How Did Ando Hokusai Impact Art

Japan is often recognized as a land of peace, beauty, and diverse landscapes and climates that cannot be witnessed anywhere else on the planet. A majority of Japanese citizens practice Shintoism, a polytheistic religion whose gods exist within plants and animals. Because of this, an appreciation for nature is ingrained deep into the foundation of Japan’s values. This can be seen throughout the country’s entire history; much of its art and poetry has been focused solely on its natural beauty. Sudden Shower Over Shin-Ohashi Bridge and Atake is a famous Japanese woodblock print by Utagawa Hiroshige published in 1857, one of many that shows an appreciation for Japan’s beautiful landscapes. The print belongs the ukiyo-e genre that emerged between the 17th and 19th century. Ukiyo-e literally translates to “pictures of the floating world” and the style dominated the art of Japan’s Edo Period. What began as a reflection of Japan’s indulgent and hedonistic culture, portraying subjects like beautiful women and extravagant scenes from the Kabuki theater, gradually transitioned into capturing landscapes and the lives of average people. Hiroshige was one of the pioneers of this transition with his famed One Hundred Famous Views of Edo, a 119-piece series that features celebrated landscapes in his hometown of Edo, known as Tokyo today, and his last great success before his death. Sudden Shower Over Shin-Ohashi Bridge and Atake is one of the pieces that belong to his series.

In the Turner’s The Slave Ship and Hokusai’s The Great Wave off Kanagawa, the two artists use the complexity and versatility of the ocean to display important events and ideas of the time period. Through the use of different artistic techniques, these two artists are able to capture similar settings in very different ways with very different meanings.

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

Japan is been always known for their unique artstyle, but none is more influential on both Japanese and western cultural than Katsushika Hokusai. Many consider his paintings the pinnacle of art in the Edo period. The old man of many names is a true part of both japanese and art culture.

In 1988 Gioiosa created an interesting and flashy painting of obscure shape; his painting was called Asterope. In a decade preoccupied with success and status, art got bigger in scope, ambition, theme, budget, promotion and cultural presence. Art became an extension of one's success or power (Gallery, The 80’s). In Asterope he uses bold neon colors clearly divided by lines to symbolize the bold and flamboyant times that were the 80’s. However in Of Beauty, Of Joy, Of Stillness, Of Love, the viewer can see a much more gradient and shaded look in the colors. Even though these two painting are very different, they both convey symbolism as a key role. In Asterope the viewer can see the bold colors as symbolism of the 80’s, and in Of Beauty, Of Joy, Of Stillness, Of Love the viewer sees a much bigger mandala as a symbol of a higher, more powerful being. “In essence I think of my work as an observation that interprets and reveals an ineffable presence. Through the living sense of paint I try to achieve tranquility and pure spacial awareness of an undiscovered landscape, an infinite void, that transcends physical time.” (Gioiosa, Rusti)

The art of South and East Asia provided new forms for traditional ideas. Japan is one of a multiplicity of countries where the ideas of artists were rooted in the artistic traditions of previous eras or of other countries. These artists would then place their own spin on the art, in regards to both subject and style. Tradition and innovation are complementary qualities of the arts of South and East Asia, as the artists of South and East Asia both inspired other artists and took inspiration from other artists.

In “The Great Wave off Kanagawa” we can identify the Western ideas that had influenced Hokusai. Apparently, the composition design had followed the set of geometrical shapes where several circles and triangles take place. His studies of the Western perspective had been applied in the print as well since the view of the wave to the Mount Fuji became smaller in scale as it appeared further from the viewer.

Katsushika Hokusai Is a well renown painter in our time. He is most known for his famous painting “The Great Wave off Kanagawa”. Though he had other lesser known paintings such as “Fine Wind, Clear Morning” and “Oceans of Wisdom.” He was born in 1760, although his actual birthdate is uncertain, and passed away at 88 on May 10th, 1849. This is his biography and how his work was inspired and where it came from.

Both Katushika Hokusai and Emil Nolde were excellent artists; however their techniques, subject matter, and final appearance are drastically different. In regards to technique Hokusai used the woodblock printing method, although Emil Nolde used a similar method for his rendition of “Prophet”, it was not cleanly portrayed like “The Great Wave”. Pertaining to subject matter, Hokusai’s “The Great Wave” revolves around the seascape of japan and expresses the power of the ocean. Nolde on the other hand had a religious feel to his piece the “Prophet” with a great sense of despair. The outcome of their respective techniques was vastly different.

The use of blue Prussian imported ink seemed to be the first thing that caught Europe’s eye. This first discovery started the wave pf admiration in French artists. Various French artists began collecting his pieces and began showcasing them as well as imitating his prints in their own works. This caused the works to gain acclaim and therein his influence elevated the reputation of graphic arts in France. Based on these artist’s collections and clear influence it does appear as though Hokusai unknowingly bridged the gap of printmaking as a respectable medium for fine artists. I believe this caused a social change in the perspectives of what their lives actually were when observing the expansive differences of Hokusai’s experience. This new perspective is clearly shown in the adopting of his two dimension style, uncluttered composition, and thin brushstrokes; Various artists seen even in prints classically known in France today, such as ‘The Nightclub Le Divan Japonais’ by Henri Toulouse-Lautrec. There is a tangible quintessence of Hokusai and he is an undoubtedly impactful artist and will remain as

During the 1850s and the 1860s, a style that is known as the “Japonisme” started emerging in Western Europe, mainly in France. And in the mid-1800s, Japanese people started to trade things with the west again. Thus, as a result of that trading, so many of the Japanese imports were being sent to Europe. This French term, Japonisme describes that period of time when the art of the Japanese people influenced the western art in the 19th century. According to our book,

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.

This Paper will be an analysis of the development of Japanese landscape painting, analyzing the historical context behind these paintings and what led to the changes in style. Both of these paintings are representative of their specific culture during this rapidly changing time and these changes will be discussed in relation to the artwork. I am going to be discussing Japanese landscape painting, the outside influences shaping Japanese landscape painting but also focusing on the internal elements of Japanese culture shaping the style of artworks. The changing techniques and styles as well as the changing political climate will all be looked at.

Creating art is one of the single defining factors that set humans apart from animal species. Through art, humans are able to express their innermost ideas and feelings, without having the difficulty of trying to find the correct words to accurately describe their thought processes. Works of art can help us to understand the people who have come before us. This is evidenced by the knowledge humans have discovered of prehistoric men and their symbolic cave paintings. The expression, style, and meaning vary and archaeologists put in much effort to uncover these works.

The “point and line to plane” (Kandinsky 1979:6) is the painting element, such as the letters that make up the word, different combinations will have different effects. As Kandinsky (1979:12) has demonstrated, that point, line and plane is the basic building material of the artwork itself, and that in every different art the elements of art are certainly different. However, it is necessary to first distinguish the basic elements from the other elements, no artwork does not have these artistic elements. Therefore, the common feature between Wassily Kandinsky’s paintings and Guan Zhong Wu’s paintings are point, line