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"Pictures of Yokohama culture and happenings". Ukiyo-e Japanese woodblock prints depicting foreigners and scenes of Yokohama. In 1859, the port of Yokohama was opened to foreigners, and ukiyo-e artists, primarily of the Utagawa school
Example of work: Hiroshige, Plum Orchard at Komeido from the One Hundred Famous Views of Edo Series. 1856-58 |
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Ukiyo-e painter and print-maker of the Edo period. Hokusai is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji. Born to an artisan family in Edo.
Example of work: Mount Fuji in Clear Weather from Thirty-six Famous Views of Mount Fuji. 1830-32. |
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Ukiyo-e artist. The success of the Tokaido series encouraged Hiroshige to become increasingly a landscape artist. Hiroshige significantly influenced European artists. Born in 1797, died in 1858.
Example work: Driving Rain at Shono from Fifty Three Stations of the Tokeido |
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| Katsushika Hokusai, Nihonbashi at Edo, from the Thirty-six Views of Mount Fuji series, color woodblock print, c. 1830-32, approx. 39 x 26 cm |
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| Katsushika Hokusai, The Great Wave Off Kanagawa, from the Thirty-six Views of Mount Fuji series, color woodblock print, mid-19th c., approx. 39 x 26 cm |
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| Katsushika Hokusai, Mount Fuji in Clear Weather, from the Thirty-Six Views of Mt. Fuji series, c. 1830-32, ôban polychrome woodblock print |
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| Andô Hiroshige, Driving Rain at Shono, from the Fifty-three Stations of the Tôkaidô series, c. 1831-34, polychrome woodblock print |
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| Andô Hiroshige, Plum Orchard at Kameido, from the One Hundred Famous Views of Edo series, c. 1856-58, polychrome woodblock print |
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| Yoshikazu, The United States of North America, from Foreigners Copied from Life series, 1861, polychrome woodblock print |
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| Tsukioka Yoshitoshi, Daruma, from One Hundred Aspects of the Moon series, 1887, polychrome woodblock print |
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the influence of the arts of Japan on those of the West
example of work: The Flowering Plum Tree, Van Gogh, 1887, oil on canvas |
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| International Expositions |
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| World's Fair held in Suita, Osaka, Japan between March 15 and September 13, 1970. |
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paintings by Japanese artists that have been made in accordance with Western traditional conventions, techniques and materials
Example of work: Bijin (Courtesan), Yuichi, 1872 |
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Paintings that have been made in accordance with traditional Japanese artistic conventions, techniques and materials.
Example of work: Landscape with Autumn Moon, Gaho, late 19h centure, ink on paper, hanging scroll |
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| The Return to the East (tôyô kaiki) |
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| War Campaign Documentary Painting |
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The Japanese military supported artists during this conflict
Example of work: Our Divine Troops to the Rescue, Tsuguharu, 1944 |
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| Allied Occupation of Japan |
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| At the end of World War II, Japan was occupied by the Allied Powers, led by the United States. This had a big impact on Japanese art and censorship. Also, during this time a lot of Japanese art was purchased by Americans. |
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| The Atomic Bomb "Little Boy" was dropped on Hiroshima. |
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| Nagasaki was the target of the world's second atomic bomb attack |
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| US-Japan Mutual Security Treaty (“Anpo”) |
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| Signed between the US and Japan in DC on January 19, 1960. It strengthened Japan's ties to the West during the Cold War era. The treaty also included general provisions on the further development of international cooperation and on improved future economic cooperation. |
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Since the 1970s "cuteness" or "adorableness" prominent in Japanese popular culture.
Example of work: My Lonesome Cowboy, Takashi, 1998 |
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| James McNeil Whistler, The Peacock Room (including The Princess from the Land of Porcelain), completed 1877, installed at the Freer Gallery of Art |
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| James McNeil Whistler, The Princess from the Land of Porcelain, 1863-65, oil on canvas, Freer Gallery |
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| Takahashi Yuichi, Bijin (Courtesan), 1872, oil on canvas, 77 x 54.8 cm. |
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| Kano Hôgai, Compassionate Mother, Kannon Bodhisattva, 1888, hanging scroll, color on silk |
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| Hashimoto Gahô, Landscape with Autumn Moon, c. 1880s-1890s, hanging scroll, ink on paper, approx. 34 x 19 in. (image), Boston Museum of Fine Arts |
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| Kuroda Seiki, Wisdom, Impression, Sentiment, triptych, oil on canvas, 1897-99 |
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| Yorozu Tetsugorô, Nude Beauty, oil on canvas, 1912 |
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| Yorozu Tetsugorô, In Bathing Costume, oil on canvas, 1926 |
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| Fujita Tsuguharu, Two Friends, 1926 |
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| Fujita Tsuguharu, Our Divine Troops to the Rescue, 1944, oil on canvas |
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| Yokoyama Taikan, Fuji in Summer, from Four Views of Mt. Fuji series, color on paper, 1940 |
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| Onchi Kôshirô, At Ruin: Allegory No. 3, 1947, woodcut |
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| Fukuzawa Ichirô, War Defeat Group, 1948, oil on canvas, 193.9 x 259. 1 cm. |
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| Hiratsuka Un’ichi, Library of Congress, 1966, woodcut |
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| Maruki Iri and Maruki Toshi, Rescue, Atomic Bomb Panels part 8, 1954, four-panel screen (left of a pair), ink and color on paper, 180 x 720 cm. |
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| Tômatsu Shômei, Nagasaki 11:02 1945 series, photographs, 1961, 1962, 1963, 1966 (various) |
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| Shinohara Ushio (Japanese; b. 1932), Twenty-eight Brigands (Eimei nijûhachi sen), 1965, oil on board, double-sided 5-panel folding screen, 182.5 x 457.5 cm |
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| Hi-Red Center, Be Clean!, 1964, event in Tokyo |
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| Yoko Ono, Cut Piece, 1964 |
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| Yoko Ono, Wish Tree for Washington, DC, 2007, live tree |
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| Yanagi Yukinori, Hinomaru Illumination (Amaterasu and Haniwa), 1993, neon and painted steel, with ceramic haniwa figures |
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| Yanagi Yukinori, The World Flag Ant Farm, 1990, ants, colored sand, plastic boxes, and plastic tubes |
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| Murakami Takashi, My Lonesome Cowboy (painted resin and fiberglass sculpture) and Spring Liquid (acrylic on linen mounted on board, four panels), 1998 |
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| Murakami Takashi, Hiropon (painted resin and fiberglass sculpture) and Milk (acrylic on linen mounted on board, four panels), 1998 |
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| Ôzawa Tsuyoshi, Sanuki Museum of Soy Sauce Art, 1999 |
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