![]() Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many aspects of traditional Japanese culture, among them traditional woodblock printing.īy the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. His career spanned two eras – the last years of Edo period Japan, and the first years of modern Japan following the Meiji Restoration. He is additionally regarded as one of the form's greatest innovators. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. Tsukioka Yoshitoshi (30 April 1839 – 9 June 1892) (Japanese: 月岡 芳年 also named Taiso Yoshitoshi 大蘇 芳年) was a Japanese artist. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition As historian Richard Lane concludes, "Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series.". It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both in Japan and overseas. Hokusai created the "Thirty-Six Views" both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. The Great Wave off Kanagawa, Hokusai's most famous print, the first in the series 36 Views of Mount Fuji 1831) which includes the internationally recognized print, The Great Wave off Kanagawa, created during the 1820s. Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景 Fugaku Sanjūroku-kei?, c. He was influenced by such painters as Sesshu, and other styles of Chinese painting. Katsushika Hokusai (葛飾 北斎?, Octo(exact date questionable) – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. He initially used the characters 棲鳳 for the first name of his pseudonym, and this name was possibly pronounced as Saihō. He was one of the first persons to be awarded the Order of Culture when it was established in 1937. In 1913, Seihō was appointed as a court painter to the Imperial Household Agency, and in 1919 was nominated to the Imperial Fine Arts Academy (Teikoku Bijutsuin). Many of his students later went on to establish themselves as noted artists, including Tokuoka Shinsen and Uemura Shōen. Seihō also established his own private school, the Chikujokai. In 1909 he became a professor at the Kyoto Municipal College of Painting (the forerunner to the Kyoto City University of Arts). He was also noted for his landscapes.įrom the start of the Bunten exhibitions in 1907, Seihō served on the judging committee. His favorite subjects were animals -often in amusing poses, such as a monkey riding on a horse. This subsequently became one of the principal styles of modern Nihonga. After returning to Japan he established a unique style, combining the realist techniques of the traditional Japanese Maruyama–Shijo school with Western forms of realism borrowed from the techniques of Turner and Corot. In 1882, two of his works received awards at the Naikoku Kaiga Kyoshinkai (Domestic Painting Competition), one of the first modern painting competitions in Japan, which launched him on his career.ĭuring the Exposition Universelle in Paris (1900), he toured Europe, where he studied Western art. He was a disciple of Kōno Bairei of the Maruyama-Shijo school of traditional painting. As a child, he loved to draw and wanted to become an artist. One of the founders of nihonga, his works spanned half a century and he was regarded as master of the prewar Kyoto circle of painters. ![]() Takeuchi Seihō (竹内 栖鳳?, DecemAugust 23, 1942) was the pseudonym of a Japanese painter of the nihonga genre, active from the Meiji through the early Shōwa period.
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