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Modern masters of Kyoto : the transformation of Japanese painting traditions, nihonga from the Griffith and Patricia Way collection /
Michiyo Morioka, Paul Berry.
Seattle, WA : Seattle Art Museum : Distributed by the University of Washington Press, c1999.
333 p.: ill. (chiefly col.) ; 31 cm.
0932216536 (alk. paper)
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Seattle, WA : Seattle Art Museum : Distributed by the University of Washington Press, c1999.
0932216536 (alk. paper)
general note
Published in conjunction with the exhibition held at the Seattle Asian Art Muesum, Aug. 19, 1999-Feb.13, 2000; Los Angeles County Museum of Art, Apr. 13-July 31, 2000 and organized by the Seattle Art Museum.
catalogue key
Includes bibliographical references (p. 319-326) and index.
A Look Inside
Full Text Reviews
Appeared in Library Journal on 1999-11-15:
This catalog, published in conjunction with an exhibit at the Seattle Art Museum, features more than 80 works of over 40 Kyoto nihonga artists in the Griffith and Patricia Way Collection. Focusing principally (but not exclusively) on two central figures, Tsuji Kako and his pupil Tomita Keisen, the catalog successfully explains the evolution of the Kyoto nihonga style. Essays by scholars bring to light the fundamental elements related to this late 19th-century and early 20th-century art movement, a painting style influenced by Western and yet anchored in Japanese tradition. Contributors discuss a wide range of issues that provide the crucial context for this work. Stunning full-color illustrations are accompanied by biographical information about each artist and short, narrative entries on his or her work. Edited by two Japanese art historians, and containing a chart of nihonga-related institutions and major exhibitions, this book could stand proudly on the shelf of any research library.ÄLucia S. Chen, NYPL Copyright 1999 Cahners Business Information.
Appeared in Choice on 2000-02:
In a world almost consumed by modern and, especially, contemporary art, the casual reader might be deceived by the title of this exhibition catalog, filled with "pretty pictures." A better title might be "Early Modern Masters," as the 44 artists were all born in the 19th century. But the serious reader will discover and come to understand a very different "modern" world, well elucidated by scholars Morioka and Berry in two introductory essays. Entries for the artists follow under three headings, the first devoted to the "emergence" of the Kyoto school and the last to its "flowering," while the second discusses two artists (Kak=o, d. 1931, and his pupil Keisen, d. 1936) whom the authors deem as central. Consequently they are shown in 23 good color illustrations, whereas the others generally get only one or two. In essence, the story is one of painters stretching older Japanese traditions, and the results are often subtle indeed but also sometimes startling. Readers of all stripes must put their Western biases aside and profit from a very different definition of "the modern." Documentation; bibliography--mostly in Japanese. General readers; undergraduates through faculty. J. O. Caswell; University of British Columbia
This item was reviewed in:
Library Journal, November 1999
Reference & Research Book News, November 1999
Choice, February 2000
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Table of Contents
Forewordp. 6
Acknowledgmentsp. 8
Authors' Acknowledgmentsp. 9
The Way Collection: An Assessmentp. 10
A Collector's Viewp. 12
Introductionp. 16
Institutions Related to Kyoto Nihongap. 28
The Relation of Japanese Literati Painting to Nihongap. 32
A Reexamination of Tsuji Kako's Art and Careerp. 40
Artists in the Exhibitionp. 55
Cataloguep. 57
Emergence of Kyoto Nihongap. 58
Kako and Keisenp. 142
Flowering of Kyoto Nihongap. 186
Appendicesp. 296
Concerning Boxes for Storing Scroll Paintingsp. 296
Box Inscriptions, or Hakogakip. 298
Signatures and Sealsp. 302
Bibliographyp. 319
Indexp. 327
Table of Contents provided by Syndetics. All Rights Reserved.

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