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Ukiyo-e are Japanese woodblock prints. If you haven’t yet done the project from yesterday, consider doing a Japanese-inspired woodcut print. The most popular subjects for ukiyo-e were landscapes, like the ocean scene shown below, and performers from “the floating world,” such as geisha (the picture shown here is by Utamaro) and sumo wrestlers.
Ukiyo-e became popular in Japan in the 1620s when a lot of people were settling in cities. A class of artisans came into being and they were looking for a way to produce many copies of the same image as easily, quickly, and inexpensively as they could. This was particularly useful when it came to illustrating books. At this time, the ukiyo-e were not in color.
Prints grew in popularity, especially among people who were not wealthy enough to afford original paintings. The ukiyo-e were also used to advertise for kabuki theater.
Beginning in the 1860s, ukiyo-e could be produced in color. This involved creating several woodblock carvings (one for each color) for every picture and printing one color on top of the next. Below is an example of one of these color ukiyo-e that you have probably seen before. It is called The Great Wave off Kanagawa by Hokusai.
Towards the end of the 1800s, ukiyo-e fell out of popularity in Japan but they served as huge sources of inspiration for artists especially in Paris, such as Vincent van Gogh and Edgar Degas. This is something I did not mention when I first talked about these artists but now that you know all about ukiyo-e, expect it to come up much more often!
Just a warning, I’m afraid I may be coming down with the flu. It’s been going around and I feel the start of a cold. If it develops into the flu this may by my last post until Monday. But I certainly hope it doesn’t happen.
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I decided that it would be too difficult to post about M.C. Escher without showing any images and, especially, without getting into a lot of really complex mathematical concepts that I don’t understand well enough to write about just yet (and definitely not in an interesting way). So instead, I’m posting about woodcut printing. This is, incidentally, how M.C. Escher created many of his works. At the end you’ll find instructions to make your own woodcut print.
When he creates a woodcut print, the artist first draws or prints an image onto a block of wood. Then he cuts away the background. That is, he cuts away everything that he doesn’t want to come out in color in the print. Then the artist rolls ink onto the woodblock. The ink will coat the image and leave the background clean. Finally, the woodblock is pressed onto paper and the image appears, exactly as shown on the woodblock but in reverse.
Create Your Own Woodcut Print
Supplies Needed:
Styrofoam Plate
Marker
Pencil
Ink Pad
Paper
Gather your supplies. You can use the leftover Styrofoam plate after you finish a container of berries. Cut the edges off to create a flat surface. Protect your workspace with newspaper.
You should design your image first, on a scrap piece of paper. Then draw it onto the Styrofoam plate with a marker. Don’t press too hard.
Now, use your pencil to color in everything you didn’t mark with your marker. Feel free to press hard this time. This will leave the marker lines raised above the background. Those lines will pick up the ink and the part you colored in with pencil will not.
Press your ink pad onto the Styrofoam. Be sure to mark all the lines with the ink. Quickly but carefully press the Styrofoam onto your piece of paper.
And now you have a simple and safe woodcut print of your own. You can make as many copies of your print as you want in as many colors and on as many types of paper. Mix and match and have fun with it.Return to main page.
Positive and negative space are both needed to create a complete picture. Without background (negative space), the subject (positive space) of a work of art might become meaningless or you might be unable to locate it at all.
For example, Imagine a yellow rectangle with a purple circle in the center. The circle, in purple, is the positive space and the background, in yellow, is the negative space. The contrast of the yellow background allows you to see the circle.
Without the negative space you wouldn’t be able to locate the positive space. The whole image would just be purple and meaningless.
Of course, this could go the other way, too. If the circle and the rectangle were the same shade of yellow, it would be an image without any positive space. The whole image would be the yellow background. Again, this is meaningless.
Look at any painting. Every artist uses positive and negative space but M.C. Escher is a particularly good example of an artist using negative space to his advantage. Due to copywrite issues, I cannot reproduce any images here, but I will direct you to the official M.C. Escher website. When you get there, click on Picture Gallery, then Switzerland and Belgium, then the image Sky and Water. Look at the way positive and negative space define each other in the form of fish and birds.
Tomorrow I’ll post something more on Escher, without images of course.
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Maurice Denis, like Paul Ranson, joined the Nabis when he saw Paul Serusier’s Talisman. He believed in all the things the Nabis stood for. Denis was an active member of the movement and published an article, Art Et Critique, in which he told of the Nabis beliefs.
Like the other Nabis, he was interested in symbolism, religious thought, and the decorative arts. He thought it was of particular importance that an artist chose the right subject and he was drawn to the bold colors of the Nabis. Below if a painting, Sunlight in the Terrace, in which Denis uses the bold colors of the Nabis in a similar way as Serusier did in his Talisman.
Denis was particularly interested in religious subjects. When you consider his body of work, this interest is clear. Below is just one example of a painting of a religious subject, Holy Women Near the Tomb.
Besides paintings, Denis illustrated books and musical scores, designed carpets and planned stained-glass windows. He decorated ceramics and even painted a mural on the ceiling of French composer, Chausson’s home.
Denis’ popularity grew ever greater and he received many commissions. Later in his life, he painted more ceiling murals, many in prestigious locations. These included murals at the Theater des Champs-Elysees, the Church of St. Paul in Geneva, and the Petit Palais in Paris.Return to main page.
Today’s post focuses on another of the Nabis, Paul Ranson. They all seem to be named Paul, huh? Paul Serusier and his inspiration, Paul Gauguin, and now Paul Ranson. There are plenty of others who are not named Paul, but I particularly liked Ranson’s Nabi Landscape, shown below. So today, Paul Ranson.
Ranson enjoyed a short life, from 1864 to 1909. Even as a child he enjoyed painting and his parents encouraged him to create art. He did not begin his education at Academie Julian, but it was there that he met Paul Serusier who introduced him to the new artistic movement of the Nabis.
Paul Ranson was interested, like the other Nabis, in symbolism, philosophy, and the decorative arts. He even designed tapestries, some of which were made by his wife. He especially liked to paint images of fantasy rather than those observed in nature. The main thing Ranson didn’t like about Impressionism was that (he believed) the artists chose random, unimportant subjects to portray and then did so without adding anything from their own minds.
Ranson played a central role in unifying the Nabis; he held weekly meetings in his home and wrote plays that the Nabis performed for writers and philosophers. Still, when Gauguin left for Tahiti, as you read yesterday, the Nabis gradually disbanded. Ranson continued painting in the Nabi style.
In 1908 he opened a school to teach the style and philosophy of the Nabis. When he died in 1909 his wife took over the school and other Nabis taught as they had the time and the desire.
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