Hiroshige's Plum Estate, Kameido

Hiroshige Ando
The Life of Hiroshige Ando Hiroshige Ando was born in 1797 in the Yayosu Quay section of the
Yaesu area in Edo, now modern day Tokyo. He came from samurai background where his
grandfather held a position of power under the Tsugaru clan while his father was the fire warden for
the Yayosu Quay area. His mother died in early 1809 with Hiroshige's father soon following. He
became in charge of the fire prevention at Edo Castle at the age of twelve. At around fourteen
Hiroshige began painting. In 1823 he resigned his position as fire warden to progress his career as
an ukiyo–e painter. In 1829 Hiroshige produced his first landscape ukiyo–e which became known as
part of the Eight Views of Omi series. After the first series he began focusing many of
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How Did Ando Hokusai Impact Art
To what extent did Katsushika Hokusai's art influence the works of Ando Hiroshige and what was its
significance on Japanese art?
Introduction:
The raw power of nature has always been inspirational to artists all around the world. Art is
associated to what we experience on a daily basis, however it represents some kind of
transformation to the everyday, to something that is not actually entirely real, it can't be found by
simply locating it, it requires human intervention. Art maybe seen as the fingerprint of our existence
in the world that has its impact on things we transform through the use of our imagination.
For centuries, humans, cultures and civilizations have been portraying daily aspects of life through
the use of art. Art does not only include painting, as it ranges from filming, sketching and ... Show
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Artists from the early Japanese civilizations had a great impact on art, specifically artists such as
Katsushika Hokusai and Ando Hiroshige, many of these artists' pieces had a great impact on each
other, and this impact is also significant in Japanese art. This leads to the essay question, "To what
extent did Katsushika Hokusai's art influence the works of Ando Hiroshige and what was its
significance on Japanese art?" which will analyze the impact these artists had on each other and how
was that impact prominent in the field of Japanese art.
The purposes of this essay is to inspect and analyze some of the works of some of Japan's most
famous artists, and compare the artworks with each other in order to find out the extent of which
Hokusai's arts were influential on Ando Hiroshige. An artwork by each artists is analyzed in terms of
structural and conceptual

How The Edo Period Affected Western Art
Kento Kariya
Art 204
Paper 2
11/30/14
Japanese art in the Edo period and the effects on western art
In this essay I will talk about Japanese art mainly in the Edo period and it's development and what
influenced it and how these art pieces affected the western art.
Before we start talking about the edo period let's look at the period before it, the Azuchi–
Momoyama Period. Azuchi–Momoyama period started Oda Nobunaga captures the capture Kyoto
and kicks out the previous rules the Ashikaga shogunate in 1573. Using his power and new
technology of the Arquebus which is early muzzle–loaded firearms that came in from portugal he
can very close to complete rule over Japan when he was attack by one of his own generals, ... Show
The chonin were more educated the the people from prior periods because of peace and economic
stability made parents to focus on education their children. The increase in education made it so that
they can enjoy art better and helped art become more popular.
Ukiyo–e (woodblock painting) became popular in the late 17th century because the increase in
demand do to the chonin class and with the technology to paint they were able to mass produce art
pieces. One of the most famous one of these that many people have probably seen before is "The
Great Wave off Kanagawa" by Katsushika Hokusai. This piece is the first of Hokusai's series
Thirty–six Views of Mount Fuji and his most well known and recognized art work in the world. It is
a picture of boats going up against a huge wave with Mount Fuji in the

Plum Estate Kameido Analysis
Worksheet 1:
Title: Plum Estate, Kameido by Ando Hiroshige
Form: two–dimensional painting
Medium: woodblock print, ink and color on paper
Size: 1' 1 ¼ " x 8 ⅝ "
Original location and date: Japan, 1857
Line
There are contour lines used in the painting on the tree trunks and branches. There are lines in the
background of the painting implying trees with branches, but the trunks of these trees do not reach
the ground. There are horizontal and vertical lines being combined in the background to form a
fence. 2. Shape
There are natural shapes being used in the artwork, such as the tree branches, which are somewhat
rectangular and linear. The flowers on the tree are circular and some of the petals have oval shapes.
3. Forms
The roof of ... Show more content on Helpwriting.net ...
Nature both in art and in real life has been shown to make people feel more relaxed. As the piece is
of a nature scene, it induces these feelings of relaxation and serenity in the viewer. The sign in the
upper left of the painting can lead the viewer to interpret the scene as taking place in a public
attraction or landmark, as it shows that there would be strangers learning information about the trees
from the sign. The Japanese calligraphy can cause the viewers of the artwork to interpret the piece
as taking place in a Japanese setting or of being created by someone with a Japanese

Japan Western Influence
Japan's isolation policy during the seventeenth century up until the nineteenth century left its people
and government to simply rely on the influence of the Chinese, Koreans and the Dutch. The only
exposure Japan attained during the Tokugawa Shogunate from Western influences came from Dutch
missionaries as artists such as Maruyama Okyo. Eighteenth century Japanese art saw its fist
integration of Western style as observational art pieces became prominent. Coming along with
observational, the naturalistic approach became noticeably apparent when looking at Japanese
prints. Furthermore, as some Japanese scholars managed to get a hand of oil paints and engraving
techniques, mild Western influences were able to shape Japanese ukiyo–e art. Ukiyo–e¬ art was the
child of the social restlessness as people continued to ... Show more content on Helpwriting.net ...
Nonetheless, Japan saw an emergence of the ukiyo–e woodblock printing style once again during
the twentieth century as shin hanga art. Shin–Hanga art or "new prints" corresponded with the
demands of Western technologies and style that emerged during the rapid modernization. While,
shin hanga prints did emerge during the early twentieth century as a new type of Japanese art, shin–
hanga maintained ukiyo–e principles like the study of focus. Shin–hanga artists such as Yoshida
Hiroshi, Kawase Hasui, and Itou Shinsui closely compare to the ukiyo–e focus on beauty and nature.
Furthermore, both ukiyo–e and shin–hanga prints were able to capture the essence of the time period
both movements were active. While ukiyo–e captures the traditional yet lonely world of Japan,
shin–hanga was able to portray the tumultuous period of Japanese traditions mixing with the West
(LaLonde). Two works created by Hiroshige (Vesper Bell at the Mill Temple, Lake Biwa and Plum
Garden at Kamata) and the shin–hanga movement will be the focus of the

Katsushika Hokusai
Katsushika Hokusai was born in October 31, 1760 in Edo (now Tokyo) and he die on May 10, 1849,
was a Japanese painter and engraver. Coming from an artisan family, his father was a mirror maker
that used to produce mirrors for shogun court. Since child he was prominent artist, at age of 6 he
started his passion for drawing and painting. As teen Kusai started working at the bookstore was he
learns engrave in a workshop, this was an involvement for Kusai as printer. Kusai became one of
most of the important artist of the ukiyo–e school, Katsukawa Shunsho, with whom Kusai learn the
technique of woodblock engraving, kusai used to portrayed kabuki actors. His first famous work
was an invitation for the theater under the name of Shunro, but by that ... Show more content on
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(Rodino). He continues doing surimono cards, book illustrated, erotic books, and sketches, on
several times he compete with Utamaro, one of the best engraving voluptuous women. Hokusai tries
to focus on landscapes, historical scenes and human figures, Hokusai. Continues with books
illustration, but this time in a high level his work have a better finish, but now he start to pay more
attention to samurais and warriors and Chinese by this time Hokusai start move from ukyio–e.
Hokusai got fame for his impressions and illustration; Hokusai got a success on his paintings on
public exhibitions such as he did a painting of 600 feet also he gave a demonstration for the
imperator's helper.
The thirty views of Mount fuji was one of the most known pieces of art of Hokusai. Mount Fuji
wasn't just part of Hokusai but also about Japanese culture, the mountain has been taken as symbol
of beauty eternal life. Since then Hokusai have seen this mountain as secret of the immortality. The
Mount Fuji was a sacred mountain since Heian Period. There is a tale that explain that a imperator
send people to destroy a part of the mountain Fuji to get immortality, another tale said that is a home
of the goddess Fuji–hime and

Plum Garden At Kameido Analysis
The Plum Garden at Kameido, is a woodblock print that focuses on the branch of a plum tree with a
background consisting of varying washes of color. A reddish–pink sky gradually fades into white, in
turn transferring once more into the green hue of the ground. The middle ground of the piece shows
twelve people on the other side of a fence and it appears as if they are going about their daily
business. The middle ground also possesses several other plum trees, all of which seem in the
beginnings of their bloom. Closest to the viewer, the focal point of the piece, stands the main Plum
tree with its branches swinging from the left at sharp angles and moving to the right. Although most
of the shapes appear flat, with limited shadows, the estate contains greater depth through an
incorporation of proper scale, perspective, and overlapping qualities. Near the top of the piece small
green and red rectangles add to the design, their locations in the upper right and lower left corners
playing upon one another in a pleasing manner. The scroll–like shapes contain Japanese script, said
to contain the artist's name and other information.
The image is captured in Spring. The image of the plum ... Show more content on Helpwriting.net ...
The bright–white double–blossoms of the plum tree are believed to keep darkness away and their
domination within the space give the scene a sense of life. In Japanese culture, blooming gardens
become the focus of many traditions and cultural practices. In the Heian Period, the Japanese were
greatly influenced by China, including the practice of flower viewing in the spring, while fruit trees
were in full blossom. The plum tree, with its large white blossoms, was originally one of the most
highly acclaimed trees in China. This idea made its way to Japan and symbolized early spring, while
the cherry blossom found association with late

How Did Kasushika Hokusai Influence Japanese Culture
Japanese artist Katsushika Hokusai helped expose the Western world to Japanese customs and
beliefs. His crucial impact on culture and art can be attributed to his notable and familiar depictions
of Japan's geography, architecture, and people that surrounded him. Hokusai's unique blend of
traditional Japanese methods and Western mediums made his work a source of inspiration for many
European artists during the Impressionism era such as Van Gogh, Monet, and Degas. Katsushika
Hokusai, best known for his print of a large wave gracefully swallowing a fishing boat called "The
Great Wave Off Kanagawa", is arguably one of the most influential artists of the 19th century. His
work can be viewed in prestigious museums like The Metropolitan Museum of ... Show more
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However, throughout the 19th century, the influence of artists like Hokusai, Utamaro, and Hiroshige
helped transform the former taboo into an appreciation for this cornerstone of Japanese culture.
While ukiyo–e was a strength of Hokusai's, it wasn't the only style of art he was trained in. While
studying under Shunsho, he also attended lessons from Yusen, an artist from the Kano school who
taught him about Western style art and the use of perspective. These experiences shaped Hokusai
into an exceptional artist and woodworker, but probably would not have been possible if he had
been born in another country, showing the significant impact relative location can have. Relative
location, defined as "a point or place in relation to another point or place", played a significant role
in Hokusai's career throughout his life. For example, because of the large distance between where
Japan is located relative to where Europe is located, it was hard for Hokusai to share his artistic
ideas outside of his home country. In addition to the issue of physical distance, during the early
1800's Japan was under a foreign policy called sakoku, which allowed no foreigner or Japanese
person to enter or leave the country on penalty of death. This

Kitagawa Utamaro And Paul Gauguin's Use Of Color Techniques
Describe specifically what the term "arbitrary color" means, a color used at random for objects that
have a common color, such as, a tree has green leaves, but we choose to make the leave purple or
making the sun black, the clouds green, or the sky yellow, etc.
Who was the first artist to employ the technique? I would have to say Katsushika Hokusai,
Kitagawa Utamaro, and And¯o Hiroshige had a role in the technique. The technique was used in
And¯o Hiroshige color woodcut print, ("Moon Pine at Ueno from One Hundred Views of Famous
Places in Edo"), (Pg. 27), because of the color use. The colors seem to be out of place, such as, the
sky's appearance being that of black, blue, and green, also the tree appears to have a redder tent than
what we would normally see in nature. Hiroshige and other Japanese artists had gotten young artist
thinking about color, arbitrary color, and pure color. One of the artist that took the color techniques
from color woodcut prints and Japanese prints was Paul Gauguin. Gauguin was truly the first to
employ arbitrary color techniques, which can be seen in his (Vision after the Sermon), (Pg. 60), with
vivid red paint in the back ground, splashes of green and blue tenting on the nuns faces, these colors
are not known in nature, and they are non–descriptive. It just isn't natural to see these colors placed
this way. Thus, Gauguin's paintings influenced younger artist and affected their ideas in the Nabis
and Fauve periods. Later movements adopted this

Ukiyo Greek Culture
The word ukiyo stemmed from Buddhist origins meaning floating world. It was used to describe the
impermanence of the human world, and the belief that all thing are short lived. During the Edo
period (1600–1868) the word ukiyo changed, the fleeting nature of life was to be enjoyed to the
fullest because of it ephemeral nature. The word became synonymous with the pleasure and theater
districts of Edo that were constantly changing. Ukiyo–e literally translates floating world pictures.
Woodblock prints are the most representative art form of ukiyo–e and the Edo period. Without the
urbanization of Edo and the raise of the financial power of the chōnin (merchant class) ukiyo–e may
not have gained as much popularity as it did during the Edo period. The chōnin class could not
physically express their wealth because of law created by the samurai class to keep up the illusions
of the social system. The Japanese social structure was of a Confucian design (Samurai–Farmers–
Artisans– Merchants), but many samurai family were going bankrupt while the chōnin class, who ...
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Traditional ukiyo–e prints showed images from the pleasure districts of the urban cities like Edo.
The images were of the beautiful courtesan (bijinga) and famous kabuki actors of the theater district.
Similar to magazine of today, ukiyo–e prints during the Edo period provide fashion and culture tips
to the wives of wealthy merchant and samurai families. They were also used for advertising and
commerce. During the late Edo period a successful effort to bring landscape woodblock print into
the world of ukiyo–e was made by Hokusai and Hiroshige. The Luther W. Brady Art Gallery is
hosting an exhibit of first edition woodblock prints designed by Ando Hiroshige (1797–1858). The
exhibit, Along the Eastern Road: Hiroshige's Fifty–Three Stations of the Tokaido was organized by
the Reading Public Museum and will be at the Brady Gallery until December

Chapter 9-Japanese Woodblock Prints-Japan
Chapter 9 –Japanese Woodblock Prints– Japan is one the oldest country and has been an isolated
nation for a while until the united states navy expedition that made a deal after being force for trade
with them. Which soon they adapt to westernize themselves to imperialism until after the second
world war. Beside all that, they were very gift in creating arts that were very inspiring, woodblock.
As it had begun in china when buddhist missionaries brought it them. It features illustrating image
and text, even when it's black and white. But it can have colors that artist made in separate block.
take an example how they made it, from the image that feature figures in a gesture, with a few
colors of black and white, but the clothes that have more colors (9.2).
They did also done painting that ... Show more content on Helpwriting.net ...
Hokusai knows such series of scene in different view of the same place at different time and season
which it's interesting to find these dimensions of reality in a painting. The most famous painting
from Hokusai is the great wave (9.7) given well linear perspective and foreshortening, reflect
influenced by the west. Giving the wave a naturalism movement and rhythmic power of swelling
wave, even its flat, that gave it some effect. Hokusai the horsetail gatherer (9.8) is another great art
piece from woodblock painting. Setting the atmosphere of stillness from the bird view. Putting a
scene set for an emotion, where a man is looking for his child in the wood and mountain as the
setting described it. from the setting of the scene, as looking at it, the moon is behind the tree from
distant, as the light to the man way. Sharp contrast wave of the stream and the smooth clear as glass
water which the duck is set on in peaceful. You can see there is a moment in this that hokusai made
to tell a narrative in one scene, like others art piece from other artist had made from theirs (9.9)

Hiroshige Plum Garden
When I first look at Hiroshige's Plum Garden at Kameido, 1857, I see a grove of flowering trees,
with a fence in the background to keep visitors off the lush green grass. The main focal point of this
photo is the large tree branch in the foreground. This branch has several offshoots from it with
dainty white flowers. Looking past this I see several other trees in the background, all with flowers
blooming on them, but none with leaves. In the farthest background, there is a metal fence that is
separating several people from the garden of trees. There is also a partial shack in the background on
the far most right–hand side of the picture. I also see what appears to be the back of a sign, mostly
hidden, in the upper left corner of the foreground. It appears to be sunset during the painting, with
the horizon lighter and the higher sky a red color. There are several blocks of oriental writings, a red
rectangle in the lower left corner over the body of the tree branch; then two in the top right corner in
the sky, one green square and ... Show more content on Helpwriting.net ...
Several of the tree branches are curved at one point or another, but some in the foreground are
straight. Each branch is a different width and texture in this work of art, even if just a slight
difference. The branch in the foreground is the largest and most detailed, while the ones in the
background are less detailed. The artist did include knots on the tree trunks and knobs on the tree
branches to add to the detail. Also, there is the metal fence in the background, that creates a line
across the horizon. The fence has both horizontal and vertical lines on it to form the pattern of the
fence. There are more vertical lines in the foreground, but the boldness of the curved tree branch
causes it to be dominant. There is a cool color scheme present in this photo with the use of greens
and yellows that fade into a red color at the very top of the

Under The Wave Off Kanagaw Hokusai
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 eighteenth century in Japan, landscape painting emerged as an incredibly popular
subject, coinciding with an increase in access to inexpensive multicolor woodblock prints.
Previously, landscape painting was long regarded as a major subject of Chinese and Korean
painting. Japanese landscape artists also took inspiration from Dutch landscape engravings imported
into Japan when the ruling Tokugawa government was attempting to enforce its isolationist policy.
However, Japanese printmakers drastically transformed the compositions and coloration of these
Western models of landscape painting. Katsushika Hokusai is regarded as one of the most famous
Japanese landscape artists of the time. Under the Wave off Kanagawa ... Show more content on
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The men in the trading boats are bending down low as to gain more control over their oars and thus
the direction of their boats in the dangerous and rough sea, as well as to drive their elongated and
low vessels through the vicious waves. While Hokusai's print takes inspiration from Western
painting techniques and incorporates the distinctive European color named Prussian blue, it also
highlights Japanese pictorial tradition. While adopting the low horizon line typical of Western
painting, the master woodblock printmaker used in the foreground the traditionally flat and
powerfully graphic forms of Japanese art to depict the threatening wave, mainly using curved

vincent van gogh Essay examples
Vincent van Gogh was a Dutch post–impressionist painter, whose work represents the archetype of
expressionism, the idea of emotional spontaneity in painting. Van Gogh was born March 30, 1853,
in Groot–Zundert, son of a Dutch Protestant pastor. Van Gogh's birth came one year to the day after
his mother gave birth to a first, stillborn child; also named Vincent. There has been much
speculation about Vincent van Gogh suffering later psychological trauma as a result of being a
"replacement child" and having a deceased brother with the same name and same birth
date. Early in life, he displayed a moody, restless character that was to spoil his every pursuit. This
theory remains unproven, however, and there is no actual historical ... Show more content on
Helpwriting.net ...
Despite Vincent's noble intentions, representatives of the Church strongly disapproved of van
Gogh's somberness and dismissed him from his post in July. Refusing to leave the area, van Gogh
moved to an adjacent village, Cuesmes, and remained there in abject poverty. For the next year,
Vincent struggled to live from day to day and, though not able to help the village people in any
official capacity as a clergyman, he nonetheless chose to remain a member of their community. One
day Vincent felt obligated to visit the home of Jules Breton, a French painter he greatly admired, so
with only ten francs in his pocket he walked the entire 70 kilometers to Courrières, France, to see
Breton. After arriving, however, Vincent was too afraid to knock and returned to Cuesmes
absolutely discouraged.
All the years of hard work, of continually refining his technique and learning to work in new media,
all served as stepping stones toward the production of Vincent van Gogh's first great painting: Potato
Eaters (1885, Rijksmuseum Vincent van Gogh, Amsterdam). His experiences as a preacher are
reflected in this painting. Vincent worked on The Potato Eaters throughout April of 1885. He had
produced various drafts in preparation of the final, large oil on canvas version. The Potato Eaters is
acknowledged to be Vincent van Gogh's first true masterpiece and he was encouraged by the
outcome. Although angered and upset by any criticism of the work (Vincent's friend and fellow
artist,

Sudden Shower With Shin- Ō Hashi Bridge And Atake
The title of this artwork is Sudden Shower over Shin–Ōhashi Bridge and Atake by the Japenese
artist, Utagawa Hiroshige. This art piece was created in 1856, and it's medium is a polychrome
woodblock print, and created by ink and color on paper. The size of Sudden Shower over Shin–
Ōhashi Bridge is 34 x 24.1 cm. Hiroshige used the art style of realism when creating this artwork.
By using realism as the art style, Hiroshige created the objects in the piece to represent things as
they really are in real life. Utagawa Hiroshige was born in 1797 in Edo, which is now known as
Tokyo, and passed away in October of 1858. Hiroshige is most commonly known for his color
woodblock prints. His biggest achievement is Fifty–three Stations of the Tōkaidō. This artist went
through many different stages in his artistic life, which include, landscape art pieces and figure–
with–landscape designs. Hiroshige created an estimated number of 5,000 prints in his lifetime. This
image contains multiple realistic objects. The objects that are seen by looking at this artwork
objectively include a bridge, six people holding umbrellas on the bridge, and someone rowing or
paddling on a board in the water. Two of the umbrellas are yellow, two other umbrellas are grey, and
one individual is attempting to cover their head by a jacket or a coat. The bridge is over a large body
of water which is lighter blue is one area and dark blue in the bottom corner; also by looking in the
background I see white objects that

Analysis Of Sudden Shower Over Shin-Ohashi Bridge And Atake
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.
It is

Van Gogh And Starry Night
While researching Vincent Van Gogh, I found out several interesting facts about him that I
previously didn't know. I also found out information on one of his famous paintings, Starry Night .
My goal for this essay is to provide information and insight into both van Gogh and Starry Night.
Vincent Willem van Gogh was a post impressionist painter. He was born in Zundert, Netherlands on
March 30, 1853 and died in Auvers–sur–Oise, France on July 29, 1890. As a child, van Gogh had a
bad temperament that stopped his pursuits in their tracks, and by the age of 27 he was, or had been,
a french tutor and a salesman in an art gallery among other things. Many of his first paintings, such
as Potato Eaters (1885, Van Gogh Museum, Amsterdam), reflected his experiences as a preacher.
Some would say that his early work was dark and somber, sometimes even crude, providing
evidence of his desire to express the misery and poverty of humanity though his eyes. In 1886, van
Gogh went to Paris, France to live with his brother Theo van Gogh, who was an art dealer, and
became well known with the new art movements being developed at the time. During that period,
van Gogh began to experiment with current techniques after being influenced by the impressionists
work and that of such Japanese printmakers as Hiroshige and Hokusai, and

The Importance Of Asian Art
Art is a way for the Asian artist to express their feelings with the viewers. The Asian culture uses art
to convey the connection between people and nature in the form of brush painting and Japanese
wood block printing. For instances, the Japanese wood block printing, The Great Wave created by
Hokusai shows a large wave heading towards two boats. The artist leaves the art frozen, allowing
the viewer to depict their own ending to the scenario. Art in the Asian–American culture
incorporates nature, but not in the same ideal as art in Asia. Asian–American artists constructs based
upon the nature of a community that consistently feels as an intruder in America. Asian. The Asian
artists in America shows the world a new generation of Asian art. ... Show more content on
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For example, the artwork Bare Willows painted by Ma Yuan embodies the essences of Taoism by
integrating natures Yin and Yang. In result, Yuan creates a spacious and mysterious painting in a
timely manner. Yuan represents Yin as the mountain and Yang as the water. The message Yuan
conveys in this painting is that the mountain is unmoving and the water is easily disruptive. The
artistry in China begins to evolve once the Han reclaim the throne. With the start of the Ming
dynasty, the Chinese community becomes fill with joy and prosperity, leading to the introduction of
color and mythology. Asian artists paint the images of nature to convey the lessons of eloquence,
fragmentation, and precision.
Japanese wood block printing became the most popular form of art during the Edo period. Japanese
wood block printing is most commonly used by artist to connect people and nature. One of the most
popular wood block printing is Great Wave Off Kanagawa Point created by Katsushika Hokusai is
described to be, "A large threatening wave that is about to destroy fishermen in boats." Hokusai
commonly constructs the nature frozen to be in action, leaving the viewer wondering about the
outcome in their mind. Utagawa Hiroshige also known as the last great master of the ukiyo–e
tradition paints a different picture then Hokusai by engaging the viewers five senses. Hiroshige
displays nature in a calm manner, and

Analysis Of Bridge Over A Pond Of Water Lilries
Claude Monet's 1899 painting, Bridge over a Pond of Water Lilies depicts his cherished garden in
Giverny, France. In the paintings, an arched wooden footbridge extends over a pond abundant with
water lilies. The lush, dense vegetation surrounding the pond is reflected on the surface of the water.
Monet was one of the founders of the Impressionist movement and Bridge over a Pond of Water
Lilies is emblematic of an Impressionist painting as it depicts a nature scene using visible
brushstrokes and unblended colors.
Monet is known foremost as an Impressionist, but he was also involved in the late 19th century art
movement known as Japonisme. Japonisme describes a period at the end of the nineteenth century in
Paris during which "all things Japanese were very much in vogue, particularly among the arts"
(metmuseum.org). In "Japonisme: East–West Renaissance in the Late 19th Century", Yoko Chiba
describes how "a taste for things Japanese swept throughout Europe", its influence covering "a wide
area from pictorial to decorative art, from literature to theater" (3).
One can consider both Bridge Over a Pond of Water Lilies, and Monet's water garden as
appreciative and subtle homages to Japanese art. Monet "collected Japanese ukiyo–e woodblock
prints with images of bridges...since the 1860s" (metmuseum.org). He was similarly fond of
Japanese gardening and design. Monet's water garden featured a Japanese style footbridge and pond
surrounded by Japanese flora: bamboo, cherry trees, lotus

Art Shaque : The Art Of The Art Nouveau
When considering Art nouveau, it is more appropriate to label it as a movement as opposed to a
style, with the purpose of breaking the previous rules of fine arts, and establishing a new order, in
which the new technology of mass production is dismissed, and instead, there is focus on creating
decadent, and fine craftmanship. It would be almost impossible to link all the styles within art
nouveau and all their separate influences, as each artist had a different interpretation of "new art"
and what that really meant. However, looking at the period in context, we can identify a source of
great impact: "Japonisme". [1] Following the treaty between the united states and Japan in 1854,
Japanese trade became sought after as highly fashionable as it flowed into western Europe.
Inspiration became available to the designers of the time, and many techniques were adopted into
Western art. For example, Japanese artworks such as Ukiyo–e prints contained devices such as a
flat, two dimensional compositions, and block colours created by woodblocks. Masters such as
Hokusai, and Hiroshige drew their inspiration from nature, and it was no coincidence that typical
Japanese symbols of nature crept into the works of the Art Nouveau, such as carp, bamboo reeds,
cherry blossoms and bodies of water which can all be identified in the works of Rene Lalique,
Alphonse Mucha, and influencer William Morris, within his arts and crafts fabric designs and
furnishings.
From the erotic subject matter, to

Tom Killian Essay
There are many artist's who can make an impact with how they convey their work. An artist who
conveys his work with elegance, is Tom Killian. He is a local artist from California, and went to the
University of Santa Cruz California. Living in California was going to shape his perspective on the
world forever, specifically on how he depicted his work. In a work of art of his itled, Monterey Bay
from Santa Cruz Pogonip. The work of arts creation came to be in 2002. The process in creating this
piece was intricate, it was created from a wooden stamp press, the presses used are hand carved into
wood and linoleum blocks. For each of the colors used in the piece, a new block has to be created to
ensure that the colors doesn't blend in ways the ... Show more content on Helpwriting.net ...
Santa Cruz is home to a big art community, from a wide array of different mediums; on the Santa
Cruz County Website for the Arts, it says, "Santa Cruz County serves as the inspiration for a vibrant
arts and culture scene, so it's no wonder there's an eclectic array of choices for art lovers." While we
have a big community, the MAH is a small art and history museum, there mission statement on their
website states the following, "Our mission is to ignite shared experiences and unexpected
connections. We accomplish this mission when we bring people together around art and history
through dynamic exhibitions, events, partnerships, and programs." They do this by holding a wide
array of community events, and something called First Friday. First Friday is where there is a
elaborate art walk in downtown and around the Museum of Art and History. The art walk is where
local artists from all different mediums can showcase their art or craft, try to sell it and network with
other artists. This helps to bring together the community of Santa Cruz. This piece is not the only
work of art in the gallery at the MAH, Killian has a very large gallery in the museum all dedicated to
his works, his work techniques and lifestyle. All these pieces are of various parts of California,
however, their is many done of Santa Cruz county, and I feel he choose to have the whole collection
in this

19th Century: Close Visual Analysis
Thesis
This paper will employ close visual analysis of two Japanese woodblock print pieces from different
periods of the 19th century and how they differ in Western ideals. This paper will compare
Katsushika Hokusai's The Great Wave off Kanagawa to Ando Hiroshige's Plum Estate, Kameido by
their differing landscapes, colors, and acceptance of Western methods. I chose these two pieces due
to both pieces being so different, although they are both woodblock prints. Further, I found it
interesting that one piece, The Great Wave off Kanagawa, is known so widely while Plum Estate,
Kameido is not. The goals of my paper are to cover the differences in methods of Western culture as
well as how the appearance of each piece differ due to different time periods.
The Great Wave off Kanagawa by Katsushika Hokusai
In 1826, Katsushika Hokusai created The Great Wave off Kanagawa which was one of his most
notable pieces specifically in Japanese art. Further, this piece was among Hokusai's art series
Thirty–Six Views ... Show more content on Helpwriting.net ...
During his teen years while attending the Shijo School, he was the apprentice of Utagawa Toyohiro
a well known printmaker. Due to Hiroshige's experience with traditional artwork and learning the
basics to woodblock print he later began creating his own artwork. Several of his earlier works
consisted of prints of actors and courtesans; however, after viewing Hokusai's Thirty–Six Views of
Mount Fuji, he was inspired to change his creative flow and overall style. In 1856, Hiroshige created
one of his most well known series the One Hundred Famous Views of Edo, which depicted various
landscapes in Japan which included rivers, mountains, and trees. During the late 19th century,
artworks began depicting the Nihonga art movement. This movement was led by many artists who
believes that the heritage of traditional Japanese painting needed to be preserved while still
incorporating western methods in order to modernise Japanese

The Art Museum When I Was At The Asian Museum
I was at the Asian Art Museum when I was facing in front of me Maternal Caress (Caresse
Maternelle) by Mary Stevenson Cassatt. Though displayed in the special exhibit Looking East How
Japan Inspired Monet, Van Gogh, And Other Western Artists, the artwork was originally made in
Paris and decades later found itself as a collection for the Museum of Fine Arts in Boston. Mary
Stevenson Cassatt (1844 1926) was an American impressionist painter who, similarly to the most
privileged artists of her generation (Henry James condescendingly called them the "White
Marmorean Flock"), traveled to Europe in the late 1860s to pursue artistic training. She eventually
moved permanently with her sister, Lydia and her parents to Paris where there were less institutional
modes of oppression and more access to the contemporary world at the time of painting. With time,
her oeuvre now famously known for her portrayals of mothers and children was recognized by her
contemporaries, and she started to partake in the Impressionists' Parisian exhibition from 1876
onwards. It is important to recognize, however, that this was fathomable for Cassatt because she was
a white woman of upper
middle class and as Chadwick blatantly states, "Impressionism was equally
an expression of the bourgeois family as a defense against the threat of rapid urbanization and rapid
industrialization..." (232). Caresse Maternelle was made in 1902, which is to say, at the turn of the
century. To place this artwork in

Yabukoji At The Foot Of Atago Analysis
Visual Analysis of Yabukoji at The Foot of Atago The polychrome woodblock print Yabukoji at the
Foot of Atago by Japanese artist Utagawa Hiroshige illustrates a peaceful winter living scene of
Edo. Hiroshige's calligraphy in the top right hand corner clearly suggests the purpose of the
woodblock print – to present hundred views of places in Edo. The woodblock print is currently own
by in Rhode Island School of Design Museum and exhibited in the 6th floor of the museum. Created
in relatively small scale (about the size of A4 paper), the print remains fine lien mark and vivid
small details that require one to appreciated the work in a close distance. Based on personal
observation, the color, composition, brush strokes, paper texture, and movement all serve as a
whole, creating a form that brings a sense of depth to the snow view of Edo in a delicate way. The
unique Japanese blue color plays an important role in the print. Blue appears to be the color of both
sky and river, which surround the ... Show more content on Helpwriting.net ...
If standing far from the print, it will be difficult to distinguish the light line strokes on some parts of
the print. When taking a close look at the print, however, a variety of lines and dots will vividly
show up. Line quality alters with the three–dimensional setting of the print. To depict the trees and
woods that are far from the viewer perspective, Hiroshige made heavy lines and ink–like dots to
convey the style of freehand drawing, often making the viewers forget they are looking a woodblock
print instead of drawing. Furthermore, the paper seems to have small round wrinkles, which are
either deliberately made from the woodblock marks or the marks left by the afterwards preservation
process. No matter how did the marks remain, they successfully suggesting the direction of the
winter wind, making the wind from invisible to

Compare And Contrast Okitsu And Kakegawa
Japan discovered their identity through borrowing and adapting ideas from other countries. From
China to the West, Japan has always been flexible and open to a borrowing a wide diversity of
things, ranging from politics, architecture, and even woodblock prints. Adapted from China,
woodblock prints, or ukiyo–e, use location, color, content, subject, proportions, and perspectives to
depict a scenery. The art from a time or country can be used to infer many things about its culture
and people. The two woodblock prints featured in this essay are "Okitsu" and "Kakegawa" by Ando
Hiroshige. These prints represent how the Tokugawa period changed the course of Japan and how
Tokugawa Japan was a peaceful time of stability.
The Tokugawa period was a ... Show more content on Helpwriting.net ...
Two figures walking up the bridge seem to be a man and an elder, as indicated by how one is
extremely hunched over and holding his back while the other is turning as if to check on the elder's
condition. A playful looking boy follows them, his arms waving energetically as he trots behind
them barefooted. And coming down from the bridge, there is a man adorned in a bright red cloak
followed by another man, both with big hats covering their bald heads. All of the people range in
age, outfits, and personas, which suggests that they all are from different places and have different
destinations and purposes to get there. It can be inferred that because the Tokugawa period was a
time of peace, that people were more inclined to travel due to the stability of the period. Instead of
just traveling for trade and goods, people started to venture out more casually and for personal gain,
exemplified by how the boy is barefooted, suggesting that he is only traveling a small distance, and
the monk and disciple are likely traveling for religious means. The bridge in the foreground also
indicates that the Tokugawa period was a time of stability. Built with thick wooden beams, the
bridge appears sturdy enough to be able to bear the many travelers passing over it. This shows that
there was

Compare And Contrast The Use Of Lines In The Works Of...
3–1: Compare and contrast the use of lines in the works of Vincent van Gogh and Sol LeWitt. Lines
can express many things. Like Vincent Van Gogh artwork lines can express emotion, and feelings of
the artist at that time. Vincent Van Gogh "The Starry Night" is example of that. He used loose and
free drawing lines. The lines looked as they were out of control and free. Vincent Van Gogh used
thick, bold strokes of the paint brushes to show a certain "body" of their own which is known as
impasto. It was consistent through he's artwork so it was like a signature he used. Since Van Gogh
was placed at a mental facility. He painted "The starry night". The swirls in the paint seem anger and
full of emotion properly from being placed in this place. ... Show more content on Helpwriting.net ...
3–2: Implied Line– a line where no continues mark connects one point to another, but where the
connections is nonetheless visually suggested. Lines that create a sense of movement and direction.
Line of Sight–one important kinds of implied line is a function of line of sigh, the direction the
figures in a given composition are looking. Titian artwork together the three separate horizontal area
of the piece; God the father above, the Virgin Mary in the middle and the Apostles below. The lines
that are create are simple, interlocking, symmetrical triangles. The lines are to serve to unify the
worlds of the divine and the mortal.
4–1: Why does Duccio 's painting "Annunciation of the Death of the Virgin" lack linear perspective?
The right side of the bench appears too placed awkwardly to the right and crawling up and into the
wall. The angel arm appear to be reaching though the wall. Duccio Maesta uses foreshortening in
the beams to give the depth in the artwork though. In one point linear perspective lines are drawn on
the picture plane in a way that parallel lines receding to a single point on the viewer's horizon which
are consider vanishing points. Two point linear perspective a more dynamic ccomposition. The two
point linear perspective is where two or more vanishing point are in the composition. So the biggest
difference is that two points have more than two vanishing points and creates a complex
composition.
An example of one point

The Physics Of Natural Space
"Time–Sensitive Architecture "
IN RESEARCH OF NATURAL SPACE
I could only hear my heart beating; the time seemed to stop when I was riding in the wave tube.
Furthermore, I experienced the dynamic space when my body was being enclosed by the wave. I
began noticing the dynamic relationship between my body, the wave, space, and time after I started
surfing and interacted with nature.
The wave changed every second with the ocean's perpetual motion. My consciousness of time was
piqued, the sunlight reflecting and penetrating the ripples in the water's surface (Figure 1), as I rode
through the tube. The enclosing space of the tube merged with the different dimensions of light and
dynamic movement. Pure nature (water and sunlight) and the movement of wave fabricated Time–
Sensitive Space. In architecture, natural building materials continue to deteriorate and change every
second by environment, as I observed the wave changing with sunlight and dynamic movement. The
rate of deterioration is decided by the material characteristics, the regional environment and the
division of building materials. Firstly, the rate of deterioration is mostly decided by the material
characteristics, especially organic natural material. Secondly, the materials were influenced by the
regional climate such as, oxidation, fading and corruption. Thirdly, the division of building materials
affects the deterioration rate in the architecture by more contact area reacting with oxygen and
moisture.

The Film Mulan
Disney Film: Mulan
This one of a kind Disney film "Mulan" (Bancrofty and Cook, 1998) draws an innovative path for
Disney's animation studio. It mixes the traditional elements such as with a brave heroine and those
cute animal sidekicks. The material appears to be more adventuresome and grown up. Similar to
Fox's "Anastasia," Mulan is known as a film from which not just children but also adults can enjoy
on their own, devoid of feeling an obligation in taking along with their children.
In terms of the story, it tells the time as not a retread of a recognizable Western children's classic,
however on the basis of a Chinese folk fiction concerning a brave Chinese teenage girl who covers
up herself as a boy to have fought by the assaulting Huns. By the time the invaders along with their
pitiless leader named Shan–Yu, who then was looking like Karl Malone in an alarming way sweep
down on the Chinese Wall, capable men were called by the Emperor in order to combat for a
defense for the kingdom.
The father of Mulan in this film emphasizes being old and weak. However, he throws away his
crutch to make a voluntary effort. In order for his father be granted of his personal desire, Mulan on
its best has stolen the family sword, summons the family ancestors for aid, and clandestinely went to
his place. As a matter of fact, Mulan defies not merely for get–together, nevertheless on the desire of
her family to let him stand for by the plans of a matchmaker and marrying whomever Mulan

Vincent Van Gogh Essay example
Vincent van Gogh was a Dutch post–impressionist painter, whose work represents the archetype of
expressionism, the idea of emotional spontaneity in painting. Van Gogh was born March 30, 1853,
in Groot–Zundert, son of a Dutch Protestant pastor. Van Gogh's birth came one year to the day after
his mother gave birth to a first, stillborn child; also named Vincent. There has been much
speculation about Vincent van Gogh suffering later psychological trauma as a result of being a
"replacement child" and having a deceased brother with the same name and same birth date. Early in
life, he displayed a moody, restless character that was to spoil his every pursuit. This theory remains
unproven, however, and there is no actual historical evidence to ... Show more content on
Helpwriting.net ...
These early works evidence were dark and serious, sometimes crude. Unfortunately, this unselfish
desire would reach somewhat obsessive proportions when Vincent began to give away most of his
food and clothing to the poverty–stricken people under his care. Despite Vincent's noble intentions,
representatives of the Church strongly disapproved of van Gogh's somberness and dismissed him
from his post in July. Refusing to leave the area, van Gogh moved to an adjacent village, Cuesmes,
and remained there in abject poverty. For the next year, Vincent struggled to live from day to day
and, though not able to help the village people in any official capacity as a clergyman, he
nonetheless chose to remain a member of their community. One day Vincent felt obligated to visit
the home of Jules Breton, a French painter he greatly admired, so with only ten francs in his pocket
he walked the entire 70 kilometers to Courrières, France, to see Breton. After arriving, however,
Vincent was too afraid to knock and returned to Cuesmes absolutely discouraged.
All the years of hard work, of continually refining his technique and learning to work in new media,
all served as stepping stones toward the production of Vincent van Gogh's first great painting: Potato
Eaters (1885, Rijksmuseum Vincent van Gogh, Amsterdam). His experiences as a preacher are
reflected in this painting.

What factors lead to the rise of the pictorial poster
What factors lead to the rise of the pictorial poster? When looking at what factors lead to the rise of
the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century
Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the
techniques which made these posters reach the levels of respect previously reserved for the fine arts.
As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan and
their printing techniques upon Toulouse Lautrec as well as Baron Georges–Eugene Haussmann's
renovation of Paris during its Second empire, the impacts of the rising middle class, and the effects
that tax had upon the walls of Paris. ... Show more content on Helpwriting.net ...
However, this image is missing the simplicity of the previous poster and the skill in which Chéret
prints La Loi fuller's dress in movement cannot be overlooked, it is what carries the whole poster
with ease. As stated by Jane Abdy in 'The French Poster' what makes a great Chéret is "the
personification of gaiety in his posters .... the laughing, twirling, sparkling girl whom he uses as a
model; the Parisians adored her , and called her 'La Cherette' (abdy, 1969, p.31) In 'Les affiches
illustr'ees' Maindron – a section from "The French Poster" by Jane Abdy, Ernest Maindron talks
about that when posters were very successful, it was often reproduced in a small version so that
collectors could have them. A daily newspaper 'Le courriere francias' made special printings of
Chéret posters in a convenient size (22"x14") as presents to their subscribers" (Abdy, 1969, p.171)
However, the size of posters not only affected legibility and who could own them, it also affected
the amount of tax placed upon them. All posters which were to be placed in the streets would be
subjected to a government tax. "This was varied according to size; the rate was 6 centimes for the ¼
colombier, 12 centimes for the ½ colombier, 18 for the jesus and the colombier and 24 centimes for
all large posters." (Abdy, 1969, p.171) when this levy was paid, the poster was stamped and
approved to be hung in the streets. Figure 3 Hiroshige Plum estate, Kamedio.

Summary: Steamboat Leaving Boulogne
Steamboat Leaving Boulogne
History
Eduard Manet (1832–1883) was a notorious French, painter with a lot of controversial work of art
that shocked the world. Steamboat Leaving Boulogne is a 1864 painting measuring 29 by 36 1/2 in.
or (73.6 by 92.6 cm). Eduard painted 'Steamboat Leaving Boulogne' and others at a time when he
was under heavy criticism and probably seeking consolation. He left Paris for the coastal city of
Boulogne–sur–Mer, where he got inspiration started painting marine sceneries like 'Steamboat
Leaving Boulogne' but didn't finish it until he got back to Paris.
Features
This is one of the earliest sea painting which depicts numerous wind powered and steam sailing
boats cruising on the sea. In this painting probably influenced ... Show more content on
Helpwriting.net ...
Manet was also under pressure from his controversial painting and was seeking to address another
topic. This painting was inspired by Japanese print painting whose black hulls, the sails painting
were so impressive they made a viewer sea sick.
Technology
Oil on canvas was the medium used on 'Steamboat Leaving Boulogne'. Traditional oil paints used
oil, or charcoal. The painting used different thinned paints which were mixed with either linseed oil
or other solvents. To make the boats to stand out, he used several layers of thicker paints so as to get
the texture and appearance he desired. The painting is valiantly brushed, and the boats remains
uniquely identifiable.
Related work
Manet painted a host of still life marine paintings, he also painted the 'Battle of Kearsage and
Alabama 1864' which was inspired by American civil war in the battle Union's U.S.S. Kearsarge and
the C.S.S. Alabama a Confederate raider. In addition he also painted 'Fishing boat coming in before
the wind 1864' which is also known as (The Kearsarge in Boulogne), it one of the paintings that
depicts boats–and–ships, seas–and–oceans. Later works of art from the Boulogne–sur–Mer coast
include 'Jetty at Boulogne 1868', 'Moonlight on Boulogne Harbour 1868', and 'The Jetty at Boulogne

Ikko Jenj Research Paper
Graphic designer, Ikko Tanaka was born and raised in Nara, Japan in 1930. Upon his move to study
in Kyoto, Tanaka was introduced to and took interest in modern Japanese theatre, particularly Noh
and Kabuki, which is the subject of his most popular designs. After graduating in 1950, Tanaka
worked for notable people and organizations such as fashion designer Issey Miyake, Mazda
Corporation, and later in his career, the Tokyo Olympics. One of the major influences on Tanaka
was Ando Hiroshige, who created ukiyo–e art, which means pictures of the floating world. Tanaka's
works tend to contain a lot of floating space, however, he utilizes the spaces to give designs more
imagination by using colors or geometric themes. Additionally, Tanaka adapted

Mary Cassatt Influence
Mary Steven Cassatt was an American painter and printmaker. A woman who entered the
international art world where male dominated and women settled down with getting married, being
a house wife, and being a mother during the nineteenth century. On the other hand not so much with
Mary, she was a strong and stubborn woman who was passion for arts. Many of her influence during
her career life were from focusing on women's daily life, and even from public's opinion. (Buettner
15). She is the greatest female artist in her time, not only that but the greatest artist in America and
contribute much to the world.
Mary Cassatt was born on May 13, 1844 in Pittsburgh, Pennsylvania. Cassatt was only and first
American who became a member of the French Impressionists. After traveling throughout Europe
during her teens with her family, Cassatt went to studied at the Pennsylvania Academy ... Show
Even though prints are different from painting, it is still captivate with its beautiful unique texture of
the prints. Her techniques became a big part of her art work and a very important part of her
development as a printmaker. They did not need to draw in every detail, or line because any printers
knew what could be done once the art work was created. When print making I would agree that
many artists knew that they could achieve in wood block printing whether the detail had significant
effect on the art work and sometime it doesn't matter so much. Without Cassatt's influence on the
Ukiyo–e's print, she wouldn't be will known or be satisfied if she had not been introduced to
printmaking because woodblock print is her most impressive well known work. Not only that,
Cassatt's movtivation for making prints was to make her art work accessible to everyone regardless
of the person's

Analysis Of Katsushika Hokusai 's Influence On Art
To what extent should an artist go to to draw in a crowd? Katsushika Hokusai painted hanging
upside down, painted with his mouth, painted with his toes and painted sometimes with a broom
instead of a paintbrush. Hokusai grew in fame because of his art, but also because of how he could
promote himself. Katsushika Hokusai was a very different type of artist during his time. He did not
conform to Japan's typical style of painting and branched off into a unique style that expressed his
beliefs and creativity. He ultimately transformed art in a way that moved the focus from portraiture
focused on actors to a style that focused on landscapes, plants, and animals. Katsushika Hokusai was
not afraid to be different and change things and that is why ... Show more content on
Helpwriting.net ...
Hokusai, in total, had two sons and three daughters with these two wives. His youngest daughter,
Oyei, became an artist like her father. During this period, he created multiple brush paintings, called
surimono, and drawings for Kyōka Ehon. When his master, Shunsho, died, Hokusai started to
dabble in European styles of art. This lead him to be expelled from the studio and that inspired him
to branch away from traditional ukiyo–e subjects to the daily Japanese life and landscapes. In 1798,
Hokusai passed on his name to his pupil and set out as an independent artist with the name Hokusai
Tomisa.To make money after he left the workshop he sold red peppers. He also drew comics,
banners, greeting cards, artwork for novels, and just drawings in general to make money. By 1800,
Hokusai had developed his use of ukiyo–e for more than just portraiture. He had also adopted the
name Katsushika Hokusai, which he is best known by and the name itself refers to the part of Edo
he was born in. In 1807, Hokusai collaborated with the popular novelist at the time, Takizawa
Bakin. They worked on a series of illustrated books together. They did not get along due to their
artistic differences and ended their collaboration on their fourth book. The publisher of the books
had to choose whether he wanted to keep Hokusai or Bakin. The publisher chose Hokusai because
of the importance of illustrations in printed works at the time. By 1811, Hokusai was fifty–one and
changed his name to

The Tokugawa Period
The Tokugawa era: A country of tranquility With all the struggle the Japanese went though, they
finally were grasping a sense of themselves. This age of curiosity and exploration of a country, that
the world would later know as Japan, was called the Tokugawa period. As a result of their newfound
self, came art and more specifically, woodblock prints. These woodblock prints are significant to the
Tokugawa era because they reflected what was going on during that period, including: what was
currently happening, how the people viewed the world, and what new discoveries were made.
During the Tokugawa era, the woodblock prints show that this was a time of peace because of the
often travel, economic growth and significance of nature. The beautiful ... Show more content on
Helpwriting.net ...
There is also travel, if not, more than the woodblock Okitsu shows. The boats show that great
masses of people travel on those boats and are fishing. These clues tell a story of a country that is
curious to find answers, without having to worry about any threats or dangers. They are
comfortable. Furthermore, Tsukudajima displays a time of peace because of the economic growth
and beauty nature held over the people. These boats suggest that there are goods being imported and
exported and Japan is earning money, therefore an economy is growing. Moreover, the beauty of
Tsukudajima's starry night, almond eye moon, and colorful sky sitting on the horizon indicates that
nature holds a power over the artists. Since the moon looks like the shape of an almond eye, the
artist probably sees the moon as a guardian, which suggests that the people praised nature. Likewise,
the starry night adds a feeling of comfort and happiness. A tiny village is resting upon the water and
there are no flames or fighting. Finally, the colorful gradient end of a sunset contains warm colors
like: orange, pink, yellow, and beige, which give off a majestic and pleasant

Museum Szymborska Analysis
Time is a permanent fixture in our world. It is with us the moment we take our first breath and when
we close our eyes for the last time. We use it to arrange events, change our appearance to look as if
time has had no effect on us, and attach it to special moments in our lives . Szymborska explores our
relationship with time, and our aspiration to rebel against it, in her works "Museum" (30),
"Landscape" (70–71), and "The People On The Bridge" (218–219) found in Poems New and
Collected (Szymborska, 1998) by portraying time as an antagonist, showing how humans fight time,
as well as their attempts to achieve immortality through detritus objects and art. In both poems,
"Museum" (30) and "The People on The Bridge" (218–219), time is antagonized ... Show more
content on Helpwriting.net ...
/ They have their own ways of expressing protest." (3) A museum is a place where works of art and
various objects of cultural and historical significance are collected and displayed to help give a
better understanding of the past. The poem "Museum" (30) speaks of various objects and their
relationship to humans, and how they have "outlived" their human counterparts. "The crown has
outlasted the head. / The hand has lost out to the glove. / The right shoe has defeated the foot." (16)
Although we ultimately accept that humans cannot defeat time, we can use these items as a means of
achieving immortality. Szymborska offers a different perspective on how we try to influence and
organize these detritus items through rhyme. "Ire" (5) and "hour" (6), "celebrate," (11) and "date"
(12) – are all an emotion or a reference to time. These contrasts highlights the fact that time is out of
our control. The specific references to numbers, a way we place emphasis on the significance of
objects through time, are arbitrary. There are "some three hundred years" (3) or the ellipsis and line
break emphasises the fact that "Eight" (11) is irrelevant, this human attempt at order is proven futile.
Szymborska acknowledges that humans know we cannot physically preserve ourselves, we can't
defeat time, so instead humans have preserved themselves through different objects, from plates,
wedding rings, fans, swords, and lutes. In Museum, Szymborska defamiliarizes how we perceive the
objects found in a museum, instead describe a place that preserves a collection of detritus items.
"The People On the Bridge" (218–219) is an allusion to a painting drawn by Hiroshige Utagawa
with the same name. He has successfully preserved his memory, described as a rebel; "time has
tripped and fallen down." (30) He has

Ukiyo-E Research Paper
The name of the art form, ukiyo–e, translates to "paintings of the floating world". They are Japanese
woodblock prints that flourished during the Edo Period (1603 – 1867) and depicted subjects
associated with impermanence and detachment from ordinary life. Among these subjects were the
popular geisha, sumo, and kabuki actors set in this after–hours world. Later, painted scenes from
nature became a subject matter for artists.
The themes in ukiyo–e focused on fleeting beauty and evanescent worlds; it was an escape from the
boring and mundane world of responsibilities in everyday life. At first, Ukiyo–e artworks were all
monochromatic and printed in black ink only. However, Suzuki Harunobu developed polychrome
printing by the 18th century.
Ukiyo–e art was originally intended for the lower class as it was very ... Show more content on
Helpwriting.net ...
At the same time, it expanded to reflect modern tastes and innovations over its development. The
result was an art that was both populist and highly sophisticated. Ukiyo–e presented both the
historical and all that was current, elegant, contemporary, and popular. The ordinary was
transformed into the extraordinary in the hands of the artist.
Each image was created through a collaboration of four skilled individuals: the artist who designed
the works and drew them in ink, the carver who carved the designs into a woodblock, the printer
who applied pigments to the woodblock and printed each color on handmade paper, and the
publisher who coordinated the efforts of the artists and marketed the artworks. In spite of this
collaborative effort, only the artist and publisher were almost always accredited.
Midway through the 18th century, new techniques were created to allow the full color printing and
ukiyo–e we see today on calendars and postcards. Some of the most famous artists during this
period were Utamaro, Hokusai, Sharaku, and

Light Rain At Shono Essay
Utagawa Hiroshige. Shono hakuu (Light Rain at Shono), number 46. 1832–1833. This piece of
artwork is known as a woodblock printing, the style of this is both representational and realistic. 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 type of artwork is considered 3D, it was made of woodblocks and it could have been
touched or seen physically. This style of artwork flourished immensely in Japan during the 17th–
19th century, it was especially sought by the middle class in Edo which is now known as Tokyo.
These woodblock prints were also very ... Show more content on Helpwriting.net ...
It is expressing a story about various stops on the road of Edo to Kyoto. In this specific piece it is
expressing people on the road of Edo being caught up in a rainstorm. They're quick to go under the
umbrellas or to cover themselves with their straw hats as well as straw mats. It also shows that they
are close to a village nearby and are most likely to find shelter from the rain there as well. The
subject and the content do not differ much in my opinion they are very much alike. Both the content
and subject are heavily being based on the shower that is happening on the road to Edo. It depicts
the people that are hurrying away to find shelter from the

Aesthetic Features And Influence Of Figure Paintings By...
Aesthetic Features and Influence of the Figure Paintings by Chen Hongshou Cao Jing Xu
Guangtong Abstract: Chen Hongshou was a comprehensive and proficient painter in late Ming and
Qing Dynasty, who was creative and unique in his own style. He made attempts to get rid of the
"fashion of resplendent" by "traditional style" and was refereed to as the representative of artists
with unique style and an influential figure in the 17th century. Key words: figure painting; grotesque
style; influence Chen Hongshou (1598–1652), Zhanghou as as his style name and "Old Lotus"as
esteemed name, was a prominent painter, who inherited the tradition and created new style in
painting. With the unique aesthetic values, his paintings, especially figure paintings occupied a very
important position in Chinese figure painting. His style in painting has a far reaching effect on both
Chinese and the world's art. Figure painting played a dominant position since Tang Dynasty and
declined in Song Dynasty. Chen Hongshou is not only a great figure painter in Ming Dynasty but
also revitalized figure painting which had declined for 600 years. In his paintings, we can see the
giant bodies of the characters with clear and fine ... Show more content on Helpwriting.net ...
In his paintings, the characters have strange appearance: big head and short body. As we know, the
methods selected by artists usually have something too do with their experiences, opinions and
philosophies. Their life perspective are shaped by their special time and environment and determines
the way they view the world–––– It is what they feel. So life is not simple records of the objective
world, but a mental world. From the above analysis we can see that the grotesque figures in Chen
Hongshou's paintings reflect his mentality and wild emotion. There is a unique beauty in the
characters of his paintings and this style is the formed with the change and maturity of the

Hiroshige's Plum Estate, Kameido

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Hiroshige's Plum Estate, Kameido