"Iris Garden in Horikiri" (堀切の志ようぶ), a 1928 (Shôwa 3) vertical ôban from "Twelve Scenes of Tokyo" (東京拾二題, Tôkyô jûni dai), by acclaimed 20th century Japanese landscape painter and woodblock printmaker Yoshida Hiroshi (吉田 博, 1876-1950).
Sheet dimensions (h x w): 40.6 x 27.4 cm (16 x 10 13/16 inches).
Dated, signed and titled by the artist in English on the bottom margin.
Bearing the jizuri seal, meaning self-printed, on the upper left margin, with other details in Japanese below.
Born Hiroshi Ueda in the city of Kurume (久留米市), Fukuoka Prefecture, in Kyūshū , he showed an early aptitude for art fostered by his adoptive father, a teacher of painting in the public schools. At the age of 19, he was sent to Kyōto to study under Tamura Shoryu, a well known teacher of western style painting. He then studied under Koyama Shōtarō, in Tokyo, for another three years. These institutions were teaching and encouraging Western-style painting following the opening up of Japan in 1868 after 200 years of Shogunate rule.
Because of these influences, he became a member of Meiji Bijutsukai (Meiji Fine Arts Society) and later founded Taiheiyogakkai (the Pacific Western Painting Society). Yoshida Hiroshi aimed to create a new style by bringing together the realistic rendering of European paintings and techniques of traditional Japanese woodblock printing.
in 1899 he visited the USA for the very first time and travelled through the country holding oil painting exhibitions in various places. Afterwards, he often visited overseas to find inspirational painting subjects or to hold viewings of his growing portfolio of new designs. He was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, the Grand Canyon, and other National Parks in the United States.
In 1925, he hired a group of professional carvers and printers, and established his own studio. Prints were made under his close supervision. Yoshida combined the ukiyo-e collaborative system with the sōsaku-hanga principle of "artist's prints", and formed a third school, separating himself from the shin-hanga and sōsaku-hanga movement.
He also produced a number of landscape prints (along with Kawase Hasui) with Tokyo publisher Watanabe Shōzaburō (渡辺 庄三郎, 1885–1962) who was the driving force behind shin-hanga.
The excellent BBC Four documentary on the preparations for the 2023 Vermeer exhibition at the Rijksmuseum in Amsterdam.
https://youtu.be/CeDADKJ4Em4?si=0KsO7YuO9vEylWHC
"'In ways that I do not pretend to understand fully, painting deals with the only issues that seem to me to count in our benighted time-freedom, autonomy, fairness, love.' And I've often found myself agreeing with Snow's implication that somehow these issues may be more richly and fully addressed in Vermeer than anywhere else." ―from VERMEER IN BOSNIA: Vermeer in Bosnia by Lawrence Weschler
TABLE OF CONTENTS
In Lieu of a Preface: Why I Can’t Write Fiction
A Balkan Triptych
Prelude: The Dikes of Holland Vermeer in Bosnia Henry V at Srebrenica Aristotle in Belgrade Coda: The Market on the Tuzla/Brcko Road Three Polish Survivor Stories The Brat’s Tale: Roman Polanski The Troll’s Tale: Jerzy Urban The Son’s Tale: Art Spiegelman Grandfathers and Daughters
My Grandfather’s Last Tale Sara’s Eyes A Season with the Borrowers Why Is the Human on Earth? A Fathers and Daughters Convergence: Occasioned by Some Portraits by Tina Barney My Grandfather’s Passover Cantata
Three L.A. Pieces An L.A.High School Youth: Robert Irwin The L.A. Quake The Light of L.A. Three Portraits of Artists
True to Life: David Hockney’s Photocollages The Past Affixed Also: The Kienholz Spokane Series A Parkinsonian Passion: Ed Weinberger A Final Vermeer Convergence
A Girl Intent:Wislawa Szymborska and the Lacemaker Acknowledgments
There are writers who specialize in the strange and others whose genius is to find the strangeness in the familiar, the unexpected meanings in stories we thought we knew. Of that second category, Lawrence Weschler is the master. Witness the pieces in this splendidly disorienting collection, spanning twenty years of his career and the full range of his concerns–which is to say, practically everything. Only Lawrence Weschler could reveal the connections between the twentieth century’s Yugoslav wars and the equally violent Holland in which Vermeer created his luminously serene paintings. In his profile of Roman Polanski, Weschler traces the filmmaker’s symbolic negotiations with his nightmarish childhood during the Holocaust. Here, too, are meditations on artists Ed Kienholz and David Hockney, on the author’s grandfather and daughter, and on the light and earthquakes of his native Los Angeles. Haunting, elegant, and intoxicating, Vermeer in Bosnia awakens awe and wonder at the world around us. READ an excerpt here: http://knopfdoubleday.com/book/188937/vermeer-in-bosnia/
網路資訊讓我們更能了解：Frank Stella (1936~2024) , Towering Artist and Master of Reinvention, Dies at 87. The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015,
The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015, an outsize show for a towering if divisive figure, as obsessed as Ahab in his quest to reframe abstraction.
Frank Stella, Towering Artist and Master of Reinvention, Dies at 87
He moved American art away from Abstract Expressionism toward cool minimalism. His explorations of color and form were endlessly discussed and constantly on exhibit.
Frank Stella in 2019. In an admonition to critics, he insisted that “what you see is what you see” — a formulation that became the unofficial motto of the minimalist movement.Credit...Christopher Gregory for The New York Times
Frank Stella, whose laconic pinstripe “black paintings” of the late 1950s closed the door on Abstract Expressionism and pointed the way to an era of cool minimalism, died on Saturday at his home in the West Village of Manhattan. He was 87.
Frank Stella was born in Malden, Massachusetts, on May 12, 1936, to first-generation Italian-American parents, as the oldest of their three children.[1] His grandparents on both sides had immigrated to the United States at the turn of the 20th century from Sicily. His father, Frank Sr., was a gynecologist, and his mother Constance (née Santonelli) was a housewife and artist[2] who attended fashion school and later took up landscape painting.[3]
In his sophomore year of high school at Phillips Academy in Andover, Massachusetts,[4] the abstractionist Patrick Morgan, a teacher at the school, began teaching Stella how to paint. After entering Princeton University to earn a degree in history, Stella took art courses and was introduced to the New York art scene by painter Stephen Greene and art historian William Seitz, professors at the school who brought him to exhibitions in the city. His work was influenced by abstract expressionism.[1] He is heralded by the Birmingham Museum of Art for having created abstract paintings that bear "no pictorial illusions or psychological or metaphysical references in twentieth-century painting".[5]
In the 1970s, he moved into NoHo in Manhattan in New York City.[6] As of 2015, Stella lived in Greenwich Village and kept an office there but commuted on weekdays to his studio in Rock Tavern, New York.[3]
After moving to New York City in the late 1950s, Stella began to create works which emphasized the picture-as-object. His visits to the art galleries of New York, where he was exposed to the abstract expressionist work of artists like Franz Kline and Jackson Pollock, had exerted a great influence on his development as an artist.[7]
He created a series of paintings in 1958–1959 known as his "Black Paintings" which flouted conventional ideas of painterly composition. Using commercial enamel paint and a house-painter's brush, he painted black stripes of the same width and evenly spaced on bare canvas, leaving the thin strips of canvas between them unpainted and exposed, along with his pencil-and-ruler drawn guidelines.[8]
Stella repudiated all efforts by critics to interpret his work, dismissing them with his well-known tautology, "What you see is what you see",[8] which became "the unofficial motto of the minimalist movement", according to the New York Times.[9]
Die Fahne Hoch! (1959) takes its name ("Hoist the Flag!"[10] or "Raise the Flag!" in English) from the first line of the "Horst-Wessel-Lied",[11] the anthem of the Nazi Party. According to Stella himself, the painting has similar proportions as banners used by that organization.[12]
From 1960, his works used shaped canvases,[13] developing in 1966 into more elaborate designs, as in the Irregular Polygon series (67).[14]
Stella married Barbara Rose, later a well-known art critic, in 1961.[15] Around this time he said that a picture was "a flat surface with paint on it – nothing more".[16]
In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham.[17] The same year, his began his Protractor Series (71) of paintings, which feature arcs, sometimes overlapping,[18] within square borders named after circular cities he had visited while in the Middle East earlier in the 1960s.[19][20]
The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one.[21]
In the next decade, Stella brought to his artistic productions the element of relief, which he called "maximalist" painting because it had sculptural attributes. He presented wood and other materials in his Polish Village series (1970–1973), executed in high relief. Through the 1970s and 1980s, as these works became more uninhibited and intricate, his minimalism became baroque.[17] In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Series.[22] He said of this project, "The starting point for the art cars was racing livery. The graph paper is what it is, a graph, but when it's morphed over the car's forms it becomes interesting. Theoretically it's like painting on a shaped canvas."[23]
From the mid-1980s to the mid-1990s, Stella produced a large oeuvre that grappled with Herman Melville's novel Moby-Dick in a broad way.[2] To generate these, the artist made collages or scale models that were subsequently enlarged to the original's specifications by his assistants.[17]
By the turn of the 2010s, Stella started using the computer as a painterly tool to produce stand-alone star-shaped sculptures.[36] The resulting stars are often monochrome, black or beige or naturally metallic, and their points can take the form of solid planes, spindly lines or wire-mesh circuits.[36] His Jasper's Split Star (2017), a sculpture constructed out of six small geometric grids that rest on an aluminum base, was installed at 7 World Trade Center in 2021.[37] In late 2022, Stella launched an NFT (non-fungible token) that includes the right to the CAD files to 3D print the art works in the NFTs.[38]
On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella was a member artist of the Artists Rights Society[39]) published an op-ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located".[40]
In the op-ed, Stella wrote,
The Copyright Office presumes that the infringers it would let off the hook would be those who had made a "good faith, reasonably diligent" search for the copyright holder. Unfortunately, it is totally up to the infringer to decide if he has made a good faith search.
The Copyright Office proposal would have a disproportionately negative, even catastrophic, impact on the ability of painters and illustrators to make a living from selling copies of their work.[40]
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