotions about herself and or transforms her emotions. From the first sound of the second-hand to the second sound of the second-hand, the narrator’s sense from her nostalgic to feeling “The second of second hand was irritating” (P134). This irritating feeling get stronger and stronger that a voice deep from her chest that urges her to “go ahead and break” the Korean music instrument kayagum that is metaphorically referred to as “a naked woman”, more especially, “a woman hung upside down” (P135). I think, to some extent,

Yasumasa Morimura (born in 1951, Japan) has had a career in film-making and conceptual photography for over three decades. Morimura uses costumes, makeup props and digital manipulation to create an almost replica of the original artwork, replacing the original subject with himself. Morimura graduated from the Kyōto City University of Arts in 1978 and then became an assistant at that same university. During his time working he experimented with many mediums and styles including painting, photography and wood-block art. He soon became recognized for his artworks and began to be involved in traveling shows such as ‘Japanese Art After 1945: Scream Against the Sky’ (1994). After some time, and with critics watching skeptically, he began to

Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered a prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact in the Western world.

The book “When the Emperor was Divine,”written by Julie Otsuka, is about a Japanese-American family during World War II, a time when anyone of Japanese heritage was put into internment camps by the American government. This novel is unique because each chapter is told from the perspective of either the boy, the girl, or the mother of the two. By shifting points of view, Julie Otsuka is able to describe how children and parents have different struggles and experiences within in the same situation. Over the years, America has seen many countries around the world commit horrific acts during war. Americans have set themselves up as superior to said countries; but when America interned thousands of Japanese-American because of their ethnicity,

I chose this work because the several colors and sizes of circles and complicated compositions on the canvas looked as if it has a special context. I can see very careful and thin brushworks in some circles which are overlapped with other circles; in contrast, the background of this work is used a few sloppy brushstrokes because there are some traces of them. The use of color for the background and most remarkable center circle are so dark, but most circles around it are so colorful secondary and tertiary colors. The composition of it is the several sized and perfect circles with the asymmetrical balance which created a mysterious harmony. If I imagine that the piece is a 3D place, I describe that it is a flat geometric shape because I cannot see any shadows and highlights in the circles which give a three-dimensional feeling, but I can see the depth of them by overlapping each other and distance between the circles and dark background. Therefore, there are many two-dimensional circles spread in the deep and wide dark

Though the Taino were peaceful people, they faced dangers when the Europeans came to their island. One danger they faced was, that the Americans and Europeans have to eat Sea Grapes,Brids Eggs and even Snails. Tainos and made slaves of many more of Europeans disease. The Taino’s lives were not completely carefree. Their life spain's must have been short, because about half of all the

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The line work used in this sculpture is not composed of physical markings but it is visible through the component of light in the large mountain. The shadows brought on by light create the lines from which the shape of the central mountain takes form. This shape is comprised of rough intersecting “lines” that look unplanned giving the shape a veristic sense. This “unplanned” shapes come together to create a realistic landscape that mirrors the uncalculated plan of structure of the natural world. The reason why these mountains appeal to the senses is because of Laramée’s extreme use of texture. The surface quality brings the landscapes to life by adding a hyper realistic feel, an accomplishment so impressive to pull of considering the medium in which the artist sculpted “The Web”, extremely thin paper of a Webster dictionary. The artwork is in a three-dimensional plane since it is sculpted but the small additions of windows in the small temple-like structure at the corner of the piece and the deep precipices between mountains add to the illusion of space. These details enhances the sense of depth throughout the art piece by adding small spaces that look as if they are infinite. The star maps on either side of the book covers add to the illusion of space by integrating a galactic background that makes it

Beauty is an incredibly subjective thing; what might seem appealing to one’s eyes may be horrendously ugly in the eyes of another. However, the status of “beautiful” or “ugly” can be assigned rather objectively when art is examined from the perspectives of different philosophies. The beliefs and values of different philosophies can be used to find meaning and beauty in various art forms, allowing for a more straightforward determination of beauty. Because of the many layers of meaning most paintings entail, they are a perfect example of an art form that can be analyzed by numerous philosophical viewpoints to find meaning and beauty, and Ma Yuan’s painting Walking on a Mountain Path in Spring, which comes from the Song dynasty of Chinese and depicts a sole figure standing in a natural surrounding, is no exception. Ma Yuan’s painting is beautiful because it represents the ultimate achievements for the Buddhist, Daoist, and Confucian philosophies.

Almost instantaneously recognizable, The Great Wave off Kanagawa (woodblock, 10 1/8 x 14 15/16 in, c. 1830-32), created by Japanese artist Katsushika Hokusai in 1830, beautifully captures the graceful, swelling movement of a crashing tsunami. Because of the way in which line and proportion are utilized, this woodblock print gracefully portrays the sheer power of the ocean. Derived from the Edo period in nineteenth century Japan, this classic was the first of a series of works from Hokusai titled Thirty-six views of Mount Fuji, all of which effortlessly depict the mountain in a wide array of angles and scenery. Arguably, The Great Wave off Kanagawa is the most iconic and cherished piece of Japanese artwork in the world. Even more importantly, Hokusai is considered prominent father figure for both Japanese art, as well as Western modernization as a whole. The Great Wave truly displays how tiny and weak man is compared to the force of nature. Not only is The Great Wave a quintessential piece of art, but it established a piece in the comprehensive networks of art, trade, and politics, that has instilled a tremendous positive impact on the twenty first century.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

Our world is full of so many grandiose monuments, eye-catching sculptures, and stunning statues, each having an individual story to tell. Thousands of them have been created however, only a small number of them are actually extraordinary and picture-worthy. This paper will compare and contrast two of those picture-worthy sculptures. Furthermore, I will examine the aspects of each of these sculptures. I will compare and contrast what each of them represents, the differences in texture, their size and their tone.

This traditionally formatted book was the first set of prints to give Utamaro some noteriety. After a few similar books, Utamaro began to develop his figurative style even more. He elongated the figures in his prints and drew the heads more oveal rather than circular. It is at this time that his talent for arranging and relating figures began to take shape (Hiller 42).

The Great Wave off Kanagawa by Hokusai is a famous woodcut print that is commonly referred to as The Great Wave. Hokusai Katsushika was one of the greatest Japanese printmakers of the 19th century. The print, The Great Wave, is a part of a 36-piece series of the views of Japan’s most famous mountain; Mount Fuji. Hokusai’s series was very popular and sold rather quickly. Due to its popularity, Hokusai decided to extend the series to 46 pieces. The original piece was created around 1830 and was published in 1832 by Nishimuraya Yohachi. Within this paper, I will be discussing the analysis of this print while connecting my findings to the elements and principles of design.