Japanese Woodblock Prints: Artists, Publishers and Masterworks: 1680 - 1900
Andreas Marks
(Author)
Stephen Addiss
(Foreword by)
21,000+ Reviews
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Description
An unparalleled survey of Japanese woodbloack prints from 1680 through 1900 -- with over 500 color prints, and detailed histories of both the artists and the publishers of this famous art form. Japanese woodblock prints, or ukiyo-e, are the most recognizable Japanese art form. Their massive popularity has spread from Japan to be embraced by a worldwide audience. Covering the period from the beginning of the Japanese woodblock print in the 1680s until the year 1900, Japanese Woodblock Prints provides a detailed survey of all the famous ukiyo-e artists, along with over 500 full-color prints. Unlike previous examinations of this art form, Japanese Woodblock Prints includes detailed histories of the publishers of woodblock prints--who were often the driving force determining which prints, and therefore which artists, would make it into mass circulation for a chance at critical and popular success. Invaluable as a guide for ukiyo-e enthusiasts looking for detailed information about their favorite Japanese woodblock print artists and prints, it is also an ideal introduction for newcomers to the world of the woodblock print. This lavishly illustrated book will be a valued addition to the libraries of scholars, as well as the general art enthusiast.
Product Details
Price
$49.95
$46.45
Publisher
Tuttle Publishing
Publish Date
May 20, 2010
Pages
336
Dimensions
9.4 X 12.0 X 1.2 inches | 4.18 pounds
Language
English
Type
Hardcover
EAN/UPC
9784805310557
BISAC Categories:
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About the Author
Andreas Marks is the Director and Chief Curator of the Clark Center for Japanese Art and Culture. He has a master's degree in East Asian art history from the University of Bonn, Germany, and a Ph.D. in Japanese Studies (on a thesis on nineteenth-century actor prints) from Leiden University, the Netherlands. As a specialist in Japanese prints, he is an advisor to the San Diego Museum of Art. He has published widely in Europe, the United States, and Japan, and curated several exhibitions on various aspects of Japanese art. Dr. Stephen Addiss is Professor of Art at the University of Richmond. He is a composer, musician, poet, painter and Japanese art historian, and is the recipient of four grants from the National Endowment for the Humanities and one from the National Endowment for the Arts. He has published thirty-six books or exhibition catalogs, including Old Taoist: The Life, Art and Poetry of Kodojin; The Resonance of the Qin in Far Eastern Art; and The Art of 20th Century Zen.
Reviews
"The presentation is practically all-inclusive, covering artists and publishers from the 1660s to the 1940s. Impeccably researched with an exhaustive bibliography, this is a work that demonstrates the highest level of scholarly achievement." --CHOICE: Current Reviews for Academic Libraries
"Marks's (director & chief curator, Clark Ctr. for Japanese Art) clear, informative text, while valuable for scholars beginning research, also remains accessible to the average reader. With excellent production values and a modest price, this volume is recommended for all libraries, academic and public." --Library Journal
"The meticulous organization of information notwithstanding, it is the prints which are the chief pleasure of the book: 523 prints that bring to life a Japan of heroic tales, beautiful women, ghosts, warriors, demons, and spring cherry blossoms. The exuberance of color, motion, and expression, all carefully arranged, make this a book for scholars and browsers, serious collectors and hedonists alike." --ForeWord Reviews
"This is a beautiful book, and the publisher section makes it stand out [ ... ] as a valuable guide for print identification." --Wood Block Dreams blog
"Marks provides the kind of concrete biographical details that most art historical treatments, more focused on style, genre, and influences, would pass over. And, besides, even for a minor artist like Eizan, we're given five full-color images of examples of his work, one of them a full-page illustration, giving us a sense at a glance of his style--we don't need it described out in lengthy paragraphs. So, in this way, I do think that Marks' book is a wealth of knowledge, a real deep, solid, source to consult for names and dates and the like, a true compendium of artists. The fact that Marks includes publishers at all is also fairly revolutionary, since 'traditional' scholarship on ukiyo-e has always focused on artists almost exclusively, elevating them, and all but ignoring publishers and others involved in the process." --Nubui Kuduchi blog
"Marks's (director & chief curator, Clark Ctr. for Japanese Art) clear, informative text, while valuable for scholars beginning research, also remains accessible to the average reader. With excellent production values and a modest price, this volume is recommended for all libraries, academic and public." --Library Journal
"The meticulous organization of information notwithstanding, it is the prints which are the chief pleasure of the book: 523 prints that bring to life a Japan of heroic tales, beautiful women, ghosts, warriors, demons, and spring cherry blossoms. The exuberance of color, motion, and expression, all carefully arranged, make this a book for scholars and browsers, serious collectors and hedonists alike." --ForeWord Reviews
"This is a beautiful book, and the publisher section makes it stand out [ ... ] as a valuable guide for print identification." --Wood Block Dreams blog
"Marks provides the kind of concrete biographical details that most art historical treatments, more focused on style, genre, and influences, would pass over. And, besides, even for a minor artist like Eizan, we're given five full-color images of examples of his work, one of them a full-page illustration, giving us a sense at a glance of his style--we don't need it described out in lengthy paragraphs. So, in this way, I do think that Marks' book is a wealth of knowledge, a real deep, solid, source to consult for names and dates and the like, a true compendium of artists. The fact that Marks includes publishers at all is also fairly revolutionary, since 'traditional' scholarship on ukiyo-e has always focused on artists almost exclusively, elevating them, and all but ignoring publishers and others involved in the process." --Nubui Kuduchi blog
