Chats on Japanese Prints

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Frederick A. Stokes Company, 1917 - Color prints, Japanese - 448 pages
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Contents

I
25
II
49
III
63
IV
127
V
207
VI
257
VII
349
VIII
403

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Page 412 - My wish is that my Drawings, my Prints, my Curiosities, my Books — in a word these things of art which have been the joy of my life — shall not be consigned to the cold tomb of a museum, and subjected to the stupid glance of the careless passer-by; but I require that they shall all be dispersed under the hammer, of the Auctioneer, so that the pleasure which the acquiring of each one of them has given me shall be given again, in each case, to some inheritor of my own tastes.
Page 50 - Kano academies — filled with the disciplinary instincts of lyeyasu. — of which four were under the direct patronage of the Shoguns and sixteen under the Tokugawa government, were constituted on the plan of regular feudal tenures. Each academy had its hereditary lord, who followed his profession, and, whether or not he was an indifferent artist, had under him students who flocked from various parts of the country, and who were, in their turn, official painters to different daimyos in the provinces....
Page 35 - The more to concentrate on this seizure of the inherent life in what they draw, they will obliterate or ignore at will half or all of the surrounding objects with which the Western painter feels bound to fill his background. By isolation and the mere use of empty space, they will give to a clump of narcissus by a rock, or a solitary quail, or a mallow plant quivering in the wind, a sense of grandeur and a hint of the infinity of life.
Page 259 - Yoshiwara, where, in the care of a romantic love lavished upon them by its then highly cultivated hetaira, they could print and disperse, from their hidden presses, seditious tracts which set the heart of a nation on fire. It was not the ideals of a ripe self-consciousness, such as Kiyonaga had attempted ; it was a struggle of living desires against wornout conventions and hopeless tyrannies. Hence, the two phases of a new...
Page 33 - Paths." of the genius of rhythm, manifesting the living spirit of things with a clearer beauty and intenser power than the gross impediments of complex matter allow to be transmitted to our senses in the visible world around us. A picture is conceived as a sort of apparition from a more real world of essential life."1 That "more real world of essential life...
Page 34 - the essential character and genius of the element that is sought for and insisted on : the weight and mass of water falling, the sinuous swift curves of a stream evading obstacles in its way, the burst of foam against a rock. the toppling crest of a slowly arching billow ; and all in a rhythm of pure lines.
Page 41 - ... made a decided difference in the tone of a print, and, incidentally, it may be noted, in the nature and extent of the fading or decomposition of the color in after years. Much depended also upon the dampness or dryness of the paper. By varying the degree of pressure the color could be forced deep into the paper, or left upon the outer fibres only so that the whiteness of those below would show through. When perfectly done the "dry printing
Page 33 - Western races makes the root-concern of art. In this theory every work of art is thought of as an incarnation of the / genius of rhythm manifesting the living spirit of things with a clearer beauty and intenser power than .. the gross impediments of complex matter allow to be / transmitted to our senses in the visible world...
Page 40 - ... two colors, at the risk of accidents in the printing which in consequence sometimes occurred. Accurate register was secured by a very simple device. A right-angled mark was engraved at the lower right-hand corner of the key-block and a straight mark in exact line with its lower arm at the left. These were repeated upon each subsequent block and in printing, the sheets were laid down so that their lower and right-hand edges corresponded with the marks so made. The blocks were charged with Chinese...

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