such an interesting bunch of studies the last couple of days, all instigated by something
neil asked in the comments section of '
women and nature.' he wanted to know about the connections that may have brought elizabeth keith to the attention of watanabe shozaburo.
as it turns out, nobody had to have much in the way of connections to meet watanabe -- he was on the prowl. he pursued artists, western and japanese, by attending exhibitions, and by making himself known.
i just updated the labels on my
library thing today; sometimes it surprises me how long i have been at this, and to what degree i haven't even known what i was looking at. so let's look again at watanabe, though it's true, we have met him
before (and
here too). because what this is all about is '
shin hanga,' and what
shin hanga was all about was watanabe.
but first let's remind ourselves of the state of printmaking in japan at that time: the 'invasion' was nearly 50 years earlier;
ukiyo-e had fallen out of fashion as painters from japan travelled to paris to study with matisse and monet. those left in japan with their printmaking skills had taken to producing pull-out illustrations for paperback novels.
ukiyo-e was
edo, and
edo was over.
"Out of this general decline, a new art movement was born -- the
shin hanga ("new prints") movement .... The concept of
shin hanga was traditional and Japanese. The dogma was to keep the old way of creating a woodblock print in a highly specialized team of artist, carver, printer and publisher. In this team the artist made the design and at best supervised the work of the carvers and printers. The publisher was responsible for sales and the commercial success.
"In such a team the publisher was usually the decision maker. He had to pay the artist, the carvers and printers, and thus was geared for commercial success. The carvers and printers were on the lower side of appreciation and received less money for their work than the artist. However, in our view they were the ones with the highest degree of artisan skill.
"These
shin hanga teams added some modern Western features to traditional Japanese subjects. The essential feature was the use of light and shadow. The Japanese had learned this from the French impressionists. Another Western feature was perspective. The third and probably decisive factor for
shin hanga was their sales concept. It was catered from the beginning for export of the prints to North America and Europe. In plain words, the prints were designed and created in a way that should please foreigners.
Shin hanga images show beautiful landscapes with an intact nature, geishas in kimonos on their way home under a full moon, fishing boats sailing under a red sky, and above all that majestic Mount Fuji in the background. Critics of
shin hanga come up with the reproach that the world shown on
shin hanga images was one that had ceased to exist a long time ago.
"
Shin hanga was not an art movement founded by a group of artists. When we speak of
shin hanga we must mention one man -- Shozaburo Watanabe, 1885-1962. He was everything for
shin hanga: the founder, the driving force and mentor of the movement. At a very young age Mr. Shozaburo Watanabe had established his own print shop. In the beginning his core business was the production of reproductions that he exported to the U.S.A and Europe.
"Mr. Shozaburo Watanabe had a keen and rigid business sense, and a feeling what could sell in Western markets. He began to give commissions to a group of artists for designs of modern woodblock prints. In the beginning he cooperated with Western artists living in Japan like the Austrian Fritz Capelari. He thought that only a Western artist was able to make a design attractive to foreigners. But soon Japanese artists became the supporting pillar for Mr. Watanabe's export business."
1
"In 1915, Watanabe was looking for new artists to revitalize the art of woodblock prints. No longer satisfied with his work with
Takahashi Shotei [his first artist], he wanted to work with an artist who could paint Japanese scenes in a realistic Western style. That spring, he noticed Capelari's watercolors in a Japanese department store exhibition. Watanabe was impressed and contacted Capelari, hoping to arrange a collaboration."
2
he would follow through this process, visiting exhibitions, then soliciting the western artists to work with him, with numerous others. not all works published in this way was of scenes in japan; elizabeth keith and cyrus baldridge, for example, were more likely to paint scenes from china than of japan. in addition to capelari, there were also bertha lum and charles bartlett. additional japanese artists to work with watanabe were yoshida hiroshige, kawase hasui, ohara koson, goyo, and many others. the artists brought him paintings, and he made magic of them.
and folks for all my books, it's not until now did i realize how these artists, the ones who have been my favorites for decades, were designed to be just that: MY FAVORITES! me: a westerner. all of my favorite japanese artists were doing work designed to be western! (hiroshige left watanabe after only a few prints, and he continued to work to perfect what he saw as his fine art.)
do i care do i feel 'duped'? well, maybe for a second or two. then i life my eyes, to shotei, or kawase, or keith, and i am enwrapped in awe once again.
The long path sap sludges up
each spring? And what would
about to be rumpled
through which a rabbit leapt,
and the effortless air
The long path sap sludges up
each spring? And what would
about to be rumpled
through which a rabbit leapt,
and the effortless air
