Bøger af Chris Uhlenbeck

Women and men ¿ strong, proud, tragic or beautiful ¿ from the heyday (1765¿1865) of Japanese printmaking are this book¿s subject. It seeks to dig below the surface of the prints to describe the often subtle iconography employed in these masterful creations by the most famous artists of their time. It begins with Suzuki Harunobüs subdued and introverted scenes of women seated on verandas. The book then moves on to the spectacular `big face¿ (okubi-e) portraits of prostitutes and Kabuki actors by artists like Kitagawa Utamaro, Toshusai Sharaku and Utagawa Kunimasa. Frail `streetwalkers¿, forced by circumstance into the lowest ranks of prostitution, are transformed into elegant beauties, obscuring their tragic existence. The spectacle of heroes from Japan¿s rich mythological and pseudo-historical past crowd the printed sheet. Stern-faced actors drawn by the confident hands of Utagawa Toyokuni and his pupil Kunisada demonstrate the economy of line and powerful expression of the woodblock medium. Each print is explored in the finest detail in order to explain the riddles of Ukiyo-e ¿the intriguing and captivating mode of visual expression that would have such a profound influence on Western art.

"Hiroshige Shaping the Image of Japan" is a comprehensive overview of Hiroshige's work as a woodblock print artist. Utagawa Hiroshige (1797-1858) is one of the great masters in the history of Japanese printmaking and this publication coincides with the 150th anniversary of his death. Hiroshige has worked in virtually every genre of ukiyo-e or 'images of the floating world'. He designed prints of beautiful women and brave heroes, but achieved his greatest fame through his depictions of the Japanese landscape, showing famous places in different seasons and at various times of day. These landscape prints, with their bright colors and strong compositions, were not only popular in Japan, but also found favor with European artists at the turn of the 19th century. The main body of this publication includes a general introduction, sketching the cultural and economic environment of the artist Hiroshige, the development of his oeuvre, and the rise of his his artistic reputation in Japan and the West. This is followed by a chronological presentation of 140 full-color prints, selected from public and private collections. Biographical data are sparse and only very few details of his life help explain the nature of his output. However, by carefully piecing together the information which can be gleaned from the works themselves, and combining it with the current knowledge on print production methods, the authors present a picture of Hiroshige as an artist-cum-craftsman who efficiently produced for his publishers, creating in the process an image of Japan which endures until this day.

This is the first modern study on Japanese erotic print art (so called "shunga") and shows highlights from the oeuvre of Kitagawa Utamaro, Katsushika Hokusai, Suzuki Harunobu, Utagawa Kunisada, Utagawa Kuniyoshi and many others. Various essays written by international experts describe this fascinating genre in its social, historical and artistic context, discussing themes like homosexuality, voyeurism, life in Edo's brothels, techniques of composition etc.

This book brings together a unique selection of works to explore the art of 20th century Japanese printmaking. While the classic landscapes of Hokusai and Hiroshige and the beautiful women's paintings of Utamaro have gained widespread recognition, Japanese printmaking of the 20th century has received quite little attention so far. Since the 1990s, however, museums and private collectors have shown a growing interest in Shin Hanga ("New Prints"): balanced designs printed on luxurious paper, with the finest pigments, and available only in small editions. Shin Hanga prints differ from their traditional predecessors not so much in subject matter as in imagery. While the classically depicted women were stylized and idealized, their newer counterparts are based on real models that are individually recognizable and full of emotion. The modern landscapes, on the other hand, are impressionistic rather than figurative, and use a range of color shades to achieve very atmospheric results.