Monday, February 25, 2019

Let It Snow

We have had several snowfalls in the past couple of weeks. On Presidents’ Day I found myself staring at a snow-laden tree across the street and thinking, that looks like a Japanese woodcut of a snow-laden tree. The whole process of multiple woodblock prints of the ukiyo-e period (ca. 1660s–1860s) was so complicated, I imagine snow scenes were just another one of those complications. Below are three examples of the beautiful woodcut technique used by ukiyo-e block-cutters to create snow scenes from brush drawings by the artists.

Let’s first establish the hierarchy of tasks in the ukiyo-e woodcut print process:

1) The artist draws the composition for the print, and gives instructions to the printer for what colors go where.
2) The woodblock carver(s) cut different blocks each for one color as indicated by the artist.
3) Each block is printed, starting with the block bearing the contour lines of the composition.
4) The publisher inspects quality.
5) Tokugawa censors inspect the prints to approve that they did not contain any political or anti-social content and put their seal on the print

The tedious process of producing prints from the artists’ drawings began with an outline drawing (sen-gaki) of all of the contour lines that established the major forms of the composition. This was traced from the artist’s original drawing using minogami paper that was thin enough to trace with. The resulting traced image was transferred to the woodblock and became the foundation block for the finished print called hanshita-e.

As each block was carved for from nine to twelve colors, they were aligned during printing along an L-shaped mark in the lower right corner of each separate sheet. 

Katsushika Hokusai (1760–1849), Snow on the Sumida River, from the series Snow, Moon and Flower, ca. 1832. Color woodcut print on paper, 9 13/16" x 14 15/16" (25 x 38 cm ). © 2019 Philadelphia Museum of Art. (PMA-1406)

Hokusai is undoubtedly responsible for the popularity that evolved for series of landscape prints. This was based on his series Thirty-Six Views of Mount Fuji, produced between 1826 and 1830. Hokusai explored the possibility of atmospheric snow scenes more than any previous ukiyo-e artists. His drawings would indicate which colors went where. I’m wondering if the woodblock carvers were relieved to do snow scenes that used the paper as the negative space?

In Snow on the Sumida River, the introduction of Western chemical inks (aniline) gave the printers who inked the carved blocks extra steps to do. The artist would indicate where he wanted the colors in his original drawing, including areas that should be rubbed to give the effect of gradated color, seen in this print in the foreground water and background sky. 

Utagawa Hiroshige I (1797–1858), Evening Snow on Asuka Mountain, block #1 from the series Eight Views in the Environs of Edo, ca. 1838. Color woodcut print on paper, 9" x 14 9/16" (23 x 37 cm). © 2019 Brooklyn Museum. (BMA-840)

Of all the ukiyo-e artists who specialized in landscape prints, Hiroshige was undoubtedly responsible for refining the atmospheric snow scenes with which we are now so familiar. His directions to the block carvers established the practice of depicting falling snow by putting tiny gouges into the blocks printing the dark colors of the composition. This is clearly seen in Evening Snow on Asuka Mountain in the sky and also in the shading in the bottom of the print.

Hiroshige produced more than 1500 snow scenes during his career. When Hokusai’s Thirty-Six Views of Mount Fuji was published, Hiroshige was still producing prints of bijin-ga (beautiful women) and Kabuki actors. Inspired by the range of possibilities in landscape composition, he produced his first series Famous Places in the Eastern Capital in the early 1830s.

Ohara Koson (1877–1945), Willow Bridge in Winter, 1918. Color woodcut print on paper, 14 5/16" x 9 ½" (36.3 x 24.2 cm). © 2019 Worcester Art Museum. (WAM-333)
The ukiyo-e style of prints of everyday life, beautiful women, actors, and landscapes waned in popularity as Japan rapidly westernized at the end of the 1800s. In the early 1900s, artists who reacted against the rapid industrialization of the country attempted a revival of the style in the shin hanga (new print) and sosaku hanga (artistic print) movements. Shin hanga copied the old hierarchy of artist-block carver-publisher, while sosaku hanga artists drew the composition, carved the blocks, and made the prints themselves.

Ohara Koson is considered by many scholars to have been one of the foremost of the shin hanga artists. He certainly emulated beautifully the snow scenes of Hiroshige. As you can see in Willow Bridge, he made sure that the artists indicated the falling snow by putting little gouges in the woodblocks carved for the colors of the sky, the water, the railings, and even the garments on the two pedestrians.

Correlations to Davis Programs: Experience Printmaking: 4; The Visual Experience: 3.5;  The Visual Experience: 13.5

Monday, February 11, 2019

African American (Art) History Month I

Grafton Tylor Brown (1841–1918, US), View of Yosemite Valley, 1886. Oil on canvas, 29 ¾" x 17 ½" (75.6 x 44.5 cm). © 2019 Brooklyn Museum. (BMA-4841)

When we usually read about the Rocky Mountain School of painting, we are presented with artists like Albert Bierstadt (1830–1902), Thomas Hill (1892-1908), and Thomas Moran (1837–1926). This school (a loose term to indicate similar subject matter) is credited with portraying the newly opened western territories of the US to easterners. One of the hopes was to encourage migration, which, unfortunately for the environment and the indigenous peoples, happened en masse.

African Americans somehow escape that discussion. For African American History Month, you will observe that black artists, too, were part of this artistic phenomenon in the West. When California joined the Union as a free state in 1850, many free African Americans migrated there. Although the Fugitive Slave Act meant that slaves taken to California remained so, blacks continued to move west, numbering 2000 in California by 1852.

Grafton Tyler Brown is the first-known African American artist on the west coast of the US. Born in Harrisburg, PA, it is unknown whether his family moved to California when he was a child, or whether he migrated as a young man. He was settled in Sacramento in 1858, where he taught himself art. By 1862, he was an established lithographer with a land management firm in San Francisco. He painted and drew new settlements around the city, afterward committing them to lithography.

By 1865, Brown was well-known enough to set up his own lithography business, Grafton T. Brown and Co. His lithographs of growing early California were in great demand in the East. While managing this business, he traveled throughout California, Oregon, and Washington, producing paintings and sketches of the grandeur of the new territories.

In 1871, Brown sold his lithography business to concentrate full time on painting landscapes. He is not known to have produced portraits or still life, simply landscapes. He documented, like Bierstadt and Hill, views of the mountains and valleys between California and Colorado. However, unlike the romantic element injected into grandiose views of the West by other Rocky Mountain painters, Brown’s tended to be more topographic, in the matter-of-fact views on postcards. He typically painted from a birds-eye view with little reference to human beings.

Drawn to views of snow-capped mountains, Brown moved to Victoria, British Columbia, in 1882 and then Portland, Oregon, in 1885. Unfortunately, Brown’s paintings did not achieve the popularity of his lithographs, which were usually credited to his company rather than his name. Additionally, eastern galleries and museums would not exhibit works by African Americans. In 1893 he gave up painting entirely and moved to Saint Paul, Minnesota, to be a draftsperson for the US Army Corps of Engineers.

Monday, February 4, 2019

Gem of the Month: Nan Madol


Because 2019 is well into my eleventh year posting this blog, I’ve decided to initiate a new monthly feature for this year: Gem of the Month. As a fellow art historian, I know all too well their inclination to pretend they know everything about every art movement and artist that ever happened (usually as a way of steering attention to themselves at an Art Department cocktail party). But that is humanly impossible. On a weekly, almost daily, basis I discover some hidden treasure of art history fact that seldom appears in “mainstream” art history. Thus, the purpose of this new series. 

Micronesia, Walls of Nan Madol, Pohnpei state, Madolenihmw district, Federated States of Micronesia, ca. 1100s–1500s. Image © 2019 Tara Sturm. CC BY-SA 2.0

Although you are probably familiar with dynasties in a variety of regions of the world, the idea of dynasty is not conjured up when studying Oceanic cultures. And yet, the islands of the South Pacific are so far-flung and numerous, it makes sense that there had to have been some. Case in point, the Saudeleur Dynasty of Micronesia, which flourished between the 1100s and 1600s CE.

Migrants thought to have come from the area of Taiwan called Austronesians are believed by scholars to have settled Micronesia by about 1800 BCE. Micronesia—consisting of 2000 islands, coral atolls, and volcanic mountains—is 2,900,000 square miles (7,400,000 square kilometers) in size (wow!). The Federated States of Micronesia consists of 600 islands acroos one million square miles (2,590,000 square kilometers). Formerly the Eastern and Western Caroline Islands, it consists of four states: Pohnpei, Yap, Chuuk, and Kosrae.

Pohnpei is the largest island. The Lapita, one of the many diverse cultures that made up the Austronesian migration, are thought to have populated Pohnpei from the Solomon Islands to the south. Pohnpeian tradition suggests that the Saudeleur dynasty began with the arrival of foreigners from a mythical island called Western Katau or Kanamwayso. Their intention was to build a religious center and established autocratic control over the entire island. They built Nan Madol as a religious/political center.

Micronesia, Walls of Nan Madol, Pohnpei state, Madolenihmw district, Federated States of Micronesia, ca. 1100s–1500s. Image © 2019 Tara Sturm. CC BY-SA 2.0

Nan Madol means “water between,” referring to the water channels between the basalt foundations of the ruins.
The basalt was quarried on the western side of the island. It is the only ancient city in the world built entirely on coral reefs, consisting of stone and coral-fill platforms on top of ninety-two artificially built up islands. The city encompassed palaces, temples, residences, and tombs.

Although the culture did not have pulleys, horses, or metal, they built walls forty-nine feet (fifteen meters) high in some spots and as thick as sixteen feet (five meters). The columnar basalt pieces were laid in a header-and-pitcher pattern filled in with rubble (smashed coral). They are thought to have been raised with the help of palm tree trunks as levers. The walls were raised on platforms only three feet (ninety centimeters) above the water.

Nan Madol, as a ceremonial center, is comparable in size and layout to the Mayan ceremonial/urban centers of Central America. The kings of Pohnpei ruled the island until the 1800s when the city was abandoned. Because there are no written records, much information about the culture has been handed down orally. Specifics about the religion or society are basically sketchy. It was likely abandoned before the 1830s, when German explores documented Nan Madol as “ruins.”