Retro, vintage, classic: these themes have been gaining more and more popularity in the design industries during the 20th and the 21st century. The cause of this perennial trend may be due to the modern world’s recent, inventive recipe of cultural mixture: the perfect composition of modern aesthetic sensibilities and the essence of timelessness in traditional art. This new creation is also evidently integrating into Japanese contemporary art, with additional emphasis on the aesthetic mixture of the East and the West. Takako Azami’s Plum and Maple Trees, 2009 (Figure 1) is an amazing example of this new cultural invention. The work was a part of the “DOMANI: The Art of Tomorrow 2009,” The Achievements of the Japanese Government Overseas Study Program for Artists Provided by the Agency for Cultural Affairs Exhibition at The National Art Center, Tokyo, Japan. Takako Azami, one of the twelve Japanese contemporary artists who participated in the exhibition, was educated in Japan in her early years then later continued her studies in the United States. Azami was trained as a Nihon-ga (Japanese traditional painting) painter during her undergraduate studies at Tama Art University, Tokyo, Japan. She later was granted a fellowship by the Japanese Government Overseas Study Program and spent her residency in an International Studio and Curatorial Program in New York, United States. Azami’s latest achievements includes her Freeman Fellowship grant for Vermont Studio Center residency for Artists and Pola Art Foundation Grant, both awarded in 2009. She continues to exhibit extensively both in domestically and internationally1. Her painting Plum and Maple Trees is the representative product of Azami’s culturally integrated education, allowing u... ... middle of paper ... ...omponent to the work. A true product of the modern invention in cultural mixture, Azami successfully established an integration of the old, the new, the East and the West, all in a single piece of work. Works Cited Field, George. “On the Physical Causes of Colors.” In Art in Theory, 1815-1990: An Anthology of Changing Ideas. Ed. Charles Harrison, Paul Wood and Jason Gaiger, 234-238. Oxford: Wiley-Blackwell, 1998. Hamilton, George Heard. Painting and Sculpture in Europe: 1880-1940, 6th ed. New Haven: Yale University Press, 1993. Katagiri, Junichi., ed. Fashion Illustration File. Tokyo: Genko-sha Co., Ltd., 2007. Kleiner, Fred S. Gardner’s Art Through the Ages: The Western Perspective, 13th ed. Boston: Wadsworth, Cengage Learning, 2006. Kubota, Shigeo and others. DOMANI: The Art of Tomorrow 2009 Exhibition. Tokyo: The Agency for Cultural Affairs, 2009.
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
In this paper, I will argue that it is more likely that the qualia of colour could be explained by physicalism rather than by property dualism. Qualia are subjective experiences, such as our senses (pg. 3). Physicalism views every property as physical, and can be explained by science (pg. 29). Property dualism refers to the philosophical view that minds are made out of one substance, but contain physical properties, and a non-physical mind (qualia) that are not related to each other (pg. 29).
Some of the author’s first use of color is during the prologue when the narrator is describing the town of Starkfield. “During the early part of my stay I had been struck by the contrast between the vitality of the
Jaune Quick-to-see Smith is an instrumental and influential modern day artist due to her Native American Background, her medium, and her vision. Her piece Indian Country Today is one that represents who she is as an artist as well as where she came from and where she hopes her people will go. Throughout her life, Quick-to-see Smith overcame racism and oppression from within her community and from outside of it, while connecting with her familial artistic past to become the artist she is today. Her work Indian Country Today is an influential piece stemming from her people’s history, current situation within the United States, as well as her hopes for the future of her people. This piece is dramatic and captivating, creating a sense of unity within the Native American community while acknowledging that these nations continue to be unrecognized by the larger American community, something Quick-to-see Smith feels needs to be remedied.
My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
...d pleasures: orientalism in America, 1870-1930. Princeton, N.J.: Princeton University Press in association with the Sterling and Francine Clark Art Institute, 2000. Print.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
In this paper I will discuss the print called Plum Garden at Kameido. This print was created by Ando Hiroshige in 1857. It is a woodblock print. In the front of the print is a close up of a tree. It is an image of a plum tree in a plum garden. The tree has pretty white blooms on it. For this reason it is logical to assume that it must be springtime. Working back, I see two more plum trees. None of the trees have much detail of the bark texture. I can see that if these trees are true to life, Plum trees are not very shapely trees. Behind the second row of trees is what appears to be an iron fence with people standing at various points along the fence. The fence line angles back to show a third row of trees in the distance. Green grass can be seen in much of the fenced in area highlighting the fact that it is a garden.
Over the course of Japanese history, arguably, no artist is more famous for their works than Katsushika Hokusai. During his 88 years of life, he produced over 30,000 pieces of artwork, and heavily influenced Western styles of art. His most famous piece was created around 1831, a Japanese styled piece titled, The Great Wave off Kanagawa. This piece has stood as a defining piece of artwork in the Japanese culture for over 180 years, analyzed by students and authors for the interpretations filling the paper. The relationship between Hokusai’s painting has directly affected the Western point of view of Japanese style. The English author, Herbert Read’s novel interprets the painting distinctly differently from a Japanese point, American poet,
Josef Albers was a well-known and influential artist of the twentieth century. He was known for his use of vivid colors and interesting and abstract shapes. He was instrumental in ushering in the Modernist movement as he was a teacher to many of the great artists of the 1950s and 1960s. In 1963, Josef Albers released a book surrounding a series of paintings he did, The Interaction of Color. This book was crucial when it came to art education and various applications in his and his student’s works. His final series was his Homage to a Square that only used squares and rectangles with varying colors to demonstrate spatial relationships between the shapes and the colors. Albers use of shape and color, particularly in his Homage to the Square
The role of gardens play a much more important role in Japan than here in the United States. This is due primarily to the fact the Japanese garden embodies native values, cultural beliefs and religious principles. Perhaps this is why there is no one prototype for the Japanese garden, just as there is no one native philosophy or aesthetic. In this way, similar to other forms of Japanese art, landscape design is constantly evolving due to exposure to outside influences, mainly Chinese, that effect not only changing aesthetic tastes but also the values of patrons. In observing a Japanese garden, it is important to remember that the line between the garden and the landscape that surrounds it is not separate. Instead, the two are forever merged, serving as the total embodiment of the one another. Every aspect of the landscape is in itself a garden. Also when observing the garden, the visitor is not supposed to distinguish the garden from its architecture. Gardens in Japan incorporate both natural and artificial elements, therefor uniting nature and architecture into one entity. Japanese gardens also express the ultimate connection between humankind and nature, for these gardens are not only decorative, but are a clear expression of Japanese culture.
The Spiritual in Art : Abstract Painting 1895 – 1985 (New York: Los Angeles County Museum of Art/Abbeville Press, 1985)
Stone, W. F. (1897). Questions on the philosophy of art;. London: Printed by William Clowes and Sons.
I have figured out for myself that the world is more than just what you see, it's the meaning behind what you see that reveals the full picture. When I realized this, I started to explore outside my boundaries, and tried to decipher the meanings of other things I hadn't seen before. While I did this, I also tried to relate those things to my culture, and what I am familiar with. This is what I did with Japanese art. I figured out what each symbol in the pictures meant, then put all of those meanings together to understand the meaning of the artworks themselves. When I found the meanings of the art, I related it to the art in the United States. A Japanese portrait of a person is the same as an American portrait, except that the people used in the pictures are different. With chrysanthemums actually being the national flower of Japan, the cherry blossom is one of the main symbols that represents Japan. This is why a lot of Japanese paintings have cherry blossom trees in them. There are also a lot of architectural buildings within the paintings. This is the same with bold eagles (national bird) and roses (national flower), which both represent the United States. They can be found in many American