Chapter 9-Japanese Woodblock Prints-Japan

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

Zhao Mengfu, a main calligrapher of his time, set the course of researcher painting by solidly building up its two essential precepts: restoration through the investigation of antiquated models and the use of calligraphic standards to painting. In Twin Pines, Level Distance the scene figure of speech of the Northern Song experts Li Cheng and Guo Xi has turned into a calligraphic style. Instead of essentially portray nature as it gives off an impression of being, Zhao tried to catch its quintessential rhythms. The attributes of rocks and trees, felt by the craftsman and carried on through his calligraphic brushwork, are saturated with an increased feeling of life vitality that goes past insignificant representation.

The painting appears to be three-dimensional but is painted flat or two-dimensional. The painting looks three-dimensional through the use of different techniques by the artist to give off the illusion of depth. Bierstadt overlaps and changes the sizes of the mountain peaks to emit a since of depth to the painting. He uses atmospheric perspective to give the impression of depth through hazy conditions. The wildlife below the mountain is less distinct to make the mountains the vocal point of the painting. The highest mountain peaks are painted lighter and are less distinct to highlight the dense fog and cloud coverage throughout the mountain range. Along with depth, the artist also uses color to express the beauty found in

Woodblock printing was invented around the year 220CE in China. Inventors decided carving out from wood and using them as stamps was much more efficient than writing. In the 5th century CE, Arab Muslims were also printing texts, mainly passages from the Qur'an which is the Muslim version of a bible. The Arab Muslims had already embraced the Chines craft of paper making, the Muslims had also developed the craft and adopted it widely in the Middle East. The Arab Muslims continued this method for about 500 years. Whether or not the Arab Muslims may have influenced the eventual adoption of printing in Europe is still debated about to this day. The possibility of

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.

Acclaimed artist Helen Frankenthaler created a work of art that was influenced by abstract expressionism. His, Snow Pines (2004), predominately utilizes woodblock printing technique . This artwork is considered a Woodblock prints--a block of wood on whose surface a design for printing is engraved along the grain. Frankenthaler doesn't utilizes any form of shapes in her artwork however, she does uses pigments mixed with water that are then lightly brushed onto a piece of wood. While observing this up close (seen in the smaller picture), you notice scratches of wood lines in the background of the artwork. This was achieved by the technique of woodcutting-- make a woodcut without a press by placing the inked block against a sheet of paper and applying pressure by hand.These lines help illustrates the wood texture of the artwork. From glimpsing for the first time, I noticed the translucence of the color illustrating the light, vibrant tone .The colors used in Frankenthaler’s art are mostly comprised of warm colors--yellow, red, orange and pink-- and cool colors: green and blue.The artwork flows from warm colors to cool colors.The color scheme is analogous as the piece include variations in color between hues adjacent to one another on the color wheel, such as yellow-green, green, and blue-green. Due to the bright

It is representational and realistic since it displays Shono during a rainy day while it also displays the people hiding underneath their umbrellas or straw hats from the shower of rain passing through. The materials that were used by Utagawa to create this printing were woodblocks, ink, and color on paper. When Utagawa created this piece of work he had to be careful and precise with the details on the wood blocks. Woodblocks were especially difficult when made with different types of colors. When making colored woodblock printings you were required to use one wood block for each desired color, you would also be required to have accurate precision printing and intricate carving skills.

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

The next question we usually ask ourselves is “why?” why the color, why the worn out look of the farmhouse, why the surroundings, in general why is the painting depicted like this? That brings up the need to analyze the work of art at hand. When focusing on this painting, you can see a few birds soaring over the farmhouse. They’re quite small so there’s some difficulty telling if they’re flying towards or away from the farmhouse. It is still very probable that they flew over it at some point in time though. The lines in the painting are mostly depicted in the trees, and outer walls of the farmhouse. Standing firm the trees look, and or represent strength and dominance. It makes you wonder if there’s still hope for the dead looking environment surrounding the farmhouse. When first observing this painting; the thoughts were generally negative such as; sad, abandoned, lonely, and depressing, etc. The painting is indeed centered, and the focal point is obviously the farmhouse.

An art work has many elements and principles to it. These are known as elements and principles of design. The print “The Great Wave off Kanagawa” by Hokusai has many elements and principles of design that show how much the artist used them in his work. “The Great Wave off Kanagawa” by Hokusai has all the elements of design. For example, one of the best aspects of the print is Hokusai’s utilization of line to create both motion and space in the wave (NGA).

Artists were commissioned to create works that dealt with religion, illustrations on courtly hand scrolls, or even seasonal scenes. As ukiyo-e prints were further developed, the demand for prints increased as new ukiyo-e paintings appealed to the chonin, the emerging social class of merchants and craftsmen. As a result, prints were being mass produced and became more affordable using carved wooden blocks at the end of the 17th century (The Evolution of Ukiyo-e and Woodblock Prints). Works were done in black and white, however Japan was able to create the first colored ukiyo-e prints, producing original works of art published on a single

Shiro Kuramata (1934-91) was a Japanese designer best known for his furniture and interior design, which gave the modern culture a creative voice. Many will identify with the chair he designed for the Vitra Design Museum in 1987 titled, How High the Moon (fig 1). The piece was inspired by an old jazz song and is part of the permanent collection at New York’s Museum of Modern Art. It is designed as a spacious armchair with woven threads of expanded metal; the piece weighs little more than a leaf, and can withstand robust use . His other works include entire storefronts designed for his friend Issey Miyake, for whom Kuramata created over 100 retail interiors . One of these works is Bergdorf Goodman in New York (fig 2.) designed in 1984 ,

Portrait of an Arhat (Rakan) was created in Edo period of the Japanese art culture. This period started in 1615-1868 when culture expression started to really blossom for the Japanese culture (Singer). From statues, lavish paintings, and religion the art speaks vibrant vibrations. This culturally diverse period gets its name from the city of Edo, known as Tokyo modern day. Which became the headquarters of the government when Tokugawa Ieyasu (1542 – 1616) unified the country (Department of Asian Art). The Tokugawa regime was started in 1603, when the emperor, in “recognition of Ieyasu’s supremacy on the battlefield”, appointed him shogun. Shogun is the highest military position you can carry in Japan (Singer). After this Japan had strict laws on not using motor vehicles were put into place. Going into the 1630s, contact with the outside world was stopped through “official prohibition of foreigners” (Department of Asian Art). Around 1720 Edo had a population of “more than one million residents having more population than London or Paris at the time” (Singer). According to Art of Edo Japan Kyoto, was city of temples and shrines. It was the leading center of arts and crafts production with a population of close to 400,000 (Singer).

These painting techniques show the influences of master ink paintings done by Dong Yaung and Jaurn. Huang's Dwelling in Fuchin Mountains shows not only that, but beautiful composition that enhances the brush strokes. Daiost painting like this show off the purity of the landscape almost like its untouched and seems like we're looking at a remote part of the world that no one else has ever seen. Culture this painting shows something different than what we have seen in early landscape painting in class or most American paintings after this time which depict the day or a specific event. While Chinese painting showed a sort of journey