#Ukiyo-e painter

[raiko-huyiro]

Buncho

Clearing Weather at Amado Bridge, 1768-75

Woodblock Print

10 x 7.25 in

[guang-we]

Ukiyo-e

Self Exorcism

chinese ink

marker ink and aquarelles on paper

58×63 cm.

2016

[cutehomeart]

Hello, dear reader, let's take a journey back in time to the Edo period in Japan. It was a time of peace and prosperity, an era where arts and culture flourished. And among the many artists who graced this era, one man stood out – Katsushika Hokusai. His masterpiece, "Kajikazawa in Kai Province," is one we will explore today in depth. It's a story of beauty, resilience, and tranquility that defined Hokusai's style and his era.

[itsmarjudgelove]

"Late Summer at Takanawa, Right"

Elegant Pleasures: The Scent of Flowers1718

Utamaro v. 1753 - October 31, 1806 is a Japanese painter, specialist in ukiyo-e.

[niteromantic]

Ichiro Tsuruta in black and white

Ichiro Tsuruta is definitely one of my favourite contemporary painters. The way he represents his own vision of the concept of "bijin-ga" (female beauty), mixing different styles as Art-Deco, Ukiyo-e or Noh (among others)...makes his work unique and special, like no other.

[themuseumwithoutwalls]

MWW Artwork of the Day (3/1/25) Katsushika Ôi (Japanese, c. 1800–c. 1866) Three Women Playing Musical Instruments (c, 1825-45) Hanging scroll; ink & color on silk, 46.5 x 67.5 cm. The Boston Museum of Fine Arts

Like many of the women who became artists in both Europe and Japan, Katsushika Ôi was born into an "artist family," in her case a most distinguished one, her father being the great ukiyo-e artist Katsushika Hokusai (1760—1849), for whom she worked as a production assistant before becoming an accomplished painter in her own right. Ôi's long apprenticeship with her father and exacting standards of excellence bore fruit. Her skill at bijin-ga ("beautiful person") portraits -- of which the above is an example -- made her famous father so proud that it was said he would take advantage of every opportunity he had to boast to friends that his own not inconsiderable efforts in that genre were no match for hers.

[obscuranotions]

Hiroshige vs Van Gogh: A Rainy Comparison

Today I want to compare the paintings of Rain Bridge by Van Gogh and Hiroshige. Hiroshige Utagawa is a Japanese woodblock print artist or ukiyo-e artist. Ukiyo-e art is inspired by nature or people's daily lives. Perspective is still eliminated, but we cannot say that there is no depth. On the contrary, we can feel the depth despite no perspective. Ukiyo-e is formed by carving wooden blocks with patterns, planes, or images. A separate wooden block is used for each color. This is a long and complicated process that takes a lot of effort and time. The prepared wooden blocks are then transferred to the paper individually in order. Another difficulty of this art is calculating how well each piece of the painting will fit in the right place. Using wooden blocks more than once actually means that mass production can be done. Ukiyo-e art did not attract the attention of Europeans until the post-impressionists. Post-impressionist painters were inspired by this Japanese art. Post-Impressionists tried to use the use of colors and two-dimensionality in Japanese art. Post-Impressionists are known for their studies of color theory. Colors and two-dimensionality are important to them. They saw and studied colors a lot. They took their inspiration from nature or daily life. Post-Impressionists made their paintings outside instead of in a studio environment. They studied how much the colors of something changed due to light and shadow at various times during the day. We mentioned before how two-dimensionality was important to them, but despite this, there is still a little three-dimensionality, but they managed to transform it into two-dimensionality to a significant extent. Van Gogh was extremely impressed by this Japanese art at the time and made many copies of this art and became the person who had the most copies. I think we can now compare the paintings.

First of all, I want to start with the original, which is the painting made by Hiroshige. As I wrote above, two-dimensionality is obvious in this painting. A strange angle is used diagonally in this painting. We see that many elements are working diagonally. The boat can be given as an example of this. In addition, we can feel the depth quite a bit, but the reason we can feel it is the hierarchy. In this painting, the people on the bridge have a more critical position hierarchically than those on the boat. But the depth is not only given in this way, the use of colors also gives us clues about the existence of depth. Another thing that interests me the most is that the rain is shown in black stripes. In addition, the color palette also draws our attention. We do not see many colors, especially vibrant colors, in the color palette. There is one last thing I want to say about this painting, and that is that this painting does not cover the entire paper, and therefore the empty parts act as frames.

Now I can move on to the other painting, Van Gogh's painting. The perspective and hierarchy I mentioned above are also valid for Van Gogh's painting. In addition, we see that more vibrant colors, especially red and dark green, are used in Van Gogh's painting. Van Gogh did not paint his painting on the entire canvas, but he did not leave the remaining parts empty either. Instead of leaving the remaining parts blank, he wrote something in Japanese, and these Japanese writings and the outermost red stripes function as frames in this painting. Although Van Gogh did not use the same color palette, we can see the relationship between the colors, and the colors are more vibrant. Rain is given in Van Gogh's painting by making stripes with a blue or bluish color.

Finally, the similarity between these paintings is obvious. In addition, Post Impressionists were influenced by Ukiyo-e Japanese art. Van Gogh was the most influenced. This Japanese art helped Post Impressionists to abandon perspective and provide a perception of depth and to understand how colors work.

[camisoledadparis]

A student named Wakabayashi Ayame who graduated in 2019 created apple masterpieces based on the different styles of famous painters, such as Picasso and Claude Monet.

The apples were displayed at the Kuwasawa graduation exihibition in Japan. Wakabayashi Ayame's artwork is truly impressive! Her creative interpretation of famous painters' styles using apples as the medium is remarkable. Here are some interesting aspects of his work:

*Technique and Inspiration*: Ayame's use of apples to recreate iconic art styles showcases his technical skill and attention to detail. He drew inspiration from renowned artists like:

1. Salvador Dalí (Surrealism)

2. Hokusai (Ukiyo-e)

3. Paul Cézanne (Post-Impressionism)

4. Picasso (Cubism)

5. Edvard Munch (Expressionism)

6. Piet Mondrian (De Stijl)

7. Vincent van Gogh (Post-Impressionism)

8. Claude Monet (Impressionism)

9. Rembrandt (Baroque)

*Symbolism and Message*: By using apples, Ayame may have intended to convey themes such as:

1. The beauty of everyday objects

2. The intersection of art and nature

3. The fleeting nature of life (apples being perishable)

[mybeingthere]

Ohno Bakufu (大野麦風, 1888–1976) was a Japanese painter and printmaker in the shin-hanga style.

He was born in Tokyo, Japan. Over his lifetime he created over seventy designs. Unlike most members of the Shin Hanga movement, utilized skilled carvers and woodblock print makers to create his prints.

His best known collection of work is the Great Japanese Fish Picture Collection. Remarkably, Ohno spent seven years, between 1937 and 1945, diving in a primitive submarine to a depth of 30 feet off the coast of Wakaura, to sketch fish in their natural habitat. Assisted by an oceanographer, their submarine was equipped with a special light beam that attracted numerous species of fish. The result was a superb issue of 68 woodblock fish prints that are now a great rarity, and highly prized by ichthyologists and print collectors alike.

Ohno Bakufu also created landscapes and still lives. After 1923 Great Kantō earthquake, he moved to Kansai. He was an honorary member of the Hyogo Prefecture Academy of Fine Arts, and a member of Taiheiyogakai.

[raiko-huyiro]

Rain in Kiyomizu Temple

by Asano Takeji - 浅野竹二

1951

[guang-we]

Swamp 02

chinese ink and aquarelles on paper

30×42 (double pages)

2016

Ukiyo-e

[3ugene]

helllloooo it's mika here super excited to bring you ki yujin eugene!! i havent managed to scraggle up a bio or plots page just yet (thx to my timeliness i see) but i have a mini stats page up here and some waaaaaay too long info under the cut abt this 28 year old prim painter turned runaway tattoo artist living in apt #2b ^_^ v v excited to get to know everyone and their muses so please like this and i'll hit up your dms!!

𝙗𝙖𝙘𝙠𝙜𝙧𝙤𝙪𝙣𝙙: her childhood memories are clouded entirely by nannies, a subsisting feeling of boredom and the cold marble tiles of her house. having two famous artists as parents (mom a sculptor and dad an ex-90s-idol turned ceo of an idol company) meant they were never really in the house nor did they spare her a glance until ...

it became noticeable to them that eugene shared their proclivity for the arts. suddenly, her scribbles were forced to have structure and introspection behind them (which sucked to say the least when her doodles were meant to be for fun)

she was subsequently shoved into every arts class possible

entered into a bunch of national and international art competitions from the age of 5-18 (came first-third every time 👍👍) but always felt restricted since every artwork of hers that the public saw and were submitted to competitions (think light watercolours, flowers, nature) were carefully picked by her parents and she never felt that it was really a representation of her

got super burned out at 18 from all these competitions so she applied to snu undergrad for fine arts and got in!! (🎉🎉🎉)

incredibly formative years for her and her work -- she met a bunch of people who thought like her and felt that she could be herself for the first time, experimenting with different styles, mediums, etc

inspired her art a LOT n she grew to develop her own style that she still carries forward to this day (main style is a ukiyo-e inspired watercolour paintings mixed with gothic/horror ideas ie imagine a softer takato yamamoto)

after snu she told her parents she was doing a masters in fine art at yonsei when in reality she was just jetting off between jpn and kr and interning at multiple tattoo studios LOL

after "finishing" the year, she held a bunch of exhibitions and galleries. her parents got super excited because they thought she was finally taking art seriously ...

and then they found out what she had been doing for the last year. insert ugly screaming plates smashing argument where years of resentment and bottled up feelings came to the surface!!

ended up with her getting cut off and kicked out of the family aged 22, and now they pretend like she never existed. she still hasn't unpacked how she feels about it/how traumatic it was. will she? find out never :^)

luckily she had made quite a lot of money from her exhibitions (all part of the plan👍) and used that to fund her next actions which were a) move out into a studio apartment and b) guesting at even more tattoo studios

eventually formed a loyal client base who followed her when she opened up her own tattoo studio 캔버스 (canvas) in hongdae around three/two years ago!! 15% student discount just make sure to book in advance :D

moved into gyeogang street lofts a couple of years ago because it was cheaper but also for convenience purposes (closer to studio and she also needs her morning coffee before doing anything)

sort of here there everywhere and nowhere all at once

𝙘𝙝𝙖𝙧𝙖𝙘𝙩𝙚𝙧 𝙬𝙞𝙨𝙚: notable aesthetics include early morning cigarettes, the sound of pen scratching against paper, ink on your fingertips, late night drives, biting your bottom lip until it bleeds, headphones constantly pulled over ears, piles of sketchbooks haphazardly stacked, wine stained lips, half-finished journals and mood boards

not the most likeable person. reserved, has a short temper, pessimistic, blunt and doesn't tend to talk much (attributed to the fact that she didn't really have friends her age until she was 19). the little that she does say can come across as snarky until you realise that's just how she talks, but she is trying to do her best to remedy that and initiate conversations first since she realises it's not the best trait of hers. her 2025 resolution was to be more approachable but she's spoken to approximately two people that weren't her clients so far, and one of them was a barista at brewed awakenings

important to note that her abrasiveness never stems from actual ill-wish or anger, she's just unware of how to explain her feelings or communicate very effectively. many of her harsh corners are rounded if you look close enough

loves loves loves her work, however, and any discussion about art or tattooing means her eyes will immediately start shining

𝙦𝙪𝙞𝙘𝙠-𝙛𝙞𝙧𝙚 𝙥𝙡𝙤𝙩𝙨: sry lack of organisation means i dont have a plots page set up yet but throwing some ideas out so regulars at canvas (she loves u and the only way she can show it is giving u strawberry mogu mogu before every session); first time tattoo-getters (she also loves u); friends from university; fellow artists; childhood friends that she heavily relies on and has seen her at her best and worst; ex-bestfs; fwbs; fwbs getting messier by the second; exes; exes with lingering feelings; situationships; gamer friends; a "muse" for her; someone who's willing to be her practice canvas; someone guesting/interning at canvas; someone who simply doesn't like her and vice versa; found brother/sister; someone she keeps snapping at because you keep catching her on a bad day she's so sorry she promises she's not a bitc-

[weantuniverse]

Utagawa Kuniyoshi’s “Toad, Snail and Snake”, woodblock print.Utagawa Kuniyoshi (Japanese: 歌川 国芳)(1 January 1798–14 April 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school.#art #printmaker #painter #paintings #artist #japaneseart (via Facebook)

[cutehomeart]

'Rainsorm Beneath the Summit' is a distinctive and refreshing deviation from Hokusai's wave-themed artworks. It's one of the 36 views of Mount Fuji series, which sees Japan's sacred mountain from diverse vantage points and seasons.

In 'Rainstorm Beneath the Summit,' Hokusai splendidly captures an image of Mount Fuji during a heavy downpour. The mountain’s majestic summit is depicted using Prussian blue, a synthetic pigment that Hokusai famously introduced to Japanese prints. This color paints a calm contrast to the dramatic, cascading rain showering the landscape. There's a particular subtlety and softness to the painting. It's a reminder of Hokusai's ability to artistically interpret the raw power and serenity of nature.

[itsmarjudgelove]

Utagawa Kuniyoshi was an ukiyo-e painter from the late Edo period in Japan. Katsushika Hokusai and Utagawa Hiroshige were painters of the same generation. His nickname is "The Strange Picture Painter of the Late Tokugawa Shogunate".

[mistressmysticsworld]

Miss Hokusai: The world is beautiful because of "light" and "shadow."

It is believed that many people have seen the famous image of a giant wave engulfing small boats at sea (The Great Wave Of Kanagawa), drawn with traditional Japanese brushstroke techniques. This is the masterpiece of Katsushika Hokusai, a renowned Edo-period artist known across Japan and the world. His works have inspired many European artists, contributing to the development of a Western art movement influenced by Eastern art, known as Japonism.

However, few people know the name and life of the person behind his success — Katsushika Oei, Hokusai's daughter, who possessed artistic talent in brush painting on par with her father. This is her story, brought to life in the 2016 animated film adapted from the Japanese manga by Hinako Sugiura, titled Miss Hokusai. In Japanese, it is known as Sarusuberi (百日紅), which translates to Crape Myrtle, symbolizing the aesthetics and beauty found in woodblock prints (Ukiyo-e) and Japanese brush art, often filled with images of legends, folklore, landscapes, spirits, or imaginary worlds that float beyond reality.

The world is beautiful with "light" and "shadow": A nameless female artist who lived in her father's shadow and became the light for her blind sister.

In the Edo period, the beautiful and unique works of Hokusai shone brightly throughout Japan, like a radiant light. But who knew that behind his glorious fame, there was a young girl who followed in her father’s footsteps, whose skills were second to none.

According to accounts from people who knew the father-daughter artists, it is said that in the early days, Oei rarely signed her name on her work. Sometimes, she used a pseudonym. Many times, she painted on behalf of her father as a nameless artist and sold the work with Hokusai’s name on it. This was because, during the Edo period, female artists' works were often not accepted, as women were expected not to be painters but to take on roles like housewives, merchants, courtesans, or other professions.

Moreover, it was believed that women lacked the skills to observe the world around them and the sexual experience necessary to convey in good art. In addition, most buyers and art consumers were male, so art was produced primarily to serve and cater to male desires. Examples include paintings of courtesans (Oiran), Geisha artists, or erotic depictions of relationships between women and men, women and women, or men and men, meant to serve as illustrated books for sexual arousal.

Thus, society at that time believed that a woman's perspective in creating art for men would either not sell or fail to fully meet men's emotional and sexual desires. These were the challenges that female artists like Oei in the Edo period had to face. Oei encountered many obstacles and had to hone her skills to fight against criticism and judgment in order to gain recognition within a patriarchal world.

However, since Oei understood this societal rule well, she accepted her role as merely a "shadow" under her father's bright "light." She found happiness in observing the world around her to further develop her skills. Her life was considered quite unusual for a woman in the Edo period. Unlike most women of her time, she had no desire to follow the traditional path of being presented for marriage, settling down with a man, and starting a family. Instead, she lived to serve her and her father's passion for art, as well as to study the natural world around her. This made her a courageous, independent, and self-assured woman, different from other women of her era.

On the other hand, Oei became a "light" for the darkened world of her unfortunate blind sister, "Onao." In the story, we see that whenever Oei takes Onao for a walk, she makes an effort to describe to Onao the shapes, colors, objects, people, or places that Onao cannot see with her own eyes.

Oei also expresses her true femininity without having to hide it. She speaks and treats her sister with gentleness and a bright smile, and the two are always filled with laughter from playing together.

This contrasts with her serious and stern expression, her rough and curt tone, or sometimes her silence, speaking only when necessary to project an image of credibility as the one negotiating on behalf of Hokusai with clients. She also had to behave in a commanding manner as the daughter of an important artist.

We can also interpret her behavior toward her father and all of Hokusai's male apprentices as Oei crossing the gender boundary. Her entering into the male-dominated world required her to act equally strong and bold enough for them to accept her as a capable colleague and artist.

It can be said that Oei needed to play different roles depending on the situation, location, and people she encountered. This also tells us that Japanese society, from that era to the present, has expected individuals to behave according to the roles society dictates.

Although Oei could only be a "shadow" in the male-dominated sphere, she was a crucial supporter who helped her father's fame spread far and wide, becoming an indispensable assistant to Hokusai. Moreover, she remained a "beautiful light" for her sister, fulfilling her role in the female sphere according to her gender.

The other side of the red-light district, as seen through the eyes and brushstrokes of Oei

According to accounts from people who knew Oei, she was not only very observant of her surroundings but also deeply fascinated by "light." Every time there was a fire, Oei would be the first to jump out of bed and run excitedly to see it. Her reason for rushing to witness the flames was different from others—she was captivated by the vibrant, intense colors of the fire, which no paint or pigments of that era could replicate.

Oei tried her best to memorize the colors and movements of the flames so she could capture them in her artwork. Her love for vivid tones, combined with the influence of Western art that was beginning to spread in Japan, led Oei to experiment with a new style. She began creating works that used bright colors to represent "light" and darker shades to symbolize "shadow," which was a departure from traditional Japanese paintings that often emphasized softer tones, simplicity, and linework. These innovations helped to distinguish Oei's paintings.

Moreover, her artwork illuminated a different side of the pleasure quarters—the daily lives of courtesans in the red-light district. Oei’s depictions differed from those of her male contemporaries. While male artists of the time often portrayed courtesans as seductive and erotically appealing, Oei’s work reflected their humanity and ordinary aspects. Though by night these women were viewed as objects of sexual desire, praised for their beauty, and skilled in music, art, dance, and theater to entertain male patrons, they were still considered unworthy of becoming wives or taking a place in society, remaining hidden in the world of nightfall.

But who would know that behind the elaborate makeup, the beautifully adorned courtesans living in the red-light district were simply ordinary women, full of beauty, sweetness, emotions, love, hope, dreams, and desires just like anyone else? Oei captured this reality in her paintings with great depth, and her works became well-known, including pieces such as A Beauty Writing Poetry By the Cherry Blossoms at Night, Night Scene in the Yoshiwara, and Three Women Playing Musical Instruments.

Miss Hokusai is an animated film that not only highlights the talents and importance of women who were no less capable than men but also reflects the challenges women faced under the patriarchal system. These include being objectified, having their work judged by male standards, and having to modify their behavior and identity to fit norms established by men.

At the same time, Miss Hokusai presents a clear perspective on women that many might not expect, helping to convey the importance of women's rights in a society striving for gender equality. The first step toward change should begin with understanding and listening to different perspectives.