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The Great Wave off Kanagawa - by Hokusai

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The Japan of the early 20th Century was a world power, a modern empire, and suddenly not so easy to imagine as a fairy land of beautiful women in communion with nature. He is, after all, not only one of the great figures of Japanese art, but a father figure of much of Western modernism.

By 1905, however, when the Imperial Army thumped to victory in the Russo-Japanese War, that fantasy could no longer hold. At 100, I shall be a marvelous artist. A miniature model of Hokusai's studio, Edo-Tokyo Museum via CC BY-SA 3. Though she'd lived in New York, San Francisco, and Paris, Kahlo was always drawn back to her hometown, Mexico City.

The Great Wave off Kanagawa - Hokusai also had difficulty settling on a single moniker.

Initially, thousands of copies of this print were quickly produced and sold cheaply. Thirty-six Views of Mount Fuji Fishing boats detail , Under the Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, c. It is a polychrome multi-colored woodblock print, made of ink and color on paper that is approximately 10 x 14 inches. All of the images in the series feature a glimpse of the mountain, but as you can see from this example, Mount Fuji does not always dominate the frame. Instead, here, the foreground is filled with a massive cresting wave. The threatening wave is pictured just moments before crashing down on to three fishing boats below. Under the Wave off Kanagawa is full of visual play. The mountain, made tiny by the use of perspective, appears as if it too will be swallowed up by the wave. Katsushika Hokusai, Fine Wind, Clear Weather, Also known as Red Fuju, from the series Thirty-six Views of Mount Fuji, c. The curves of the wave and hull of one boat dip down just low enough to allow the base of Mount Fuji to be visible, and the white top of the great wave creates a diagonal line that leads the viewers eye directly to the peak of the mountain top. Across the thirty-six prints that constitute this series, Hokusai varies his representation of the mountain. In other prints the mountain fills the composition, or is reduced to a small detail in the background of bustling city life. Who was Katsushika Hokusai? Hokusai was born in 1760 in Edo now Tokyo , Japan. Hokusai discovered Western prints that came to Japan by way of Dutch trade. From the Dutch artwork Hokusai became interested in linear perspective. Subsequently, Hokusai created a Japanese variant of linear perspective. The influence of Dutch art can also be seen in the use of a low horizon line and the distinctive European color, Prussian blue. Hokusai was interested in oblique angles, contrasts of near and far, and contrasts of manmade and the natural. These can be seen in Under the Wave off Kanagawa through the juxtaposition of the large wave in the foreground which dwarfs the small mountain in the distance, as well as the inclusion of the men and boats amidst the powerful waves. Mount Fuji, Japan Mount Fuji is the highest mountain in Japan and has long been considered sacred. Hokusai is often described as having a personal fascination with the mountain, which sparked his interest in making this series. However, he was also responding to a boom in domestic travel and the corresponding market for images of Mount Fuji. Japanese woodblock prints were often purchased as souvenirs. The making of Ukiyo-e Prints Ukiyo-e is the name for Japanese woodblock prints made during the Edo Period. A separate block of wood was used for each color. Each print is made with a final overlay of black line, which helps to break up the flat colors. Ukiyo-e prints are recognizable for their emphasis on line and pure, bright color, as well as their ability to distill form down to the minimum. Hokusai moved away from the tradition of making images of courtesans and actors, which was the customary subject of ukiyo-e prints. Instead, his work focused on the daily life of Japanese people from a variety of social levels. Such as the quotidian scene of fishermen battling the sea off the coast of Mount Fuji that we see in The Great Wave. Popularity of Ukiyo-e prints in Europe Beginning in 1640, Japan was largely closed off to the world and only limited interaction with China and Holland was allowed. This changed in the 1850s, when trade was forced open by American naval commodore, Matthew C. After this, there was a flood of Japanese visual culture into the West. This was the first introduction of Japanese culture to mass audiences in the West, and a craze for collecting art called Japonisme ensued. Additionally, Impressionist artists in Paris, such as Claude Monet, were great fans of Japanese prints.

Hokusai's "The Great Wave" Woodblock Printing Demonstration at Takezasa-do
Each of the images was made through a process whereby an image drawn on paper was used to guide the carving of a wood block. C'est à cette époque qu'un jeune artiste, vient concurrencer sa célébrité. In the process, the drawing is lost. But just as much, ukiyo-e prints showed Lautrec that louche life — teahouses, restaurants, brothels — could be the stuff of art. The rigid converging lines of European perspective drawing become the gently sloping sides of the sacred mountain. It encourages us to move beyond The Great Wave, looking as closely at his paintings as we have at the prints that have so fascinated us. Prints began to circulate widely through Europe and The Great Wave became a source of inspiration for a variety of artists.

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