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
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
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.
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.
Julian Lee, "The Origin and Development of Japanese Landscape Prints"
(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 22.214.171.124 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.
(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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