Modern Japanese Prints - Statler

Modern Japanese Prints - Statler
Автор книги: id книги: 1589481     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 1870,24 руб.     (18,27$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Историческая литература Правообладатель и/или издательство: Ingram Дата добавления в каталог КнигаЛит: ISBN: 9781462909551 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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Featuring over 100 unique prints, Modern Japanese Prints is a testament to the continuity of Japanese art and creativity.By far the most vitally creative group of artists working in Japan today, modern print-makers are truly international in appeal. Although they owe much of their heritage to the famous ukiyoe techniques of the past, they depart from their forebears in at least two important respects. In the first place, whereas in the ancient ukiyoe tradition a print was the joint production of three men— the artist-designer, the artisan who carved the blocks, and the printer—these modern artists perform all these functions themselves, thus satisfying their demands for individual artistic expression at every step of the creative process. Another distinguishing feature of this artistic school is that its inspiration is derived neither solely from its own Japanese past nor solely from the West.This book carefully traces the history of the modern print movement through detailed discussions of the life and work of twenty-nine of its most noteworthy and representative artists. It describes vicissitudes which the movement has undergone and the high artistic ideals which have motivated its members in spite of public apathy and the hostility of the traditionalists.

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Oliver Statler. Modern Japanese Prints - Statler

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He gathered a staff of instructors and started an ambitious program of woodcarving, textile weaving and dyeing, and some painting and print-making. Yamamoto was not a man of small ideas, and he did not envision his school on a small scale. He solicited help from both government and private agencies, and among his largest grants were four thousand yen each from the Education Ministry, the Agriculture Ministry, and the Mitsubishi interests. These were annual pledges, and not inconsiderable money for those days when the yen was worth about half a dollar and the dollar rather more than it is today. But Yamamoto found it harder to maintain interest than to excite it in the first place. His big subsidies dwindled to half the original figure and, after five years, stopped. And in Oya the mayor of the village, who had been an enthusiastic supporter, went bankrupt. The school charged no fees, support was increasingly scarce, and finances became an overriding worry. Always there was the nagging necessity to hunt for patrons.

That was not his only trouble. Because he had gotten his idea in Russia, the police always suspected that he was teaching communism and continually harassed him on that score. Un'ichi Hiratsuka, who for a while taught frame-making at the school, recalls that when he was preparing for his first trip to Shinshu he received a letter from Yamamoto. Yamamoto described his difficulties with the police and diffidently asked Hiratsuka, who is deeply conservative but who likes to work in a Russian-style jacket, if he would forego that costume at Shinshu. And, he added, the police seemed to mistrust long hair and would Hiratsuka mind too much getting a haircut.

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