|Popis||Japonské dřevoryty v XXL velikosti. 200 nejexkluzivnějších japonských dřevorytů v jejich historickém kontextu.|
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Bližší informace o knize "Japanese Woodblock Prints (1680–1938)"
Japonské dřevoryty v XXL velikosti. 200 nejexkluzivnějších japonských dřevorytů v jejich historickém kontextu. Japanese Woodblock Prints (1680–1938), autor Andreas Marks.
Anotace knihy " Japanese Woodblock Prints (1680–1938), autor Andreas Marks"
The Japanese woodblock print is a phenomenon with no Western equivalent, one where breathtaking landscapes exist alongside blush-inducing erotica; where demons and otherworldly creatures torment the living; and where sumo wrestlers, kabuki actors, and courtesans are rock stars. This XXL book lifts the veil on a much-loved but little-understood art, revealing the stories and people behind the 200 most exceptional prints from 1680–1938. Drawing from the finest impressions in museums and private collections around the world, it features the work of 89 artists as well as 17 fold-outs.
From Edouard Manet’s portrait of naturalist writer Émile Zola sitting among his Japanese art finds to Van Gogh’s meticulous copies of the Hiroshige prints he devotedly collected, 19th-century pioneers of European modernism made no secret of their love of Japanese art. In all its sensuality, freedom, and effervescence, the woodblock print is single-handedly credited with the wave of japonaiserie that first enthralled France and, later, all of Europe—but often remains misunderstood as an “exotic” artifact that helped inspire Western creativity.
The fact is that the Japanese woodblock print is a phenomenon of which there exists no Western equivalent. Some of the most disruptive ideas in modern art—including, as Karl Marx put it, that “all that is solid melts into air”—were invented in Japan in the 1700s and expressed like never before in the designs of such masters as Hokusai, Utamaro, and Hiroshige in the early 19th century..