How To Buy Paintings Online For Your Home

Your home is your sacred space, and it is necessary to decorate it well. This is necessary so that you look around your home and like what you see; it gives you that sense of being at peace in your own home.

Home decor is very important for your family too. Everything in your house should give you a welcome feel. This is also true for guests who visit your home. After all, you do want them to like the kind of home that you have. The artwork exists at the very core of home decor, and original canvas art can take your home to new heights. It gives a different outlook to your house.

It is rather easy to buy paintings online these days because there are so many sites to choose from. However, not all of them have the best galleries or paintings that they portray in their homes. So, this can get quite disappointing after a while, and it will be a waste of money too if you don’t know where to look for.

Things to consider before buying

You can easily find an online art gallery but finding one that is worth your time and money is difficult. But here are some things you should keep in mind before investing in canvas paintings or anything else.

• You should only buy what you love. At the end of the day, it is your home, and you will be staying there all the time. So, whether it is modern art paintings or even simply a painting of a waterfall on a blank wall. You should be passionate about what you choose. Many people choose paintings on canvas because of their old school texture and feel.

• If you are a genuine collector of art, then keep in mind the value of the art you purchase. Consider purchasing only from an original art gallery so that you can ensure its authenticity.

• Content should also be an important factor. Especially if you are an art enthusiast. What the painting is about and what it says to the world should also be important.

• When you go to any art gallery website, keep in mind the color scheme of your house and how well the artwork suits your general decor.

• Oil paintings are not very popular these days, but they can still be found online if you search the web long enough. You will need to skim through quite a few sites to find them.

The importance of art

Art is something that portrays your personality to the world whether you create art or simply display it in your home. It tells the world about the things you like, the things you are passionate about and the things that catch your eye. They are quite the conversation starter. So when you venture out to buy paintings, you should definitely look online first.

In the online store, you can find all the art you want. Whether you’re a collector, or want something original, or just looking for ideas to decorate your home, you can find everything you need if you find them in the right manner.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Yelena Dyumin

Tip on Pencil Portrait Drawing – Six Elements of Portrait Drawing

Drawing in general entails four distinct elements: line, value, texture, and form. In the special case of pencil portrait drawing we can refine the list of elements to six: form, proportion, anatomy, texture, value, and planes.

In this article we will give a detailed description of each of those pencil portrait drawing elements.

(1) Form or Shape – The illusion of three-dimensionality in drawing and art in general has been central to Western art for centuries. The carving out of form using line, structure, and value was a vital component of almost all Renaissance art.

On the other hand, oriental and lots of contemporary art emphasize flatness of form although this period in contemporary art is drawing to a close.

All form in drawing can initially be reduced to 4 basic 3-dimensional solids: bricks, cones, cylinders, and spheres. The proper use of these forms together with perspective and value leads to the illusion of 3-dimensionality even though the drawing is, in actuality, located on a 2-dimensional sheet of drawing paper.

In portrait drawing, the arabesque of the head, the square structure of the head, and all components within the head (nose, eyes, etc.) are all 2- and 3-dimensional forms that contribute to the overall illusion of 3-dimensionality

(2) Proportion – includes all sizing and placements of form. Proportion refers to the concept of relative length and angle size.

Proportion gives answers to these two questions:

1. Given a defined unit of length, how many units is a particular length?

2. How large is this particular angle? Answering these two questions consistently correctly will yield a drawing with the correct proportions and placements of all form.

(3) Anatomy – refers essentially to the underlying structures of bone and muscle of the head.

It is important to learn as much as you can about anatomy. There are many books available on anatomy for artists. For a portrait artist it is particularly important to understand the anatomy of the head, neck, and shoulders.

Anatomy studies unfortunately include a lot of Latin terms which makes it somewhat difficult to grasp. The idea is to study slowly and a little bit at a time because it can be quite frustrating.

(4) Texture – in portrait drawing expresses the range of roughness or smoothness of the forms. The rough texture of a concrete walk way, for example, is quite different from the smoothness of a window.

There exist several techniques and tricks to help you with the creation of the correct textures. Creating textures is an area in drawing that gives you the opportunity to be very creative and to use every possible type of mark you can make with a pencil. In portrait drawing textures occur in places such as hair, clothing, and skin.

(5) Value – refers to the variations in light or dark of the pencil marks and hatchings. Powerful portrait drawings employ the full palette of contrasting lights and darks. Beginning artists often fail to achieve this full “stretch” of value, resulting in timid, washed-out drawings.

(6) Planes – produce the sculptural sensibility of a portrait. The head has numerous planes each with a different direction and therefore with a different value.

The idea is to think of the surface of the head as a collection of discrete planes with a certain direction relative to the light source. You should try to identify each of the planes and draw its correct shape and value.

The correct handling of planes contributes very much to the likeness of your subject as well as the illusion of 3-dimensionality.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Remi Engels

Tea, Spirituality and The Japanese Tea Ceremony: An Interview with Michael Ricci

Michael Ricci was weeding the Tea House garden when I arrived for our interview. We sat in front of the little tea “hut” at Buddhist-inspired Naropa University in Boulder, Colorado where in just one hour I would scoot through the tiny doorway on my knees to participate in my first Japanese Tea Ceremony along with his students and other newcomers.

Michael found the Tea Ceremony (Chado) through Japanese Zen Buddhism. “I started reading about Zen and I kept coming across references to tea. I called up Naropa and they happened to be offering their first class on it through the extended studies program. There was one position left. I came and immediately fell in love with it.” He adds, “It seemed like the perfect way to understand more about Zen and start doing something contemplative alongside my meditation. It was a spiritual path that made sense to me.”

“Everything the Japanese do turns into an art, and that’s the way they treat tea. Keeping the tradition alive is serious, and the rules are very important to them. The Japanese Tea Ceremony incorporates almost all of the traditional Japanese arts–flower arranging, calligraphy, laquerware, ceramics, bamboo, wood. I’m an artist so I just fell in love with all of it.”

Michael spent two years studying Tea with Hobart Bell, head of the Boulder Zen Center before being accepted to study at Urasenke Headquarters in Kyoto under the guidance of 15th Generation Grand Tea Master of the Urasenke lineage of tea, which is the largest practicing tea lineage in the world. Here he was immersed in traditional Japanese culture and etiquette, learning all facets of Japanese Tea. But he had only scratched the surface after one year of study, so he stayed another year and a half. After that, he says, “I moved into a Zen Buddhist temple and trained alongside the monks. I didn’t take vows, but I lived the life of a monk for 6 months.”

It is from this humble state of mind that Michael shares his knowledge through his tea classes and his art.

“There are two ways to enjoy tea between host and guest. The first, Chaji, is a formal several-course meal that can last four to five hours. The abbreviated version, called Chakai, is simply a sweet and a bowl of tea.”

Michael was teaching the day I was there, so each of his students performed the short version tea ceremony one by one over four hours’ time.

There are no distractions inside the teahouse. Michael explains, “You’re sitting on your knees in a very small room for 4 hours in a very intimate atmosphere. The dialogue is stripped down. Everything is designed to keep focus on the moment and to completely forget about the world outside of the teahouse.”

“The little door, called nijiriguchi , was designed for everybody to bow their heads as they enter the tea room. Shoguns and Samari might be sitting next to peasants. They would have to take off their swords and leave them outside, bow their heads and humble themselves because inside the tea room everybody is the same.” Nowadays, he says, we take off our rings, jewelry and watches. “Anything that says ‘This is Me,’ or that takes us outside of the tearoom. Tea Ceremony is a timeless realm in a bottle.”

The ceremony is an expression of harmony, respect, purity, and tranquility through each deeply symbolic gesture–a graceful choreography between host and guest.

Koicha is abowl of ‘thick tea,’ made with a lot of Matcha (powdered green tea) and less hot water. One bowl is shared between all 3 to 5 guests. The host serves the tea to ‘First Guest,’ (who is not a beginner and can model tea etiquette). First Guest bows to Second Guest and says in Japanese “Excuse me for taking my tea before you.” Second Guest bows, too. First Guest drinks their share, turns and wipes the bowl’s edge in a specific way with a paper napkin, and then passes it to Second Guest. Michael says, ” Koicha is the most intimate part of the gathering, sharing the bowl like that.” An initiation of sorts, I thought.

‘Thin Tea,’ Usucha , is more water and less tea, but only about three and a half sips. “It’s just enough to quench your thirst. It’s powder and it’s not steeped. It is whisked,” Michael explains. ” During ‘Thin Tea’ the host makes each guest a bowl of tea from the same bowl. They each take turns first eating their sweet then drinking the tea.” First Guest receives the bowl of tea, drinks it, passes it back to the host who wipes it, cleans it, and gives the next guest their bowl of tea in that same bowl. A watery sweet made of bean paste was served to refresh us that summer day.

Soon each guest in turn examined the utensils–scoop, bowl and whisk–and inspected the bright green valley in the bowl from which a portion of Matcha had been skillfully scooped by the host when the tea was prepared. As the host retreated to the tiny kitchen, the conversation between guests turned to appreciation of the warm weather, the tea, the teahouse. My body tingled with a feeling of wellbeing. Was it the L-theanine in the green tea? Or a result of paying close attention to every movement?

My mind arrived at stillness, like tea leaves settling on the bottom of a cup.

*****

Michael Ricci is a tea practitioner who teaches the Japanese Tea Ceremony and its related arts and cultural influences. He studied the art and craft of making tea utensils in the traditional Japanese pottery style called Raku, invented in Japan over 400 years ago specifically for the tea ceremony. He makes tea utensils from clay, bamboo and wood, which you can see during one of his classes or special event tea ceremonies. He has lectured and held demonstrations at pottery studios, universities and art organizations along the Front Range in Colorado, USA. Contact Michael at (970) 530-0436.

copyright 2005 Terry Calamito

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Makler Heidelberg



Source by Terry Calamito

Overcoming Artist’s Block (Part 1)

How many times does an artist stare down at that blank piece of paper thinking “What on earth do I paint – Where do I put my first mark?” More often than you would imagine! It happens to all creative people actually, from visual artists, designers, poets, through to musicians and writers.

When this situation arises, you are in the grip of creative block. When you wrack your brains to come up with ideas but just can’t seem to. There may be contributing factors to this state, such as tiredness, depression, environmental, physiological or psychological issues. On the other hand you could just be experiencing a period of simple low creativity.

When this happens there are a few things you can do to restore your creativity levels at will, however what you must not do is worry or fret about it. If the worst comes to the worse and you don’t seem to be able to produce any work, simply regard the period as a ‘holiday’ or a rest. Your creativity level WILL rise again. In the meantime, utilise the time spent not creating

to do positive things anyway.

Research other artists’ work. Visit galleries or surf the net and see what other people are doing. Join artists’ chat rooms or visit message boards or forums where you can exchange ideas and views with other artists. Just talking to other creative people can give you a real buzz! You might even make some new friends in the process.

Spend the time you are not actually producing art, by increasing your marketing efforts. Send postcards to galleries, research upcoming local art fairs or events where you could possibly take a booth to sell your art. Have some leaflets or brochures printed up all about yourself and your work. Take a couple of days out of your schedule and do a local neighbourhood leaflet drop.

Update your website or online portfolio. You may think it’s already perfect but it’s not often that things can’t be improved or sharpened in some way. Update your artist’s statement; put new ‘zing’ into your descriptions.

If you really can’t face doing anything concerning your own artwork, visit the theatre, go to a pop concert, browse local museums. Go to a restaurant or coffee bar with friends and have a (non art related) natter.

Use the time to take a complete break, if this is what works best for you. You will instinctively know when the time is right to ‘go back’ to your art. When this happens there are lots of techniques you can use to get back into the swing of high creativity. These I explore in my article ‘Overcoming Artist’s Block (part 2)’.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Gail Miller

What Goes Into the Making of Japanese Hand Fans?

Japanese hand fans, especially the folding fans, are easily cherished as an Asian masterpiece, a work of art, and gift for all occasions as not only do they represent the first folding fans ever made in history, they also flaunt exquisite craftsmanship and stylish versatility.

While coming in different types, Japanese fans are, basically, a collective effort of Japanese hand fan artisans, who carefully select the materials for their ribs and craft them into hand fan frames, and hand fan artists, who create the beautiful designs on their leaf or front. Several techniques and tedious processes are required to make a Japanese fan, and such include the following:

Choose the right quality of bamboo, wood, or sandalwood to make for the hand fans’ ribs.

Japanese fans are, traditionally, made of bamboo, which is picked usually according to their age and pliability for easy carving and craftsmanship. Bamboo is then shaved to reveal the creamy-white color of its wood and it is then cut to the length, thinness, shape, and size of the folding fans’ ribs, and then smoothed to prepare them for carving.

Carve the bamboo to make them decorative as ribs for the folding fan.

Today, carving machines and carved hand fan ribs of different patterns that serve as design templates are available to make the designing and carving of the ribs fast, uniform, and easy. However, in the olden days, every step that is needed to carve each Japanese hand fan’s rib is done by hand, which process includes the planning of a prospect design on and individually making holes on the bamboo until they complete as a decoration.

Polish each carved wooden rib to make them both neat and smooth for holding.

The bamboo ribs are then smoothed with sandpaper to make them both neat and smooth for holding. If intended to be used without paint, hand fan ribs at this stage are ready to be gathered with a metal rivet and used as frame for the final product.

Paint or lacquer each wooden rib and then secure with a metal rivet.

Painting and lacquering, which yields an elegant gloss, are two (2) of the common techniques that are used to color and design a Japanese fan’s ribs. After which, they are then gathered in sets, including the thicker ribs or guard sides, and then secured altogether at one end with a metal rivet, which helps them to pivot or open and close in a sweeping motion.

Finish each Japanese fan with its fabric leaf or any decorative design.

Normally, the featured design of a Japanese fan is separately done by a hand fan artist, painter, or pyrography artist and many others. After decorating or attaching the fabric leaf, the finished product is then gently folded and wrapped with a small washi paper that helps to keep it tightly closed and secured.

To use a new Japanese folding fan, open and close it carefully until its folds are properly established. Hold your folding fan with one hand and enjoy its refreshing breeze with a gentle fanning motion.

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Makler Heidelberg



Source by Anne Therese

Residential Painting Contractors

This is a professional who paints exterior and interior walls, the trim, and porches on a home. Professional residential painting contractors have specialized knowledge in knowing what the right types of paint to use for a job along with adding details to the painting job such as borders or texturing. There are some that also have the equipment that will allow them to reach places up high such as window shutters or second stories. Their primary job will be to provide paint applications in various homes. They may also work for a builder painting the homes that are being built.

Due to many homes now having vinyl siding that is paint-free homeowners no longer need the outside of their homes painted. There are some homeowners who do prefer the authentic wood look and may still need an exterior painter to do this work. Some residential painting contractors have their own business and will hire work out to subcontractors if they are extremely busy or have a rush job. Other times they may do all the work themselves so they will make a bigger profit.

There are benefits of hiring residential painting contractors instead of the homeowner doing all the painting. In addition to there being less painting for the homeowner the contractor has the special equipment and tools that can help the job go faster, the paint job will have a more professional look to it, and the contractor may have employees to help with the work. Some examples of special equipment and tools can include specialized lifts or ladders, extensions to attach to paint rollers so they can reach higher areas, knowledge how to do decorative details and more. Residential painting contractors are often skilled in many other tasks besides painting. They know how to get walls ready for painting by being able to sand and prime the walls and how to fill in holes and cracks so when it is painted it looks like nothing was wrong with the wall.

When hiring residential painting contractors you want to make sure that they have the experience to do the job. You can find a local contractor by checking with their local phone directory, asking friends and family for references, or looking online. Ask to see their license because in some areas they have to take the same exam as the general contractors. You should also ask how long they have been in business and what specialize training they have. You should also ask if they charge by the hour or by the job and if they give free estimates. Get everything in writing in the contract.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Lora Davis

The Spiral Model: IT Project Management Solutions

The Spiral Model is the neo approach in IT project system development and was originally devised by Barry W. Boehm through his article published in 1985 “A Spiral Model of Software Development and Enhancement”.

This model of development unites the features of the prototyping model with an iterative approach of system development; combining elements of design and prototyping-in-stages. This model is an effort to combine the advantages of top-down and bottom-up concepts highly preferential for large, exclusive, volatile, and complex projects.

The term “spiral” is used to describe the process that is followed in this model, as the development of the system takes place, the mechanisms go back several times over to earlier sequences, over and over again, circulating like a spiral.

The spiral model represents the evolutionary approach of IT project system development and carries the same activities over a number of cycles in order to elucidate system requirements and its solutions.

Similar to the waterfall model, the spiral model has sequential cycles/stages, with each stage having to be completed before moving on to next.

The prime difference between the waterfall model and the spiral model is that the project system development cycle moves towards eventual completion in both the models but in the spiral model the cycles go back several times over to earlier stages in a repetitive sequence.

Progress Cycles, IT Project Management Solutions

For Image: The Spiral Model

The progress cycle of this model is divided into four quadrants, and each quadrant with a different purpose;

Determining Objectives(I)—————–Evaluating Alternatives(II)

*************************************************************

Planning Next Phase(III)——————–Planning Next Phase(IV)

First Quadrant (I): the top left quadrant determines and identifies the project objectives, alternatives, and constrains of the project. Similar to the system conception stage in the Waterfall Model, here objectives are determined with identifying possible obstacles and weighting alternative approaches.

Second Quadrant (II): the top right quadrant determines the different alternatives of the project risk analysis, and evaluates their task with each alternative eventually resolving them. Probable alternatives are inspected and associated risks are recognized. Resolutions of the project risks are evaluated, and prototyping is used wherever necessary.

Third Quadrant (III): the bottom right quadrant develops the system and this quadrant corresponds to the waterfall model with detailed requirements determined for the project.

Fourth Quadrant (IV): the bottom left quadrant plans the next phase development process, providing opportunity to analyze the results and feedback.

In each phase, it begins with a system design and terminates with the client reviewing the progress through prototyping.

The major advantage of the spiral model over the waterfall model is the advance approach on setting project objectives, project risk management and project planning into the overall development cycle. Additionally, another significant advantage is, the user can be given some of the functionality before the entire system is completed.

The spiral model addresses complexity of predetermined system performance by providing an iterative approach to system development, repeating the same activities in order to clarify the problem and provide an accurate classification of the requirement within the bounds of multiple constraints.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Bharat Bista

Near Eastern Painting – Samikshavad – The Contemporary Aboriginal Art of India

Samikshavad – The History

Samikshavad of 1974 was a landmark art movement, as it became the first aboriginal genre in the Modern Indian Art scene, in its true sense. It consciously kept away from any Western influences and established its own distinct identity, as the mark of a ‘free’ India. Samikshavad began as a testimonial of a revolution in Indian Art that meant to reach out to the people, breaking out from the hidden, niche, and mysterious aura attached to it. This art form was a reaction and rejection of the Modern Art forms of the West. ‘Samiksha’ is a Sanskrit word, meaning a critical analysis of a subject, which can extend to broader ones, like lifestyle and socio-political structures. In line with its name, Samikshavad dealt with political sarcasm, political & social corruption, cultural changes, and economical conditions.

Ace painter Prof. Ram Chandra Shukla spearheaded this movement to promote Indianization of domestic art, as opposed to the inclination of his contemporaries towards the Western Modern Art. Prof. Shukla heads the department of Painting at Banaras Hindu University, Varanasi in the state of Uttar Pradesh. In addition, promotional lectures held at and sponsored by various University-level Art Departments at various places, further bolstered the movement. Samikshavad effectively gave voice to its proponents as artists and responsible citizens. Its maiden exhibition was held in the year 1979 at All India Fine Arts and Crafts Society (AIFACS), Delhi. It displayed a vivid collection of twenty-six paintings, in oil medium over canvas. This exhibition was a huge hit and received great critical acclaim. Critics, art-lovers, media, and the viewers, alike, perceived Samikshavad as an art with social purpose.

The Details

Simplistic forms and a degree of Abstraction & Symbolism, captured in a burlesque manner, are distinct features of Smikshavad. The style did not lay undue emphasis on color schemes, lines, brushwork, forms, and the use of space. The focus here was to ‘communicate’ the message in as understandable form, as possible.

The Artists and Artworks

Where there are examples of extremely bright color Samikshavadi compositions like ‘Value of Rupees’ by R. S. Dheer, monochrome works such as G.Madhurkar Chaturvedi’s ‘Democracy of Crowd,’ also mark the art style. Another remarkable work is ‘Politicians of Today’ (1978) painted by Ram Chandra Shukla (born 1925). It depicts a politician as a ‘monster,’ akin to the devils in Indian mythologies. The devil stands over a peasant (representative of the common person), crushing the poor man with his power and pelf.

Among the other leading names associated with the genre are Hridya Narayan Mishra, Santosh Kumar Singh, Virendra Prasad Singh, Ved Prakash Mishra, Ram Shabd Singh, Bala Dutt Pandey, and Ravindra Nath Mishra.

Conclusion

With its powerful imagery and a raw force of expression, Samikshavad remains a popular form of satirical art.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Annette Labedzki

The Advantages of Buying Limited Edition Art

Contemporary artists, just like all artists before them, will have invested an enormous amount of emotional energy, physical effort and creativity into their work and they all want to have their art appreciated and enjoyed by as many people as possible. One way to make this possible is by the production of Limited Edition prints of their work.

Such prints have very much become part of our modern society because they make good contemporary art accessible and affordable to a much wider audience than had previously been possible. During the last 50 years producing Limited Edition Prints has become a standard part of an artist’s career for this very reason. Even the best and most celebrated artists of our time have created them and these should not be regarded as inferior substitutes for an original piece of art but a way to enjoy a piece of exceptional art in your own home.

Current trends in art buying are becoming more and more associated with the decorative merit of a piece rather than collecting art for its own appeal. Many buyers will spend substantial sums on an original painting simply because it matches their decor or, conversely, spend very little on a piece with no artistic merit because it matches their sofa or cushions. It is a shame that very few people first buy art that they love and then use the artwork as the inspiration for their decor. But where these two apparently conflicting approaches actually come together is in the purchase of Limited Edition Art – the buyer or collector can obtain a piece that has artistic merit and a certain amount of exclusivity but is still affordable and, therefore, can be replaced when the decor is changed without too much angst. The artist, obviously, also benefits from the sale of reproductions as they can start to establish or increase their reputation as more of their works become known to the art-buying public.

Advances in technology mean that giclee prints are now far superior to the traditional lithographs used for Limited Edition Art in the past. Up to date printing processes result in an image that has richness and depth of colour as well as superb resolution which can reveal brush strokes and the texture of the original canvas. For substantially less than the cost of a good quality piece of original contemporary art, you can have an exclusive, high-quality artwork.

An added advantage is that art publishers only produce Limited Editions of works that they regard particularly highly and that they believe have investment potential. The publishers know what sells well and, therefore, can potentially increase in value. So there is no risk of buying a high-priced original that may not retain its value. Bear in mind that just because an artwork is original it is not necessarily of high quality and does not necessarily have much originality, whereas a Limited Edition will only be produced from the highest quality original artwork.

Limited Edition reproductions are far superior to mass-produced modern art prints both in the printing process, the quality of the inks and the quality of the canvas or paper substrate. And when produced to Fine Art Trade Guild standards the inks and substrate are assured of being of the very highest quality.

As well as the assurance of quality printing, all genuine Editions will have a numbered Certificate of Authenticity signed by the artist as an indication of the artist’s approval of the piece and of its authenticity.

The satisfaction of owning a genuine piece of art of which very few exist is huge, and the opportunity to do this at an affordable cost are the main advantages of investing in Limited Edition Art Prints.

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Michelle Symonds

A Tribute to the Undervalued Ukiyo – E Master Koryusai

Introduction

Isoda Koryusai (c.1735-90) originally a samurai became, after the death of his master, the lord of Tsuchiya, a so-called ronin (a lordless knight) and a ‘floating man’. Most of these ‘floating people’ ended up in low water but Koryusai chose to be a painter and a designer of woodblock prints. At first he was most probably a student of Nishimura Shigenaga (1697-1756) but his friend and Ukiyo-e master Harunobu (c.1725-1770) had the greatest influence on his work. It was Harunobu who gave him the go (pseudonym) Koryusai, his real name was Masakatsu, which he had used once himself in the past. The respect and admiration for his teacher were so great that Koryusai developed his own style not until Harunobu died. He exceeded in different print formats and Ukiyo-e genres especially in the pillar print format and the shunga (erotic) genre which will be treated in the following paragraphs.

Pillar Print

Koryusai achieved remarkable results in the long and narrow format of the pillar print (hashira-e) using an unique style of opulent, rich and decorative coloring and for reintroducing the use of opaque orange (tan) which had characterized the hand-colored prints of the past. He also utilized the vertical size of this format to give it the appearance of a hanging scroll (kakemono) acquiring a certain stratification. As in the conventional style of Japanese landscape painting the eyes of the viewer start at the bottom of the image leading the eye to the middle part and then to the higher part depiciting the background. In general hashira-e are rare because at the time they were attached to wooden columns as part of the Japanese interior and therefore more susceptible to damage. But due to the substantial quantity of pillar prints Koryusai designed in this format a lot of his designs have survived.

Erotic Work

“In color and line, in the creation of the total atmosphere of physical love, the best of Koryusai’s erotic color prints are unsurpassed in Japanese art; and this particularly explains the high esteem in which he is held among connoisseurs – for few people have ever pursued the cult of artistic erotica as assiduously as the Japanese”. (Richard Lane)

During Harunobu and Koryusai’s period of activity government censorship was rather loose giving them the opportunity to experiment within the genre of shunga. Sometimes they even signed their designs often positioning them within the frame of a sliding door or screen. Koryusai’s early work resembles that of Harunobu but he gradually developed his own style using characteristic vivid colors (his famous orange!), expressing a multi-hued vitality and depicting more realistic figures. Initially woodblock artists worked in the chuban format (ca. 265 x 195 mm) until Koryusai introduced the larger oban format (ca. 390 x 265 mm) in the multi-colour printing medium creating two masterpiece series called ‘Sensual Colors, A Phoenix Released in the Field’ and ‘Twelve Holds of Love’ which were published in ca.1775. In the chuban format his most famous series is ‘Prosperous Flowers of the Elegant Twelve Seasons’ (ca.1773) depicting amorous encounters for each of the twelve months.

Conclusion

If one examines the literature on the history of Ukiyo-e and in particular the artist Koryusai one realises the overall consensus among critics on his excellent craftmanship, originality and pioneering within this Japanese art. With the overall acknowledgement of his genius the question why he is so undervalued until this day becomes more explicit. Probably one of the reasons was Koryusai’s modest personality and the loyalty to his teacher and friend Harunobu sometimes even signing with his name. Jack Hillier raises an interesting theory in his book ‘The Japanese Print – A New Approach’ when he opts:

“There is always, especially among collectors, a tendency to make comparison between artist and artist, and with Koryusai it is perhaps a case of we look before and after and pine for what is not”.

Important Contemporaries

Chobunsai Eishi (1756-1829)

Torii Kiyonaga (1752-1815)

Eishosai Choki (act. ca. 1789-1795)

Chokyosai Eiri (act. ca. 1789-1801)

Toshusai Sharaku (act. 1794-95)

Kitagawa Utamaro (1753 -1806)

Katsukawa Shuncho (act. ca.1780s-early 1800s)

Katsukawa Shunsho (1726-93)

Literature

‘Shunga, the Art of Love in Japan’ (1975) – Tom and Mary Evans

‘The Complete Ukiyo-e Shunga’ (Vol.3) (1995) – R. Lane

‘Japanese Erotic Prints’ (2002) – Inge Klompmakers

‘Japanese Erotic Fantasies’ (2005) – C. Uhlenbeck and M. Winkel

‘The Japanese Print – A New Approach’ (1960) – J.Hillier

Immobilienmakler Heidelberg

Makler Heidelberg



Source by Marijn Kruijff

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