![]() “Yochi Fujimori Juror Prize” at the 2015 AIMPE Biennial Japan with the print “Cherchez la Femme” on permanent display in Japan. She has lived in Liguria, the French Riviera, Paris and London. The works – paintings and woodcuts- exhibited in exhibitions in Italy and abroad, from Canada to Japan, from Honolulu to Basel and London, in October 2018 “Just me” at the Museum of Art in Tokyo. In 20 he held in Imperia the first courses and workshops of traditional Japanese woodcuts, satellite events of the exhibitions dedicated to Master Ligustro, sponsored by the Italy Japan Foundation of Rome, XiLover Academy was born to disseminate and make people love in Italy and abroad the technique. Issa's Inspiration refers to Kobayashi Issa, who was an 18th century haiku poet my favorite, in fact.She was at first a friend and then a collaborator of Master Ligustro, since 2009 she became his official printer.Įxpert in Japanese polychrome xylography, specialized in luxury techniques in use in the Edo period, she has held conferences and practical demonstrations in Italy and abroad, among the most prestigious the IMC Hawaii 2017 “International Moku Hanga Conference” in Honolulu – USA. You can see Nara's homage to the 18th century master in the foreground maple branch in both images. The use of perspective is one of the features I love about mokuhanga. Even when depicting a rain storm there is a gentle quality in his work.Īt left is Hiroshige's "The Maple Trees at Mama, Tekona Shrine and Tsugi Bridge". It is best known for use in the ukiyo-e genre of Japanese art. The subtlety and softness of his work gives me pleasure. In Japan, woodblock printing is known as mokuhanga, moku meaning wood and hanga meaning print. ![]() There are also several of images created by Hasui, who was active during the first half of the twentieth century. There are several images of his work included. Hiroshige was a contemporary of Hokusai’s in the latter 18 th century. The prints I am attracted to most are the land and seascapes. There are several styles of woodblock prints, and they were created to serve various purposes book illustrations, advertisements, décor, etc. These woodblock prints required a mastery of both design and hand skills. I am talking about the actual, physical process of manifesting an object. I don’t mean the subjective “inner” process. The blocks overlap and combine creating nearly imperceptible color transitions in the final image. The incredible delicacy and subtlety of the hues and tones of their prints are achieved by careful selection of color for each block. Each of the woodblocks was infused with the color that it was used to apply. ![]() There must have been at least fifteen woodblocks, each one carved as precisely as the next. In addition to many prints there was also an exhibition of all of the woodblocks that were required to make a single image. The exhibition elaborated, in detail, how Hokusai accomplished his masterpieces. I have always admired the woodblock print artists of Japan, but I really hadn’t considered the detail of design and the amount of work that they require. He did the The Great Wave off Kanagawa, which is pictured below. You may not be familiar with Hokusai, but you have undoubtedly seen his woodblock prints. ![]() The exhibition focused on Hokusai’s work. A few years ago Jeff and I viewed an exhibition of Japanese woodblock prints, or mokuhanga.
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