#woodblock
Pulled this one on some newsprint—- it’s my guinea pig. Let’s see how we can make this better….
Work in progress….. what do you guys think? Because I’m a little out of love with this one. I’m just trying to make myself interested in it again. :/
Kobayashi Kiyochika (Japanese, 1847-1915,Japan) - Fireflies at Kinu River, Tennoji, c. 1910-20’s Woodblocks
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Lone wanderer treading silently through the snow.
The main fruit of last year’s (okay, the year changed, so it was technically two years ago, the end of 2016) printmaking course!
It’s a multicolour single plate woodblock print, meaning the whole picture is made with a single plate altered a little bit for each colour layer. So, first I carved out the snow flakes and some of the closest snow mounds, and then gradually carved out more and more and printed with darker and darker colours until the piece was finished. If I recall correctly there’s seven layers in total.
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Lake at Hakone from the Thirty-Six Views of Mt. Fuji series, Hiroshige, 19th century
Woodblock print
33.5 x 21.5 cm (13.19 x 8.46 in.)
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Lake Suwa in Shinano Province from the Thirty-Six Views of Mt. Fuji series, Hiroshige, 19th century
Woodblock print
33.5 x 21.5 cm (13.19 x 8.46 in.)
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Autumn at Oirase, from the series Collected Views of Japan, Eastern Japan Edition, by Kawase Hasui (ca 1933).
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Happy Autumn all! We are going to start our Halloween festivities out early with art and art objects centered around autumn and all things spooky. Let us kick it off celebrating the month with Theodorus van Hoytema’s Swans in Autumn Pond (1902 Calendar: October).
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Folio from Uta makura (The Poem of the Pillow)
Kitagawa Utamaro
1788 (Edo Period)
The British Museum, London, UK
The album ‘Poem of the Pillow’ is a masterpiece among the erotic works by Utamaro (died 1806), and indeed, among the entire erotica of the Ukiyo-e school.
Utamaro has avoided the stereotypical scenes of love-making that were often produced at the time, and instead created an innovative and powerfully sensual design. He uses a very low viewpoint and places the unusually large figures so that they seem to expand beyond the frame of the picture. The eye is shocked by the white of the woman’s skin against the bright scarlet under-kimono, and the transparency of the gauze fabric that covers the couple’s entwined legs only heightens the sensuousness. Finally, however, the viewer focuses on the heads and shoulders. The details emphasise the emotion of the moment: the man’s eye as he gazes intently at his lover, the tender touch of their delicate fingers and the exquisite nape of the woman’s neck. (britishmuseum.org)
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