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Cubism is an early-20th-century avant-garde art movement
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. |
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a revolt by certain 20th-century painters and writers in France, Germany, and Switzerland against smugness in traditional art and Western society; their works, illustrating absurdity through paintings of purposeless machines and collages of discarded materials, expressed their cynicism about conventional ideas of form and their rejection of traditional concepts of beauty |
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Abstract art uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning.
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| Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. |
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| Fauvism is the style of les Fauves (French for "the wild beasts"), a loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. |
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| The Baroque (US /bəˈroʊk/ or UK /bəˈrɒk/) is a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance and music. The style began around 1600 in Rome, Italy and spread to most of Europe. |
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| German Expressionism refers to a number of related creative movements beginning in Germany before the First World War that reached a peak in Berlin, during the 1920s. These developments in Germany were part of a largerExpressionist movement in north and central European culture in fields such as architecture, painting and cinema. |
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Impressionism is a 19th-century art movement that originated with a group of Paris-based artists
Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. |
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| ost-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. |
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Shigeru Aoki (青木 繁 Aoki Shigeru?, July 13, 1882- March 25, 1911) was a Japanese painter, noted for his work in combining Japanese legends and religious subjects with the yōga(Western-style) art movement in late 19th- and early
20th-century Japanese painting. |
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Institute for the Study of Barbarian Books
Japanese institute charged with the translation and study of foreign books and publications in the late Edo Period. |
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Japanese painter, noted for his pioneering work in developing the yōga (Western-style) art movement in late 19th century and early twentieth-century.
In 1876, he enrolled as one of the first students in the Kobubijutsu Gakkō (the Technical Fine Arts School), where he was able to study under the Italian foreign advisor Antonio Fontanesi, who had been hired by the Meiji government in the late 1870s to introduce western oil painting to Japan. |
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Paul Cézannewas a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century.
Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne "is the father of us all."
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. |
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| Collage (From the French: coller, to glue, French pronunciation: [kɔ.laːʒ]) is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. |
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| Ernest Francisco Fenollosa (February 18, 1853 – September 21, 1908) was an American art historian of Japanese art, professor of philosophy and political economyat Tokyo Imperial University. An important educator during the modernization of Japan during the Meiji Era, Fenollosa was an enthusiastic Orientalist who did much to preserve traditional Japanese art. |
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| Antonio Fontanesi (23 February 1818 – 17 April 1882) was an Italian painter who lived in Meiji period Japan between 1876 and 1878. He introduced European oil painting techniques to Japan, and exerted a significant role in the development of modern Japanese yōga (Western style) painting. He is known for his works in the romantic style of the French Barbizon school. |
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| Fujishima Takeji (藤島 武二?, October 15, 1867 – March 19, 1943) was a Japanese painter, noted for his work in developing Romanticism and impressionism within the yōga (Western-style) art movement in late 19th- and early 20th-century Japanese painting. In his later years, he was influenced by the Art Nouveau movement. |
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Eugène Henri Paul Gauguin 7 June 1848 – 8 May 1903) was a leading French Post-Impressionist artist who was not well appreciated until after his death. Gauguin was later recognized for his experimental use of colors and synthetist style that were distinguishably different from Impressionism.
He was an important figure in the Symbolist movement as a painter, sculptor, print-maker, ceramist, and writer. His bold experimentation with coloring led directly to the Synthetist style of modern art, while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms. |
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| Hans Holbein the Younger (c. 1497[1] – between 7 October and 29 November 1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century.[2] He also produced religious art, satire, and Reformation propaganda, and made a significant contribution to the history of book design. He is called "the Younger" to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the LateGothic school. |
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| Kanō Hōgai (狩野 芳崖?, February 27, 1828 - November 5, 1888) was a 19th century Japanese painter of the Kanō school. One of the last of the Kanō painters, Hōgai's works reflect the deep traditions of the school, but also at times show hints of experimentation with Western methods and styles. Like his predecessors, Hōgai painted a variety of subjects, but is perhaps most well known for his paintings of falcons, and of dragons |
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| Ryūsei Kishida (岸田 劉生 Kishida Ryūsei?, June 23, 1891 - December 20, 1929) was a Japanese painter in Taishō and Shōwa period Japan. He is best known for his realistic yōga-style portraiture, but also for his nihonga paintings in the 1920s. |
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Kobayashi Kiyochika (小林 清親 September 10, 1847- November 28, 1915?) was a Japanese ukiyo-e painter and printmaker of the Meiji period.
Kiyochika is best known for his prints of scenes around Tokyo which reflect the transformations of modernity. |
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Kume Keiichirō was a Japanese painter of Meiji to Shōwa periods. His father was Kume Kunitake, a historian.
Born in Hizen (today Saga), he studied abroad in Paris, learning techniques from Raphaël Collin in the Académie Colarossi. He lived in Paris, Barcelona and Île-de-Bréhat before going back to Japan in 1893. Back in Japan, he contributed to introducing Impressionism along with Kuroda Seiki. Later, he became a prestigious professor at Tokyo National University of Fine Arts and Music.
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| Viscount Kuroda Seiki (黒田 清輝?, August 9, 1866 - July 15, 1924) was the pseudonym of a Japanese painter and teacher, noted for bringing Western theories about art to a wide Japanese audience. He was among the leaders of the yōga (or Western-style) movement in late 19th- and early 20th-century Japanese painting. His real name was Kuroda Kiyoteru. |
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| Henri-Émile-Benoît Matisse (French pronunciation: [ɑ̃ʁi matis]; 31 December 1869 – 3 November 1954) was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.[1] Matisse is commonly regarded, along with Pablo Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.[2][3][4][5] Although he was initially labelled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting.[6] His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.[7] |
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| The Meiji Restoration (明治維新 Meiji Ishin?), also known as the Meiji Ishin, Revolution, Reform or Renewal, was a chain of events that restored imperial rule to Japan in 1868 under Emperor Meiji. The goals of the restored government were expressed by the new emperor in the Charter Oath. The Restoration led to enormous changes in Japan's political and social structure, and spanned both the late Edo period (often called Late Tokugawa shogunate) and the beginning of the Meiji period. The period spanned from 1868 to 1912 and was responsible for the emergence of Japan as a modernized nation in the early twentieth century. |
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| Nihonga (日本画 Nihonga?) or literally "Japanese-style paintings" are paintings that have been made in accordance with traditional Japanese artistic conventions, techniques and materials. While based on traditions over a thousand years old, the term was coined in the Meiji period of the Imperial Japan, to distinguish such works from Western-style paintings, or Yōga (洋画 Yōga?). |
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Nonrepresentational Art is another way to refer to Abstract Art. These artworks do not represent or depict a being, a place or a thing in the natural world.
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| Okakura Kakuzō (岡倉 覚三?, February 14, 1862 – September 2, 1913) (also known as 岡倉 天心 Okakura Tenshin) was a Japanese scholar who contributed to the development of arts in Japan. Outside of Japan, he is chiefly remembered today as the author of The Book of Tea.[1] |
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The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt,John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood".
The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael andMichelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". To the Pre-Raphaelites, according to William Michael Rossetti, "sloshy" meant "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind".[1] In contrast, the brotherhood wanted a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. |
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| Rangaku (Kyūjitai: 蘭學/Shinjitai: 蘭学, literally “Dutch Learning”, and by extension “Western learning”) is a body of knowledge developed by Japan through its contacts with the Dutch enclave of Dejima, which allowed Japan to keep abreast of Western technology and medicine in the period when the country was closed to foreigners, 1641–1853, because of the Tokugawa shogunate’s policy of national isolation (sakoku). |
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| Raphaël Collin (1850–1916) was born and raised in Paris, where he became a prominent academic painter and a teacher. He is principally known for the links he created between French and Japanese art, in both painting and ceramics. |
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| Romanticism (or the Romantic era/Period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and the natural sciences.[5] Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant. |
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| The Russo-Japanese War (8 February 1904 – 5 September 1905) was "the first great war of the 20th century."[3] It grew out of rival imperial ambitions of the Russian Empire and the Empire of Japan over Manchuria and Korea. The major theatres of operations were Southern Manchuria, specifically the area around the Liaodong Peninsula and Mukden; and the seas around Korea, Japan, and the Yellow Sea. |
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| Shiba Kōkan (司馬 江漢?, 1747 – November 19, 1818), born Andō Kichirō (安藤吉次郎) or Katsusaburō（勝三郎）, was a Japanese painter and printmaker of the Edo period, famous both for his Western-style yōga paintings, in imitation of Dutch oil painting styles, methods, and themes, which he painted as Kōkan, and his ukiyo-e prints, which he created under the name Harushige, but also producing forgeries of the works of Suzuki Harunobu. He is said to have boasted of his ability to forge the great master so well. He also was engaged in Western learning (Rangaku) in the field of astronomy. |
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| The Shijō school (四条派 Shijō-ha?), also known as the Maruyama-Shijō school, was an offshoot school of the Maruyama school of Japanese paintingfounded by Maruyama Ōkyo, and his former student Matsumura Goshun in the late 18th century. This school was one of several that made up the largerKyoto school. The school is named after the street in Kyoto where many major artists were based; Shijō literally translates to "fourth avenue." Its primary patrons were rich merchants in and around Kyoto/Osaka and also appealed to the 'kamigata' who were of the established aristocrat and artisan families of the Imperial capital during the late 18th/19th centuries. |
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| Shin-hanga (新版画?, lit. "new prints", "new woodcut (block) prints") was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the sōsaku-hanga (creative prints) movement which advocated the principles of "self-drawn" (jiga), "self-carved" (jikoku) and "self-printed" (jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art. |
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| The First Sino–Japanese War (1 August 1894 – 17 April 1895) was fought between Qing Dynasty China and Meiji Japan, primarily over control of Korea. After more than six months of continuous successes by the Japanese army and naval forces, as well as the loss of the Chinese port of Weihai, the Qing leadership sued for peace in February 1895. |
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| Sōsaku-hanga (創作版画 lit. "creative prints"?) was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods. It advocated the principles of "self-drawn" (自画, jiga), "self-carved" (自刻, jikoku) and "self-printed" (自刷, jizuri) art, stressing the artist, motivated by a desire for self-expression, as the sole creator. As opposed to the shin-hanga ("new prints") movement that maintained the traditional ukiyo-e collaborative system (the hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, creative print artists distinguished themselves as artists creating art for art’s sake. |
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| Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.[1] |
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| Two Surrealist Manifestos were issued by the Surrealist movement, in 1924 and 1929. They were both written by André Breton, who also drafted a third Surrealist manifesto; it was never issued. |
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| the late phase of cubism, characterized chiefly by an increased use of color and the imitation orintroduction of a wide range of textures and material into painting. |
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| The Taishō period (大正時代 Taishō jidai?, "period of great righteousness"), or Taishō era, is a period in the history of Japan dating from July 30, 1912 to December 25, 1926, coinciding with the reign of the Emperor Taishō.[1] The health of the new emperor was weak, which prompted the shift in political power from the old oligarchic group of elder statesmen (or genrō) to the Diet of Japan and the democratic parties. Thus, the era is considered the time of the liberal movement known as the "Taishō democracy" in Japan; it is usually distinguished from the preceding chaotic Meiji period and the following militarism-driven first part of the Shōwa period.[2] |
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Kōtarō Takamura (高村 光太郎 Takamura Kōtarō?, March 13, 1883 – April 2, 1956) was a Japanese poet and sculptor.
Kōtarō was the son of Takamura Kōun, a renowned Japanese sculptor.
He graduated from the Tokyo School of Fine Arts in 1902, where he studied sculpture. He studied in New York in 1906, London in 1907, and in Paris in 1908, returning to Japan in 1909, and lived there for the rest of his life.
His sculptural work shows strong influence both from Western work (especially Auguste Rodin, whom he idolized) and from Japanese traditions.
He is also famous for his poems, and especially for his 1941 collection Chiekoshō (智恵子抄 literally "Selections of Chieko", in English titled Chieko's sky after one of the poems therein), a collection of poems about his wife Chieko Takamura, who died in 1938
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Ukiyo-e (浮世絵 literally "pictures of the floating world"?) (Japanese pronunciation: [ukijo.e] or [ukijoꜜe]) is a genre of Japanese woodblock prints (or woodcuts) and paintingsproduced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters. It is the main artistic genre ofwoodblock printing in Japan.
Usually the word ukiyo is literally translated as "floating world" in English, referring to a conception of an evanescent world, impermanent, fleeting beauty and a realm of entertainments (kabuki, courtesans, geisha) divorced from the responsibilities of the mundane, everyday world; "pictures of the floating world", i.e. ukiyo-e, are considered a genre unto themselves. |
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| Ryuzaburo Umehara (梅原 龍三郎 Umehara Ryūzaburō?, March 9, 1888–January 16, 1986) was a Japanese painter who painted in a Western style. He attended the Kansai Academy of Art (also known as Kansai Art School) in Kyoto. One of the artists he admired was Pierre-Auguste Renoir. |
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Watanabe Kazan was a Japanese painter, scholar and statesman member of the samurai class.
He was the first Japanese artist to paint realistic portraits of his subjects using the effects of shading which he learned from European paintings. On the one hand, he was a traditionalist Confucian, who believed in filial piety and loyalty to his daimyo, and on the other he was enthusiastic about Western ideas regarding science and politics. He wrote two private essays which were interpreted as being critical of the Shogunate's defense of Tokyo Bay and promoting Western ideas. Although these papers were discarded by Watanabe, they were found and he was tried and exiled to his home province of Tahara. One of the conditions of his exile was that he wouldn't sell his paintings, however Watanabe continued selling his paintings in secret due to financial hardships. This was eventually discovered leading to the suppression of his works and house arrest. |
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| Charles Wirgman (31 August 1832 - 8 February 1891) was an English artist and cartoonist, the creator of the Japan Punch and illustrator in China and Meiji period Japan for the Illustrated London News. |
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| Sōtarō Yasui (安井 曾太郎 Yasui Sōtarō ?, May 17, 1888 – December 14, 1955) was a Japanese painter, noted for development of yōga (Western-style) portraiture in early twentieth-century Japanese painting. |
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| Yokoyama Taikan (横山 大観?, November 2, 1868 – February 26, 1958) was the pseudonym of a major figure in pre-WW2 Japanese painting. He is notable for helping create the Japanese painting technique of Nihonga. His real name was Sakai Hidemaro. |
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| Yamato-e (大和絵?) is a style of Japanese painting inspired by Tang Dynasty paintings and fully developed by the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (Kara-e), which were inspired by Chinese Song and Yuan era ink wash paintings. |
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| Hiroshi Yoshida (吉田 博 Yoshida Hiroshi?, September 19, 1876 - April 5, 1950) was a 20th century Japanese painter and woodblock print maker. He is regarded as one of the greatest artists of the shin-hanga style, and is noted especially for his excellent landscape prints. Yoshida travelled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, the Grand Canyon, and other National Parks in the USA. |
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| Tetsugorō Yorozu (萬 鉄五郎 Yorosu Tetsugorō ?, November 17, 1885- May 1, 1927) was a Japanese painter, noted for his work in introducing the Avant-garde trend, especially cubism into Japanese yōga (Western-style) painting in the early 20th century. |
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View of Mimeguri in Edo.
(Shiba Kokan)
Edo Period |
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Shinobazu Pond
Late Edo Period, early Meiji |
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Gas Pavilion at the Industrial Fair.
Meiji Period |
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Cherry Blossoms at Night
Early Showa period |
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Nude and Fans
Showa Period |
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Imperial Hotel, Tokyo
Taisho Period |
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Festical. Megane-e
Edo Period |
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Postures by the Crazy Painter Katsushika
Edo Period |
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Sketch for portrait of his younger brother Goro.
Edo Period |
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Ushigafuchi in Kudan
Meiji Period |
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Kayabe Pass in Hokkaido
Meiji Period |
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Sketch for portrait of his younger brother Goro.
Edo Period |
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Portrait of a Girl
Meiji Period |
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Cypress Trees
Meiji Period |
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Raspberries
Late Meiji, early Taisho |
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Portrait of Eroshenko
Taisho Period |
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Portrait of a Girl.
(a.k.a Reiko with flowers)
Taisho Period |
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The Sadness of Faith
Taisho Period |
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A Simple Moonliet Night
Early Showa period |
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Nude on a Chinese Bed
Showa Period |
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Landscape with Eye
Showa Period |
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Walking Eagle
Showa Period |
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The Tempyo Era
Meiji Period |
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Fallen Leaves
Meiji Period |
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Reading in Wind and Rain
Late Meiji, early Taisho |
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A Woman's Face
Meiji period |
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Fang Hui
Late Taisho, Early Showa |
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THe Wheel of Life
Taisho Period |
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Mother and Child
Showa Period |
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The Summit of Mount Fuji
Meiji Period |
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Learning Person
Taisho Period |
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Woman Washing her Feet
Taisho Period |
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Music of Spring
Showa Period |
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The N Family
Taisho Period |
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House in Dordogne
Showa Period |
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Two Laborers
Taisho Period |
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Saltimbanques
Late Taisho, early Showa period |
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The Scene Outside the Window
Showa Period |
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Butterfly Tracks
Showa Period |
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Verlaine's Poem
Taisho Period |
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A Jewish Girl
Taisho Period |
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Morning Toilette
Meiji Period |
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Telling an Acient Romance
Meiji Period |
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Still Life
(Three Red Apples, Cup, Can, Spoon)
Taisho Period |
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Kannon as Compassionate Mother
Meiji Period |
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Mavo
(magazine cover design)
Taisho Period |
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Landscape with National Diet Building
Showa Period |
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Evening at the Ferry
Meiji Period |
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Musansha Shinbun
Showa Period |
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Definition
Nippon, no. 19
cover design, Manchukuo special issue,
Showa Period |
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Term
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Definition
Conquerors of the Seas
Showa Period |
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Term
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Definition
Forbidden City
Showa period |
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Term
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Definition
Shirahige in the Snow
1883-1957? |
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Term
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Definition
Returning from Fishing
Meiji period |
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Term
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Definition
Floating Lanterns
Meiji Period |
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Term
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Definition
The Great Ryogoku Fire Sketched in Hamamachi
Edo Period |
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Term
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Definition
Sketch for the portrait of Ichikawa Bei'an
Edo period |
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Term
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Definition
Yorobashi (The Begging Monk)
Taisho Period |
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Term
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Definition
Yoritomo in a Cave
Taisho Period |
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Term
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Definition
Shinobazu Pond
Meiji Period |
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Term
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Definition
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Term
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Definition
Portrait of Mrs. F
Showa Period |
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Term
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Definition
Reclining Women
Late Meiji, early Taisho |
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Term
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Definition
Second Army Attacks Port Authur
Meiji Period |
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Term
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Definition
Sitting Before the Dressing Stand
Taisho Period |
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Term
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Definition
Young Girl Washing
Taisho Period |
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