Utagawa: Masters of the Japanese Print, –
Utagawa: Masters of the Japanese Print, – presents more than seventy prints from the renowned Van Vleck collection of Japanese woodblock prints at the Chazen Museum of Art, University of Wisconsin–Madison and approximately twenty prints from the Brooklyn Museum. The Utagawa School, founded by Utagawa Toyoharu, dominated the Japanese print market in the nineteenth century and is responsible for more than half of all surviving ukiyo-e prints, or “pictures of the floating world.” Colorful, technically innovative, and sometimes defiant of government regulations, these prints were created for a popular audience and documented the pleasures of urban life and leisure. The prints represent famous places, landscapes, warriors, and kabuki actors; they were reproduced in books, posters, and other printed materials for mass consumption, and they fed a thriving Edo publishing industry.
This exhibition has been organized by Laura Mueller, Van Vleck Curatorial Intern, Chazen Museum of Art, and Doctoral Candidate, Japanese Art History, University of Wisconsin–Madison. The Brooklyn Museum’s presentation has been coordinated by Joan Cummins, Lisa an
The Rise And Decline Of Ukiyo-E Japanese Woodblock Printing Art
The art of Ukiyo-e suffered its unfortunate decline in the late 19th Century.
It declined sharply in quality and quantity following the deaths of Hokusai and Hiroshige and the Meiji Restoration of in view of rapid Westernization that saw Japanese woodblock printing turn its services to journalism and face competition from photography. Synthetic pigments imported from Germany began to replace traditional organic ones.
It became hard to find pure Ukiyo-e artists and people at large lost interest in a genre that was now seen a remnant of an obsolescent era.
Artists produced notable works occasionally, particularly the Utagawa school produced a few masters.
– Utagawa Kunisada() excelled in making Japanese portrait prints of courtesans and actors.
– Utagawa Kuniyoshi() produced Japanese prints in variety of themes and styles. His historical scenes of warriors in violent combat were popular.
– Utagawa Yoshitoshi ( – ) created gruesome scenes of murders and ghosts, monsters and supernatural beings, and legendary Japanese and Chinese heroes. His One Hundred Aspects of the Moon series is notewor
Mother and Children at the New Year
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Utagawa ToyoharuJapanese
Not on view
Toyoharu, the founder of the Utagawa school, depicted women more often in paintings than in prints. The gentle elegance of his images of women is also seen in works by other artists of the late eighteenth century.
Here, a boy entertains his younger brother by hiding in the layers of their mother's kimono while she tries to hold onto the wriggling child. The playful, swirling movement of the three figures reflects the pleasant festivities of the New Year season, represented by the pine and bamboo decoration in the background.
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Title:Mother and Children at the New Year
Artist:Utagawa Toyoharu (Japanese, –)
Period:Edo period (–)
Dateth century
Culture:Japan
Medium:Hanging scroll; ink and color on silk
Dimensions 3/4 x 12 1/2 in. ( x cm)
Classification:Paintings
Credit Line:Charles Stewart Smith Collection, G
Pastimes of a Spring Afternoon
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Returned to lender The Met accepts temporary loans of art both for short-term exhibitions and for long-term display in its galleries.
Utagawa ToyoharuJapanese
Not on view
In the mid-eighteenth century, Japanese artists began producing copies of European vues d’optique imported from China, influencing Toyoharu to design miniature perspective views for these optical devices. Later, he redesigned many of these as horizontal prints of landscapes bustling with figures and lavish houses with many rooms opening into the far distance, using the simple one-point perspective he had learned from European engravings. He was also among the first Japanese artists to emphasize landscape or architectonic backgrounds in perspective, in proper proportional relation to the figures in the foreground.
In this two-panel folding tea screen, Toyoharu has used all of these tools to depict an afternoon outing of upper-class Japanese women and their children at a grand residence on the outskirts of a village. Sliding doors have been partly removed to reveal the spacious int
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