Dans l'art japonais du XXe siècle, shln hanga désigne les « nouvelles estampes. Relativement méconnues, elles se distinguent des gravures sur bols traditionnelles par leur langage visuel ancré dans la modernité. Les femmes, autnfols Idéalisées et stylisées, sont désormais dessinées à partir de modèles réels dont on devine les émotions. Les paysages, Impressionnistes plus que réalistes, se caractérisent par une gamme chromatique très évocatrice. Ces fascinantes « nouvelles estampes » témoignent aussi d'une perfection technique exceptionnelle, résultat de la collaboration entre des artistes tels Goy6, Kotondo, Shlnsul et Hasul, des éditeurs, des graveurs et des Imprimeurs.
La sélection d'estampes présentée ici, Issue de deux grandes collections privées, est enrichie d'oeuvres provenant des Musées royaux d'Art et d'Histoire de Bruxelles et- apport Inestimable d'emprunts à la collection de la famille de l'éditeur Watanabe Sh6zabur6, l'homme par qui tout commença.
Japanese prints, and Japan in general, are highly popular nowadaysbr- Japanese printmaking in the first half of the 20th century is relatively unknownbr- Growing number of collectors of the genre of shin hanga [modern prints] in the US and in Europe- Book contains a unique selection of prints, drawn from two private collections, and from the family of publisher Watanabe, who was the driving force behind the new print movement- Accompanies a traveling exhibition in 3 countriesTwentieth-century Japanese printmaking has come in for relatively little attention. Classic Hokusai and Hiroshige landscapes and Utamaro's beautiful images of women remain the dominant form. All the same, since the 1990s museums and private collectors have shown a growing interest in shin hanga ('new prints'): balanced designs printed on luxurious paper, with the finest pigments and in smaller editions. They are the fruit of the traditional yet highly successful collaboration between artist, publisher, block-cutter and printer. It is not so much in their subject matter as their visual language that shin hanga prints set themselves apart from their traditional precursors. Where the classically depicted women were stylized and idealized, their more recent counterparts are based on real models, individually recognizable and full of emotion. The modern landscapes, meanwhile, are impressionistic rather than figurative, using a range of color nuances to achieve highly atmospheric results. This book offers a unique selection with which to explore 20th-century Japanese printmaking. The prints it reproduces are mostly drawn from two large private collections, and, by way of great exception, items from the family collection of the publisher Watanabe, the man who started it all.
This book brings together a unique selection of works to explore the art of 20th century Japanese printmaking.
While the classic landscapes of Hokusai and Hiroshige and the beautiful women's paintings of Utamaro have gained widespread recognition, Japanese printmaking of the 20th century has received quite little attention so far. Since the 1990s, however, museums and private collectors have shown a growing interest in Shin Hanga ("New Prints"): balanced designs printed on luxurious paper, with the finest pigments, and available only in small editions.
Shin Hanga prints differ from their traditional predecessors not so much in subject matter as in imagery. While the classically depicted women were stylized and idealized, their newer counterparts are based on real models that are individually recognizable and full of emotion. The modern landscapes, on the other hand, are impressionistic rather than figurative, and use a range of color shades to achieve very atmospheric results.