Nineteenth century Japanese artist, Hokusai, made a series of 36 prints of what?
"were influenced by the vogue for Japonism at the time, modernising the famous prints by Hiroshige and Hokusai of ""36 Views of Mount Fuji"". His colour lithographic series' include: Rivière ceased making prints in 1917, effectively retiring as a professional artist, but continued to work on watercolours in his later years. He died on August 24, 1951. Henri Rivière (painter) Henri Rivière (March 11, 1864 – August 24, 1951) was a French artist and designer best known for his creation of a form of shadow play at the ""Chat Noir"" cabaret, and for his post-Impressionist illustrations of Breton landscapes and"
"Hokusai Manga The is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural. The word ""manga"" in the title does not refer to the contemporary story-telling ""manga"", as the sketches in the work are not connected to each other. Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally thousands of images in 15 volumes, the first published in 1814, when the artist was 55. The final three volumes were published posthumously, two of them assembled by their publisher from"
"15-volume collection , a book crammed with nearly 4,000 sketches that was published in 1814. These sketches are often incorrectly considered the precedent to modern manga, as ""Hokusai's Manga"" is a collection of sketches (of animals, people, objects, etc.), different from the story-based comic-book style of modern manga. Hokusai himself was influenced by Sesshū Tōyō and other styles of Chinese painting. His influences stretched across the globe to his western contemporaries in nineteenth-century Europe with Japonism, which started with a craze for collecting Japanese art, particularly ukiyo-e, of which some of the first samples were to be seen in Paris,"
"line, suggestive of the influence of Western oil painting. Oceans of Wisdom Chie no umi () is a ""chūban yoko-e"" (19 × 25.4 cm) sized woodblock print series by the Japanese artist Hokusai. The ten fishing-themed prints comprise one of Hokusai's rarest sets. Published by Moriya Jihei, it seems to have been issued around 1832–34 and publication of the prints ceased abruptly. Some preparatory drawings are extant for prints that were never made. The title of the series can be read in two ways. The characters read as ""A Thousand Pictures of the Ocean"", but when read aloud the title"
"cost £130,000 in 2008 and is only on display for six months every five years to prevent fading. The print is one of the most reproduced and most instantly recognized artworks in the world. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West. In turn, much Japanese art came to Europe and America and quickly gained popularity. The influence of Japanese art on Western culture became known as Japonism. Japanese woodblock prints became a source of inspiration for artists in many genres, particularly the Impressionists. Hokusai was"
"A Tour of the Waterfalls of the Provinces A Tour of the Waterfalls of the Provinces (""Shokoku taki meguri"") is a series of landscape woodblock prints by the Japanese ukiyo-e artist Hokusai. Completed c. 1833–34 and containing eight prints, it was the first ukiyo-e series to approach the theme of falling water, and was acclaimed for its innovative and expressive depictions. The waterfalls take up most of each sheet, dwarfing the scenes' human inhabitants, and are rendered by Hokusai with a powerful sense of life, reflecting his animistic beliefs. In Japan's Shintoist religion, gods and spirits inhibit the surrounding nature,"
"1833. It actually consists of 46 prints (10 of them added after initial publication). In addition, he is responsible for the 1834 , a work which ""is generally considered the masterpiece among his landscape picture books."" His ukiyo-e transformed the art form from a style of portraiture focused on the courtesans and actors popular during the Edo period in Japan's cities into a much broader style of art that focused on landscapes, plants, and animals. Both Hokusai's choice of art name and frequent depiction of Mount Fuji stem from his religious beliefs. The name means ""North Studio (room),"" an abbreviation"
"The Great Wave off Kanagawa , also known as The Great Wave or simply The Wave, is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was published sometime between 1829 and 1833 in the late Edo period as the first print in Hokusai's series ""Thirty-six Views of Mount Fuji"". It is Hokusai's most famous work, and one of the most recognizable works of Japanese art in the world. The image depicts an enormous wave threatening three boats off the coast of the town of Kanagawa (the present-day city of Yokohama, Kanagawa Prefecture) while Mount Fuji rises in the"
"house on the right, and Mount Fuji in the distance. Sundai, Edo Sundai, Edo is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was produced as the fifth print in the series ""Thirty-six Views of Mount Fuji"" from c. 1830 to 1832 in the late Edo period. This print is a ""yoko-e"", that is, a landscape format produced to the ""ōban"" size, about 25 cm high by 37 cm wide. It is a polychrome woodblock print, composed of ink and color on paper. The composition is made up of travelers and workers on a road, with a large"
"the sketches appeared in his ""Nippon: Archiv Zur Beschreibung von Japon"" in 1831. The work began to circulate in the West soon after Matthew C. Perry's entry into Japan in 1854. Hokusai Manga The is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural. The word ""manga"" in the title does not refer to the contemporary story-telling ""manga"", as the sketches in the work are not connected to each other. Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally"
"Sundai, Edo Sundai, Edo is a woodblock print by the Japanese ukiyo-e artist Hokusai. It was produced as the fifth print in the series ""Thirty-six Views of Mount Fuji"" from c. 1830 to 1832 in the late Edo period. This print is a ""yoko-e"", that is, a landscape format produced to the ""ōban"" size, about 25 cm high by 37 cm wide. It is a polychrome woodblock print, composed of ink and color on paper. The composition is made up of travelers and workers on a road, with a large pine tree on the left side, the corner of a"
"depicted each of the 53 Stations of the Tōkaidō (""shukuba"") in his work ""The Fifty-three Stations of the Tōkaidō"", and the haiku poet Matsuo Bashō travelled along the road. The ""Tōkaidō gojūsan tsui"" (""Fifty-Three Pairings along the Tōkaidō Road)"", created in 1845, is one of the most well-known and fascinating examples of woodblock prints inspired by the road. Japan's three leading print designers of the nineteenth century - Kuniyoshi, Hiroshige, and Kunisada - paired each Tōkaidō rest station with an intriguing, cryptic design. Due to the harsh and punitive Tenpō-era reforms which attempted to impose a strictly defined morality, prints"
"Japanese artist Hokusai Katsushika (1760–1849), his ongoing ""Haunted by 36 Women"" project. Like Hokusai who created 36 drawings from the mountain he loved, Noten chose 36 archetypes of women to design jewellery for. First, a life-size sculpture is constructed, which is then transformed into a wearable art object, made out of different materials like nylon, stainless steel, titanium, silver or gold. So far Noten has created, among others, ""Career Woman"" (a limited edition of three pieces 18K gold-plated ring decorated with a miniature office chair combined with the saddle of a racing bicycle), ""Iron Lady"" (a ring with an iPod),"
"background. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background. Original impressions of the print are in many Western collections, including the Metropolitan Museum of Art, the British Museum, the Art Institute of Chicago, the Los Angeles County Museum of Art, the National Gallery of Victoria in Melbourne, and in Claude Monet's home in Giverny, France, among many other collections. Hokusai began painting when"
"such as trees, rocks or animals. In the Waterfall series, using newly imported blue Prussian pigment that was fashionable at that time, Hokusai paints each waterfall differently, in order to emphasize the unique beauty of each site and to outline his belief that water was sacred. The waterfalls Hokusai chose to illustrate are located in the central, western and eastern parts of Japan's main island (Honshu). The regions chosen were well known for pilgriming and by the travelers of his time, while three of the waterfalls, Kirifuri, Amida and Yōrō, are among Japan's 100 most beautiful even today. All the"
"of Hokusai's ""manga"", sketches or caricatures that influenced the modern form of comics known by the same name, was published in 1814. Together, his 12 volumes of manga published before 1820 and three more published posthumously include thousands of drawings of animals, religious figures, and everyday people. They often have humorous overtones and were very popular at the time. On October 5, 1817, he painted at the Hongan-ji Nagoya Betsuin in Nagoya the ""Big Daruma"" on paper, measuring 18 × 10.8 metres, impressing many onlookers. For this feat he received the name """"Darusen"""" (a shortened form of ""Daruma Sensei""). Although"
"of the images was made through a process whereby an image drawn on paper was used to guide the carving of a wood block. This block was then covered with ink and applied to paper to create the image (see Woodblock printing in Japan for further details). The complexity of Hokusai's images includes the wide range of colors he used, which required the use of a separate block for each color appearing in the image. While Hokusai's ""Thirty-six Views of Mount Fuji"" is the most famous ukiyo-e series to focus on Mount Fuji, there are several other works with the"
"""Manga"". His ""Thirty-six Views of Mount Fuji"", from which ""The Great Wave"" comes, was produced from . From the sixteenth century fantastic depictions of waves crashing on rocky shores were painted on folding screens known as ""rough seas screens"" (""ariso byōbu""). Hokusai drew many waves throughout his career; the genesis of the ""Great Wave"" can be traced back over thirty years. The combination of wave and mountain was inspired by an oil painting by Shiba Kōkan, an artist strongly influenced by the Western art, particularly Dutch paintings, he had seen at Nagasaki, the only port open to foreigners in this"
"most famous works of Japanese art. In contrast to the work of the older masters, Hokusai's colours were bold, flat, and abstract, and his subject was not the pleasure districts but the lives and environment of the common people at work. Established masters Eisen, Kuniyoshi, and Kunisada also followed Hokusai's steps into landscape prints in the 1830s, producing prints with bold compositions and striking effects. Though not often given the attention of their better-known forebears, the Utagawa school produced a few masters in this declining period. The prolific Kunisada (1786–1865) had few rivals in the tradition of making portrait prints"
"break the city's anti-pornography laws. Hokusai's print has had a wide influence on the modern Japanese-American artist Masami Teraoka, who has created images of women, including a recurring ""pearl diver"" character, being pleasured by cephalopods as a symbol of female sexual power. The so-called ""aria della piovra"" (""Octopus aria"") ""Un dì, ero piccina"" in Pietro Mascagni's opera ""Iris"" (1898), on a libretto by Luigi Illica, may have been inspired by this print. The main character Iris describes a screen she had seen in a Buddhist temple when she was a child, depicting an octopus coiling its limbs around a smiling"
"Oceans of Wisdom Chie no umi () is a ""chūban yoko-e"" (19 × 25.4 cm) sized woodblock print series by the Japanese artist Hokusai. The ten fishing-themed prints comprise one of Hokusai's rarest sets. Published by Moriya Jihei, it seems to have been issued around 1832–34 and publication of the prints ceased abruptly. Some preparatory drawings are extant for prints that were never made. The title of the series can be read in two ways. The characters read as ""A Thousand Pictures of the Ocean"", but when read aloud the title sounds like ""Oceans of Wisdom"". The prints, which feature"
"artist of the eighteenth century"". The series ""Models for Fashion: New Designs as Fresh Young Leaves"" (""Hinagata wakana no hatsumoyō"", 1776–81) ran for 140 prints, the longest ukiyo-e print series of beauties known. He designed at least 350 ""hashira-e"" pillar prints, numerous ""kachō-e"" bird-and-flower prints, a great number of ""shunga"" erotic prints, and others. 90 of his ""nikuhitsu-ga"" paintings are known, making him one of the most productive painters of the period. Despite the Koryūsai's productivity and popularity—both in his time and amongst later collectors—his work has attracted little scholarship. The first ukiyo-e histories written in the West in the"
"Hokusai (1760-1849). Kawase's prints feature locales that are tranquil and obscure in urbanizing Japan. Hasui considered himself a realist and employed his training in Western painting in his compositions. Like Hiroshige he made travel and landscape prints, though his subjects were less known locations rendered with naturalistic light, shade, and texture, without the captions and titles that were standard in prints of Hiroshige's age. Kawase left a large body of woodblock prints and watercolors. Many of the watercolors are linked to the woodblock prints, he also produced oil paintings, traditional hanging scrolls and a few ""byōbu"" (folding screens). In the"
"separation resulted from the sankin-kōtai system and the merchants' need to travel to obtain and sell goods. Records of women obtaining shunga themselves from book lenders show that they were consumers of it. It was traditional to present a bride with ukiyo-e depicting erotic scenes from ""The Tale of Genji"". Shunga may have served as sexual guidance for the sons and daughters of wealthy families. Hokusai had a long career, but he produced most of his important work after age 60. His most popular work is the ukiyo-e series ""Thirty-six Views of Mount Fuji"", which was created between 1826 and"
"Ukiyo-e can depict anything from contemporary city life to classical literature, and Hokusai's notebooks show that his own interests spanned an equally wide range, it was landscapes like this that earned him his fame. The saturated colors and stylized forms in such prints helped inspire the Impressionist and Post-impressionist movements decades later. Prints can be found in museums worldwide including the British Museum, the Metropolitan Museum of Art, and the Indianapolis Museum of Art. Fine Wind, Clear Morning Fine Wind, Clear Morning (), also known as South Wind, Clear Sky or Red Fuji, is a wood block print by Japanese"
"around mirrors. Hokusai was known by at least thirty names during his lifetime. While the use of multiple names was a common practice of Japanese artists of the time, his number of pseudonyms exceeds that of any other major Japanese artist. Hokusai's name changes are so frequent, and so often related to changes in his artistic production and style, that they are used for breaking his life up into periods. At the age of 12, his father sent him to work in a bookshop and lending library, a popular institution in Japanese cities, where reading books made from wood-cut blocks"
"with his printers, 12 is lemon yellow, 1 red, 24 purple. The rainbow is then the consecutive integers. In prints inspired from the shunga tradition, as for example `Ten komanda no zu, kōbutsu 十開の圖 虹佛 (Depiction of the Ten Commandments, Rainbow Buddha) ' Rainbow Hokusai, 1970, from the British Museum Collection , the printing technique assembles 54 separate square cards, each printed with part of the design. Happenings are a tradition from the Fluxus movement. Many fluxus members organise or participate in such happenings. One remembers Piano Activities and Yoko Ono Cut Piece. Ay-O has participated and organised such happenings"
"name, including Kunisada (国貞) and Kuniyoshi (国芳). The names artists signed to their works can be a source of confusion as they sometimes changed names through their careers; Hokusai was an extreme case, using over a hundred names throughout his seventy-year career. The prints were mass-marketed and by the mid-19th century total circulation of a print could run into the thousands. Retailers and travelling sellers promoted them at prices affordable to prosperous townspeople. In some cases the prints advertised kimono designs by the print artist. From the second half of the 17th century, prints were frequently marketed as part of"
"one end, like a gigantic hanging scroll, or the huge thongdrel thankas of Tibetan Buddhism (usually in silk appliqué). As a result of this dramatic feat, Hokusai became known in Nagoya as ""Daruma-sen"", the Daruma master. The triumph brought greater attention to Hokusai, enabling him to sell more prints to the public, including prints of the ""Great Daruma"". He published a new volume of his Manga sketches in 1817. The original artwork survived in Nagoya until May 1945, when it was destroyed along with the wooden temple building in the bombing of Nagoya in World War II. Contemporaneous promotional handbills"
"the course of his life. He became increasingly famous over the next decade, both due to his artwork and his talent for self-promotion. During a Tokyo festival in 1804, he created a portrait of the Buddhist priest Daruma said to be long using a broom and buckets full of ink. Another story places him in the court of the Shōgun Ienari, invited there to compete with another artist who practised more traditional brush stroke painting. Hokusai's painting, created in front of the Shōgun, consisted of painting a blue curve on paper, then chasing across it a chicken whose feet had"
"the famous ""Great Wave off Kanagawa"", was produced in the early 1830s. The results of Hokusai's perspectival studies in ""Manga"" can be seen here in ""The Great Wave off Kanagawa"" where he uses what would have been seen as a western perspective to represent depth and volume. It proved so popular that Hokusai later added ten more prints to the series. Among the other popular series of prints he published during this time are ""A Tour of the Waterfalls of the Provinces"", ""Oceans of Wisdom"" and ""Unusual Views of Celebrated Bridges in the Provinces"". He also began producing a number"
"The Dream of the Fisherman's Wife , also known as Girl Diver and Octopuses, Diver and Two Octopuses, etc., is a woodblock-printed design by the Japanese artist Hokusai. It is included in ""Kinoe no Komatsu"" (), a three-volume book of shunga erotica first published in 1814, and has become Hokusai's most famous shunga design. Playing with themes popular in Japanese art, it depicts a young ama diver entwined sexually with a pair of octopuses. ""The Dream of the Fisherman's Wife"" is the most famous image in ""Kinoe no Komatsu"", published in three volumes from 1814. The book is a work"
"when in about 1856, the French artist Félix Bracquemond first came across a copy of the sketchbook Hokusai Manga at the workshop of his printer. He influenced Art Nouveau, or Jugendstil in Germany, and the larger Impressionism movement, with themes echoing his work appearing in the work of Claude Monet and Pierre-Auguste Renoir. According to the Brooklyn Rail: ""many artists collected his woodcuts: Degas, Gauguin, Klimt, Franz Marc, August Macke, Manet, and van Gogh."" Hermann Obrist's whiplash motif, or ""Peitschenhieb"", which came to exemplify the new movement, is visibly influenced by Hokusai's work. Hokusai inspired the Hugo Award-winning short story"