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Search Results:Viewing Record 1 of 1
[AC] Mead Art Museum at Amherst College; [HC] Hampshire College Art Gallery;
[HD] Historic Deerfield; [MH] Mount Holyoke College Art Museum; [MH SK] The Joseph Allen Skinner Museum at Mount Holyoke College; [SC] Smith College Museum of Art; [UM] University Museum of Contemporary Art at UMASS Amherst
|Title:||Hansen: Asa [Sailboats: Morning], from the series Seto Naikai Shū [Inland Sea Collection]|
|Materials:||Color woodblock print (woodcut) on paper|
|Place Made:||Asia; Japan|
|Measurements:||Mat: 28 in x 22 in; 71.1 cm x 55.9 cm; Sheet: 21 3/8 in x 15 1/2 in; 54.3 cm x 39.4 cm; Image: 20 1/16 in x 14 3/16 in; 51 cm x 36 cm|
|Narrative Inscription: ||SIGNATURE: recto, lwr. r. (black ink, within image): [Japanese character, Yoshida]; MONOGRAM: recto, lwr. r. (red ink, within image): [Japanese character, Hiroshi]; TITLE: recto, ctr. l. (blue ink): [Japanese character, Seto Naikai Shu]; TITLE: recto, lwr. l. (blue ink): [Japanese character, Hansen Asa]; DATE: recto, lwr. l. (blue ink): [Japanese character, Taisho Jugo nen Saku]; INSCRIPTION: recto, upp. l. (red ink): [Japanese character, Jizuri].|
|Accession Number: ||MH 1964.108.Q.RII|
|Credit Line:||Gift of Dorothy L. Blair (Class of 1914)||
A vertical woodblock print of a junk and dinghy done in the center, reflection in the water and rising sun in the background. The first in a series of six studies of a junk and dinghy done under different light and meterological conditions on Japan's island sea. Fukei ga
Yoshida Hiroshi was a rebel; instead of following the centuries-old Yoshida family tradition of painting on scrolls and screens, Hiroshi turned to printmaking. Trained as a Western-style landscape painter and watercolorist, Hiroshi introduced Impressionist techniques to Japanese woodblock printing—adding soft lines and naturalistic light to create depth.
These prints were based on sketches from Hiroshi’s travels to the Inland Sea of Japan. Each print was individually colored to reflect a different time of day: morning, forenoon, and night. Hiroshi combined traditional ukiyo-e workshop collaboration with the avant-garde sōsaku-hanga concept of individualism—as he hired designers, engravers, and publishers, yet oversaw every step of the printmaking process himself. Faint traces of graphite are indications of Hiroshi's meticulous review of each print. Created against the backdrop of the Meiji Restoration, Hiroshi's prints were a nostalgic tribute to pre-industrial Japan.
-Rachel Kim ’21, Student Guide, Mount Holyoke College Art Museum
Shin Hanga; landscapes; boats; seas; suns; morning
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