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Article

Japanese, 20th century, male.

Born 1927, in Takaoka, Toyama Prefecture; died 2001.

Print artist (woodblock).

Kazumi Amano graduated from Takaoka High School of Industrial Art in 1945. In 1950 he studied with Shiko Murakata, a renowned graphic arts master in Japan. After 1968 Amano visited the United States on several occasions and moved there to teach, then settled in New York in ...

Article

Alan Powers

(Irving Jeffrey)

(b Haiphong, French Indo-China [now Vietnam], Oct 16, 1900; d Rodmersham, Kent, Nov 8, 1979).

English illustrator and author. From 1905 he grew up in England, becoming a professional artist in 1926 after part-time study at the Westminster School of Art, London. He became known as an illustrator of genre scenes in a variety of media, often with a comic Victorian flavour. He was best known for illustrated stories, the first of which, Little Tim and the Brave Sea-captain (Oxford, 1936), was followed by numerous imaginative and popular children’s books and by many other illustrated books. Baggage to the Enemy (London, 1941) reflected his appointment in 1940 as an Official War Artist, recording the German invasion of France, and the North African and Italian campaigns. His freelance career continued after the war with a steady production of illustrative and ephemeral work in an instantly recognizable style that relied on ink line and delicate washes.

The Young Ardizzone: An Autobiographical Fragment (London, 1970) Diary of a War Artist...

Article

Hiroshi Kashiwagi

(b Tokyo, Feb 19, 1929).

Japanese graphic designer . He graduated from Hosei University (Tokyo). In 1955 he received an award from the Japan Advertising Artists Club for his poster Give back the Sea, establishing himself as a socially committed designer. He was initially influenced by the American designer Ben Shahn. In 1962 he designed the iron gate for the government office building at the Izumo Grand Shrine (Shimane Prefect.). In 1965, along with many of Japan’s leading designers, he was chosen to take part in the Persona Exhibition, which stressed the personal identities of individual designers. In 1975 Awazu was art director on Shūji Terayama’s film Den’en ni shinu (‘To die in the country’). During the 1960s and 1970s Awazu’s work was influenced by the vernacular design that challenged Japanese modernism. He has designed for many national and international exhibitions, including Expo ’70 (Osaka). Since the late 1980s much of Awazu’s work has been commissioned by national and local government bodies....

Article

Mark H. Sandler

[Shijun]

(b Kyoto, March 3, 1844; d Kyoto, February 20, 1895).

Japanese painter, book illustrator and art educator. Born the fourth son of Yasuda Shirobei, a Kyoto moneylender, the young Bairei was adopted into the Kōno family. In 1852 he began his artistic training under the Maruyama-school painter, Nakajima Raishō (1796–1871). After Raishō’s death, Bairei studied with the Shijō-school master Shiokawa Bunrin (1808–77). He also studied Chinese literature and calligraphy with Confucian scholars. In 1873 his talent was officially recognized when he was included among the painters selected to show at the second Kyoto Exhibition.

In 1878 he and the painter Mochizuki Gyokusen (1834–1913) successfully petitioned the governor of Kyoto Prefecture to establish the Kyoto Prefectural Painting School (Kyōto Fu Gagakkō) in 1880. Bairei was appointed instructor in the Kanō and Tōyō Sesshū styles of ink painting (suibokuga; see Japan §VI 4., (iii)), but in 1881 he resigned his post to open a private art academy. Among his students were ...

Article

Stephen Addiss

[Kameda Chōkō; Kameda Hōsai]

(b Edo [now Tokyo], 1752; d Edo, 1826).

Japanese painter, poet, calligrapher and book illustrator. The son of an Edo merchant, he studied calligraphy from a very early age under the noted Chinese-style calligrapher Mitsui Shinna (1700–82). He also received a Confucian education, unusual at that time for a merchant’s son. From about 1765 to 1774 Bōsai trained under Inoue Kinga (1732–84), an influential Confucian scholar of eclectic doctrines as well as a painter and calligrapher, at the Seijūkan, a private academy near Yokohama. Bōsai opened a Confucian academy in Edo in 1774. In 1790, however, the Tokugawa shogunate issued an edict aimed at curtailing the popularity of such schools as Bōsai’s, where students were encouraged to develop their own moral philosophy rather than accept the government-sponsored Confucianism of the Chinese Song-period (ad 960–1279) philosopher Zhu Xi. Bōsai gradually lost his pupils and in 1797 closed his school.

Bōsai’s artistic activity increased from ...

Article

Tadashi Kobayashi

[ Mori ]

( fl Edo [now Tokyo], 1760–94; d c. 1794).

Japanese print designer and book illustrator . He may have been a pupil of the ukiyoe (‘pictures of the floating world’) artist Ishikawa Yukimoto. He is principally known for prints of the following types: hosōban (‘narrow format’, c. 320×150 mm); yakushae (‘pictures of actors’) and bijinga (‘pictures of beautiful women’). In its eclecticism, his style resembles that of his contemporaries, Katsukawa Shunshō ( see Katsukawa family, §1 ) and Suzuki Harunobu , who incorporated a lyricism with a naturalistic depiction of the subject. In 1770 Bunchō collaborated with Harunobu and Shunshō to produce Ehon butai ōgi (‘Picture book of stage fans’; untraced), which featured a new type of yakushae, yakusha nigaoe (‘pictures of likenesses of actors’) and challenged the traditional dominance of theatre illustration by the Torii family school. In Ehon butai ōgi, Bunchō depicted onnagata (kabuki actors playing female roles), while Shunshō illustrated kata keyaki (kabuki villains). Bunchō abandoned ...

Article

Chinese, 10th – 11th century, male.

Activec.990-1030.

Born towards the middle of the 10th century, in Huayuan, now Yaoxian (Shanxi).

Painter. Landscapes.

Fan Kuan’s biographical details are not well known. He was a landscape painter from northern China. It appears that he did not hold any official position and, after a peripatetic youth, he retreated into the mountain range of Mount Hua to devote himself to Daoism and the contemplation of nature. His work conveys the austere grandeur of the Shanxi mountains. Indeed, it represents the apogee of Chinese landscape painting and is among the most sublime in its entire history....

Article

Japanese, 20th century, male.

Draughtsman, poster artist, graphic designer, sculptor.

Op Art.

Fukuda Shigeo is an international figure. He exhibits frequently, receiving numerous awards. He first exhibited in France in 1992, at the Quimper Contemporary Art Centre, and later at the Echirolles Mois du gra­phisme exhibition. Working in the tradition of Escher, he has become a master of illu­sionism. Drawings and objects can immediately be seen in two ways, familiar and disturbing, even absurd or impossible. His outlines, his even style of drawing, his flat colours all contribute to this visual tension....

Article

Hiroshi Kashiwagi

(b Nagano, June 22, 1903; d March 26, 1986).

Japanese graphic designer. He graduated from the Tokyo Prefectural School of Technology in 1921 and taught there from 1922 to 1941. During this period he was exposed to the work of overseas avant-garde artists László Moholy-Nagy, Herbert Bayer and El Lissitzky. He also established links with Tomoyoshi Murayama and other members of the Sankakai group of painters. These contacts had a great influence on his later designs and led to his emergence as the founder of Japanese modern design. In 1933 he participated in the founding of the Japan Studio (Nihon Kōbō). He designed the photography exhibitions in Junzō Sakakura Japan Pavilions for the Paris World Expositions of 1937 and the New York Exposition of 1939. These exhibits exemplified Hara’s philosophy that the real work of the designer is the organization of graphic elements. His designs for the propaganda magazine Front (published by the Tōhōsha company) during the Pacific War (...

Article

Tadashi Kobayashi

[Suzuki Hozumi; Shikojin, Chōeiken]

(b ?Edo [now Tokyo], ?1725; d Edo, 1770).

Japanese printmaker, book illustrator and painter. A central figure in the development of ukiyoe (‘pictures of the floating world’) woodblock printmaking during the mid-Edo (1600–1868) period (see Japan §X 3., (iii)), Harunobu’s most important contribution was the introduction of the first full-colour printing technique to Japan. Stylistically, the new image of feminine beauty that Harunobu created in his bijinga (‘pictures of beautiful women’) single-sheet prints influenced a generation of ukiyoe artists. Like many Edo period ukiyoe masters, Harunobu left few clues to his identity. He was probably born into the chōnin (merchant and artisan) class. An entry referring to Harunobu’s death in the Nishikawaka kakochō (‘Death registry of the Nishikawa family’) indicates that he had a close association with the family of the Kyoto ukiyoe artist Nishikawa Sukenobu. His treatment of trees, shrubs and rocks in his bird-and-flower (kachō) painting on folding screens (...

Article

Masato Naitō

[Iwakubo Kinemon; Kikō; Kyōsai]

(b Edo [now Tokyo], 1780; d Edo, 1850).

Japanese printmaker and book illustrator. He initially studied painting with Kanō Yōsen (1735–1808), the head of the Kobikichō branch of the Kanō school and okaeshi (official painter) to the Tokugawa shogunate. Together with Teisai Hokuba (1771–1844), Hokkei was one of Katsushika Hokusais best students (see Japan §X 3., (iii), (d)). He made his artistic debut in ukiyoe (‘pictures of the floating world’) circles c. 1800, producing illustrations for sharebon (comic novels, usually licentious), hanashibon (story books) and kyōkabon (books of ‘crazy verse’). His main period of activity, however, was in the 1820s and 30s. He continued to illustrate kyōka books, but his most outstanding works are kyōka surimono (‘printed objects’; deluxe prints). His representative piece from this period is his illustrated edition of Rokujuen’s [Ishikawa Masamochi] (1753–1830) kokkeibon (humorous tales of urban life), Hokuri jūniji (‘The twelve hours of the northern village’, a euphemism for the Yoshiwara pleasure quarter). Hokkei produced few ...

Article

Japanese, 20th century, male.

Born 1944, in Niigata Prefecture.

Painter.

Mono-ha (school of things); Conceptual Art.

Honda Shingo specialises in conceptual art and photographic collage. After interrupting his studies at Tokyo University of Fine Arts and Music in mid-programme, he had his first solo shows in Tokyo in ...

Article

Chinese, 20th century, male.

Born 1942, in Jiangyin (Jiangsu).

Painter. Landscapes.

Huan Shiqing trained in his native province at the Wuxi Calligraphic Arts Institute. He took part in the 1980 exhibition Traditional Painters of the People’s Republic of China ( Peintres Traditionnels de la République Populaire de Chine...

Article

Chinese, 20th – 21st century, male.

Active in the USA from 1972.

Born 1941, in Hunan.

Painter. Scenes with figures.

At the start of his career, Dennis Hwang used graphic techniques such as those used in batik in a so-called Abstract Surrealist style. He also wrote a book entitled ...

Article

Japanese, 20th century, male.

Painter.

Ichigooka Noriyoshi is influenced by both traditional Japanese painting and Abstract Expressionism. He creates vast calligraphic works playing on the transparency of his colours, where his gold and black respond to his red, turquoise or green. Perfectly mastered, the paint liberally covers the canvas. He showed work in a solo exhibition at the Orangerie de Bagatelle in Paris in ...

Article

Japanese, 20th–21st century, male.

Born 1947.

Painter, graphic artist.

Isono is best known as a poster artist. His work often combines landscape elements with abstract geometric forms. He has exhibited internationally since the 1970s, including the exhibition Japanese Art Today at the museum of contemporary art in Montreal....

Article

Chinese, 20th century, male.

Born 1877, in Shanyu (Zhejiang); died 1938.

Painter.

Jing Hengyi was a prominent educationalist during the Nationalist era. His most important work was Collected Works of Inscriptions, Poems, Calligraphic Works and Paintings.

Article

Josetsu  

Karen L. Brock

(fl c. 1405–23).

Japanese painter and Zen monk. Contemporary biographical information about Josetsu is limited to two references. A brief entry dated 1448 in the diary of the Onryōken, a subtemple of Shōkokuji in Kyoto, mentions that in around 1416 Shogun Ashikaga Yoshimochi consulted with Josetsu about going to the island of Shikoku in search of stone for the carving of a stele in commemoration of Shōkokuji’s founder, Musō Soseki. The entry makes no mention of Josetsu as a painter, but it suggests his acquaintance with Yoshimochi and an association with Shōkokuji, which was an important centre in the development of ink painting in the Muromachi period (1333–1568) (see Japan §VI 4., (iii)). A colophon by the otherwise unknown Kanjōsō on Josetsu’s Sankyōzu (‘The three doctrines’; Kyoto, Ryōsokuin) states that the painting is by ‘[Jo]Setsu’ (clumsy-like), and that the painter was given this name by Zekkai Chūshin (1336–1405...

Article

Hiroshi Kashiwagi

(b Niigata, April 6, 1915; d 1997).

Japanese graphic designer. He studied principles of Constructivism at the Institute of New Architecture and Industrial Arts, Tokyo, a private institute established and run by Renshichiro Kawakita with the aim of introducing Bauhaus design theories in Japan; he graduated in 1935 and in 1938 joined the Nippon Kōbō design studio (now Publishing on Design Inc.). For over a decade from 1937 he worked as art director on a number of Japanese magazines, including Nippon and Commerce Japan. In 1951 he participated in the establishment of the Japan Advertising Arts Club, which secured social recognition for the profession of graphic designer. In 1955 he took part in the ‘Graphic ’55’ exhibition, together with Hiromu Hara, Paul Rand and others. Kamekura received an award from the Japan Advertising Arts Club in 1956 for a poster calling for peaceful use of atomic power. He co-founded the Nippon Design Centre (Tokyo) in 1960 with ...

Article

Joan H. O’Mara

Japanese paintings or woodblock prints depicting famous poets and poetesses often accompanied by the inscription of their names, with or without additional biographical information, and representative verses. By integrating calligraphy, poetry and painting in a single format, kasen’e (‘pictures of poetic immortals’) illustrate well the close interrelationship between these three art forms.

Originally the poets and poetesses designated in kasen’e as sages or ‘immortals’ (kasen) were accomplished masters of waka, the 31-syllable Japanese poetic form (also called tanka). According to tradition, a debate over the merits of various waka poets led the poet and critic Fujiwara no Kintō (966–1041) to name 31 men and 5 women from the Nara (ad 710–94) and Heian (794–1185) periods as ‘poetic immortals’. Although the kasen were selected, canonized and anthologized during the Heian period, the earliest surviving depictions date from the Kamakura period (1185–1333...