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Volume 2 of Hotei Academic European Studies on Japan is a compilation of essays covering subjects relating to the artistic environment of the artists and the economic considerations of Japanese print production. The essays are extended versions of the lectures presented at the First International Conference on Ukiyo-e, organized by Hotei Publishing. Contributions by Chris Uhlenbeck, David Waterhouse, Roger Keyes, Shigeru Oikawa, Asano Shugo, Timothy Clark, John Carpenter, Timon Screech, Matthi Forrer, Ellis Tinios and Philip Meredith.
Images of a forgotten Master: Toyohara Kunichika (1835 - 1900)
Time Present and Time Past is the first publication in English to treat in detail the life and work of Toyohara Kunichika (1835-1900), who today is considered one of the last Ukiyo-e masters. Kunichika's designs were drawn from established Ukiyo-e genres like Kabuki actor prints (yakusha-e) and prints of beautiful women (bijinga), he was however a man of his time and this is reflected in his modern use of colour, composition and subjects. The book includes reproductions of 135 of Kunichika's prints, an extensive bibliography and an overview of signatures and carvers seals.
Twentieth-century Japanese Prints from the Robert O. Muller Collection
Robert O. Muller can be considered the most important collector in the world of 20th century Japanese prints. He amassed over 4500 designs, tracing back the artistic developments of the past century to the Meiji period (1868-1912).
His holdings, now in the Arthur M. Sackler Gallery of Art in Washington D.C., include the finest possible examples of artists specialized in the portrayal of female beauty such as Hashiguchi Goyô (1880-1921), Itô Shinsui (1898-1972) and Torii Kotondo (1900-1976), the earliest and best works of the two major landscape artists Kawase Hasui (1883-1957) and Hiroshi Yoshida (1876-1950) as well as numerous works by other, less famous artists providing a comprehensive and fascinating overview of the Shin hanga ('New Print') movement.
Robert O. Muller's exquisite taste and critical attitude has resulted in a collection in the finest imaginable condition. The Arthur M. Sackler Gallery of Art staged the first major exhibition from this collection in the months of November and December of 2004.
This catalogue accompanies the first exhibition from the donation to the Arthur M. Sackler Gallery of Art of over 4000 prints by the American collector Robert O. Muller, held November 6 2004-2 January 2005.
20th Century Japanese Prints of Japanese Beauties
The female image is a comprehensive survey of the genre of bijinga ('prints of beautiful women') produced in the Shin hanga tradition that evolved in the early 20th century. This bilingual (Japanese/English) publication is lavishly illustrated with works from Japanese, European and American public and private collections. Prints by major artists such as Hashiguchi Goyō (1880-1921), Torii Kotondo (1900-76) and Itō Shinsui (1898-1972) are included, as are examples from more obscure print designers which have rarely been reproduced.
The Natural World of Ohara Koson 1877-1945
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterised by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artist's life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson’s oeuvre and designs which have been discovered since the original publication of Crows, Cranes and Camellias. This title is the definitive reference book for Koson collectors. The 1st edition with ISBN 9789074822381 is now out of stock.
A courtesan's day in the carefree atmosphere of the famous pleasure quarter the Yoshiwara in Edo (present-day Tokyo) was carefully planned to an hourly schedule. This sequence of 12 and later 24 hours proved a convenient device for Japanese print artists and their publishers when devising sets of prints showing favourite beauties of the day engaged in daily activities.
In this second volume of Hotei Publishing's Famous Japanese Prints Series, three sets centred on the theme of the hours of the clock in the pleasure quarters are discussed in detail:
• Kitagawa Utamaro's The Twelve Hours of the 'Green Houses' (Seirō jūnitoki, c. 1794)
• Tsukioka Yoshitoshi's Twenty-four Hours in Shinbashi and Yanagibashi (Shinryū nijūyoji, 1880-81)
• Toyohara Kunichika's Scenes of the Twenty-four Hours, A Prictorial Trope (Mitate chūya nijūyoji, 1890-91)
A contextual and visual analysis of these works by the authors provides the reader with an insight into the broader cultural and artistic milieu of the early and later nineteenth century.