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The Lure of the West European Elements in the Art of the Floating World

8 the poem from which the kyoka verse in the print

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Unformatted text preview: 55.The author is gratefulto Dr. BerndJesse,Assistant Curatorof JapaneseArt at the Art Institute,for pointing out the ancient anthologies cited here and in note 8 below. 8. The poem from which the kyoka verse in the print was derived comes from Kokin wakashu ("Collection of Japanese Poems from Ancient and Modern Times"), dated to 905. See Kodansha Encyclopediaof Japan (note 7). See also Roger Keyes, The Art of Surimono, Privately PublishedJapanese Woodblock Prints and Books in the ChesterBeatty Library,Dublin (London, 1985),vol. I, p. 222, for a more extensive explanation of classical relationships in this work by Hokusai. 9. See Matthi Forrer, Hokusai, with texts by Edmond de Goncourt (New York, 1988), pp. 238-41, for the background and relationship of the Matching Game and Horse surimono series by Hokusai. 10. See Keyes (note 8), pp. 25-26, for a discussion of the possible role of Shummanand other artistsin the actualproduction of surimono. ii. Department of Asian Art file, The Art Institute of Chicago. 12. Other letter papers in the collection primarily depict landscape and kachoga (flower-and-birdpictures). 13. Ukiyo-e artists were familiar with such "do-it-yourself" projects, especially woodblock-printed fan papers, which included instructions for cutting out and affixing the print to a fan frame. See The Art Institute of Chicago, The Actor's Image: Print Makers of the Katsukawa School, essays by Timothy T. Clark and Donald Jenkins, entries by Timothy T. Clark, and catalogue by Osamu Ueda (1994),pp. 208-13, pls. 72-73, for examples of fan-shaped woodblock prints by Katsukawa Shunsh6 (1726-1792), designed to be cut and mounted as fans. 14. See Julia Meech, "Reinventing the Exotic Orient," in Kansas City, Mo., Nelson-Atkins Museum of Art, Japonisme Comes to America: TheJapanese Impact on the GraphicArts, 1876-1i925, exh. cat. by Julia Meech and Gabriel Weisberg (g199o), pp. Igo-9I, for a brief discussion of the background of early Chicago collectors of Japanesewoodblock prints. See also Julia Meech, "Frank Lloyd Wright and The Art Institute of Chicago," Orientations 23, 6 (June 1992), pp. 72-73. For a general overview of the history of the Asian art collection of the Art Institute, see Elinor L. Pearlstein, "The Department of Asian Art," in The Art Institute of Chicago, Asian Art in TheArt Institute of Chicago, cat. by Elinor J. Pearlstein,JamesT Ulak, et al. (1993),pp. 7-9Helen Gunsaulus was the daughter of Frank Gunsaulus-a friend of many 15. Chicago print collectors, president of the Armour Institute of Technology, and the man for whom the Art Institute's Gunsaulus Hall is named. " LITTLE,The Lureof the West: EuropeanElements in the Art of the Floating World," p. 74-93. p I. For an excellent discussion of the historical background of the Dutch presence in Japan in the seventeenth century, see Donald Keene, The Japanese Discovery of Europe, 1720-i830 (Stanford,Calif., 1969),pp. 1-15. 2. On this subject, see Keene (note I), pp. 61-733. Published in The Art Institute of Chicago, Ukiyo-e Prints and Paintings: The Primitive Period, 1680-1745, exh. cat. by Donald Jenkins (1971), pl. 1I1; Julian Lee, "The Origin and Development of Japanese Landscape Prints" T (Ph.D. diss., University of Washington, 1977), fig. 37; and Ukiyo-e shu-ka: he Art Institute of Chicago (Tokyo, 1980), vol. I, pl. 28. Lee demonstrated the likelihood that Masanobu's contemporary Torii Kiyotada was probably the first artist to create perspective prints (see pp. 63-115). Museum Studies This content downloaded from on Sun, 29 Sep 2013 20:18:18 PM All use subject to JSTOR Terms and Conditions 95 NOTES 4. The most important study to date of this subject is Lee (note 3), chap. 4 ("The Origin of Uki-e"); see especially pp. 223-45, on the probable influence on artists such as Masanobu of Nian Xiyao's Shixue jingyun ("Detailed Guide to the Study of Vision"), with prefaces dated to 1729 and I735. The Shixue jingyun was an adaptationof Andrea Pozzo's PerspectivaPictorum et Architectorum (Rome, 1693-1700). 18. Published in Bulletin of The Art Institute of Chicago 67, 3 (May-June 1973), back-cover ill. For prototypes by Hokusai, see Tokyo (note 17),pls. 57-61. 5. Timothy Screech, "The Meaning of Western Perspective in Edo Popular Culture,"Archives of Asian Art 47 (1994),p. 59;see also Calvin French, Shiba K6kan (New York and Tokyo, 1974),pp. 8o-81. 20. For other impressions, see Hosono (note 9), pl. 69; and Richard Lane, Images from the Floating World(New York, 1978),fig. 524. 6. Published in The Art Institute of Chicago, The Clarence Buckingham Collection ofJapanese Prints: The Primitives, cat. by Helen C. Gunsaulus see also Lee (note 3), fig. o107. (I955),P. 185; Colossus of Rhodes,"in PeterA. Clayton and MartinJ. Price, The Seven Wonders of the Ancient World(London and New York, 1988),pp. 124-38. 7. Published in Donald Jenkins, "An Eighteenth-Ce...
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