![]() ![]() That said, there are very subtle differences in how the blocks were handled by the printers which could be taken into consideration when evaluating an impression. One detectable change to the blocks is that the pattern of snowflakes seen on the figure’s scarf changes at some point, presumably somewhat late in the lifetime of the blocks. Recognizing that Watanabe issued several print runs in a short period of time, a comparison of examples reveals remarkably few differences in impressions, a testament to the extraordinary skill of the carvers and printers. Utilizing a large pool of images has resulted in the abandonment of most theories regarding which differences indicates earlier or later printings. An attempt to correlate numerous published images available in books in our library (which is large but by no means complete) and online from various sources including museums, galleries and auctions houses, has both clarified and undone our understanding of this print. This steady climb to fame began at its inception, it was a great success when Watanabe released it as the first print in the Twenty Views of Tokyo series which was published between 19.Ī popular print in its own time which has reached near-iconic status in ours, differentiating between the quality of impressions is increasingly important but remains all the more challenging because of Watanabe’s incredibly high standards of production. In recent years this print has vaulted from Hasui's most popular print, to the most famous shin-hanga landscape, and most recently, possibly one of the most recognizable Japanese woodblock prints of all, achieving its status as an icon of the genre in just under a century. My artwork from these sites are devotional statements of my encounters with the reality and beauty they offer.Signed Hasui with artist's seal Kawase, the publisher's round Watanabe (Hotei 'A') seal within the composition above the signature, and rectangular (Hotei 'B') seal on the left margin, Hanken shoyu Watanabe Shozaburo (Copyright ownership Watanabe Shozaburo), followed by the print title Shiba Zojoji, and the date below, Taisho juyonen saku (Taisho 14 ) ![]() Leon LoughridgeĪs one becomes more and more devout in caring for the landscape and observing its beauty, the ground begins to take on a sacred aspect, becoming a portal or apparition of a state of mind. My artwork from these sites are devotional statements of my encounters with the reality and beauty they offer. They are sites where I am continually inspired, where I am familiar with the folds and creases of the land, so much so, that I can mentally step into the landscape and walk those folds while standing at my easel.Īs one becomes more and more devout in caring for the landscape and observing its beauty, the ground begins to take on a sacred aspect, becoming a portal or apparition of a state of mind. These familiar locations are a never-ending display of beauty. The artist will be in the gallery demonstrating his print process July 11 – 15. The hand-printing process is simple, yet labor intensive, and achieves its own vibrancy and originality as well as a unique fidelity to the landscapes of New Mexico that inspire him. ![]() Using the Japanese printmaking technique of moku hanga, all of his woodblock prints are created by hand, not a printing press. ![]() His latest exhibition features woodblock prints, watercolors and serigraphs of the special places in New Mexico that represent his spiritual roots and personal story. Award-winning artist Leon Loughridge is a master of the multi-step reduction process in woodblock art. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |