Katsushika
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Le mont Fuji, au fond du tableau, se trouve au loin et ne peut guère servir à protéger les bateaux, tous trois placés sous la menace directe des vagues de tempête. Retrieved on August 27, 2010. Une vie solitaire et orgueilleuse Né en 1760 à Edo sous le nom de Tokitarō, Katsushika Hokusai exerça différents métiers avant d'entrer, à dix-neuf ans, dans l'atelier de Katsukawa Shunshō 1726-1792 , l'un des maîtres les plus célèbres de son temps et spécialisé dans les portraits de comédiens. The first book of Hokusai's manga, sketches or caricatures that influenced the modern form of comics known by the same name, was published in 1814. Cela correspond à la période Shunro Splendeur Printanière , nommé ainsi par le maître, au cours de laquelle Hokusai se spécialise dans la gravure de scènes théâtrales et illustre des romans populaires. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival. Son oeuvre est à l'origine du mouvement japoniste qui regroupe de nombreux artistes européens comme , , , ou. C'est dans cet atelier que commence son travail d'artisan du et de l' aux revenus modestes.
In this , the family name is Katsushika. October 31, 1760 — May 10, 1849 was a Japanese artist, painter and of the. Hokusai created the Thirty-Six Views both as a response to a domestic travel boom and as part of a personal obsession with. While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition. Contemporary print of Hokusai painting the Great Daruma in 1817 Hokusai's date of birth is unclear, but is often stated as the 23rd day of the 9th month of the 10th year of the era in the , or October 31, 1760 to an family, in the Katsushika district of , Japan. His childhood name was Tokitarō. It is believed his father was the mirror-maker Nakajima Ise, who produced mirrors for the. His father never made Hokusai an heir, so it is possible that his mother was a. Hokusai began painting around the age of six, perhaps learning from his father, whose work on mirrors included a painting of designs around mirrors. Hokusai was known by at least thirty names during his lifetime. While the use of multiple names was a common practice of Japanese artists of the time, his number of pseudonyms exceeds that of any other major Japanese artist. Hokusai's name changes are so frequent, and so often related to changes in his artistic production and style, that they are used for breaking his life up into periods. At the age of 12, his father sent him to work in a bookshop and , a popular type of institution in Japanese cities, where reading books made from wood-cut blocks was a popular entertainment of the middle and upper classes. At 14, he worked as an apprentice to a wood-carver, until the age of 18, when he entered the studio of. Shunshō was an artist of , a style of woodblock prints and paintings that Hokusai would master, and head of the so-called Katsukawa school. Ukiyo-e, as practised by artists like Shunshō, focused on images of the courtesans and actors who were popular in Japan's cities at the time. After a year, Hokusai's name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints, a series of pictures of Kabuki actors published in 1779. During the decade he worked in Shunshō's studio, Hokusai was married to his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time. He fathered two sons and three daughters with these two wives, and his youngest daughter Ei, also known as , eventually became an artist. Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art, including European styles he was exposed to through French and Dutch copper engravings he was able to acquire. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This change of subject was a breakthrough in ukiyo-e and in Hokusai's career. Fireworks at Ryōgoku Bridge 1790 dates from this period of Hokusai's life. He produced many brush paintings, called , and illustrations for kyōka ehon illustrated book of humorous poems during this time. In 1798, Hokusai passed his name on to a pupil and set out as an independent artist, free from ties to a school for the first time, adopting the name Hokusai Tomisa. By 1800, Hokusai was further developing his use of ukiyo-e for purposes other than portraiture. He had also adopted the name he would most widely be known by, Katsushika Hokusai, the former name referring to the part of Edo where he was born and the latter meaning, 'north studio'. That year, he published two collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo. He also began to attract students of his own, eventually teaching 50 pupils over the course of his life. He became increasingly famous over the next decade, both due to his artwork and his talent for self-promotion. During a Tokyo festival in 1804, he created a portrait of the priest said to be 600 feet 180 m long using a broom and buckets full of ink. Another story places him in the court of the , invited there to compete with another artist who practised more traditional brush stroke painting. Hokusai's painting, created in front of the Shogun, consisted of painting a blue curve on paper, then chasing across it a chicken whose feet had been dipped in red paint. He described the painting to the Shogun as a landscape showing the Tatsuta River with red maple leaves floating in it, winning the competition. The two did not get along due to artistic differences, and their collaboration ended during work on their fourth book. The publisher, given the choice between keeping Hokusai or Bakin on the project, opted to keep Hokusai, emphasizing the importance of illustrations in printed works of the period. Hokusai paid close attention to the production of his work in books. Two instances are documented in letters he wrote to the publishers and block cutters involved in the production of his designs in Toshisen Ehon, a Japanese edition of an anthology of Chinese poetry. In his letter, Hokusai includes illustrated examples of both his style of illustrating eyes and noses and the Utagawa—school style. The publisher agreed to make these alterations, even with hundreds of copies of the book already printed. To correct these details the already existing cut blocks would be corrected by use of the Umeki technique. The sections to be corrected would be removed and a prepared piece of wood inserted, into which the blockcutter would cut the revised design. Use of the Umeki technique can be detected by fine break marks bordering the inserted block. In 1811, at the age of 51, Hokusai changed his name to Taito and entered the period in which he created the and various etehon, or art manuals. These etehon, beginning in 1812 with Quick Lessons in Simplified Drawing, served as a convenient way to make money and attract more students. Manga meaning random drawings included studies in perspective. The first book of Hokusai's manga, sketches or caricatures that influenced the modern form of comics known by the same name, was published in 1814. Together, his 12 volumes of manga published before 1820 and three more published posthumously include thousands of drawings of animals, religious figures, and everyday people. They often have humorous overtones and were very popular at the time. On October 5, 1817, he painted at the in Nagoya the Big on paper, measuring 18x10. Although the original was destroyed in 1945, promotional handbills from that time survived and are preserved at the. Based on studies, a reproduction of the large painting was done at a large public event on 23 November 2017 to commemorate the 200-year anniversary of the painting, using the same size and techniques and material as the original. His most famous work, , including the famous , was produced in the early 1830s. The results of Hokusai's perspectival studies in Manga can be seen here in where he uses what would have been seen as a western perspective to represent depth and volume. It proved so popular that Hokusai later added ten more prints to the series. Among the other popular series of prints he published during this time are , and Unusual Views of Celebrated Bridges in the Provinces. He also began producing a number of detailed individual images of flowers and birds, including the extraordinarily detailed Poppies and Flock of Chickens. It was at this time that Hokusai produced , another significant landscape series. In the postscript to this work, Hokusai writes: From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all, I drew by my seventieth year there is nothing worth taking into account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvellous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own. In 1839, a fire destroyed Hokusai's studio and much of his work. By this time, his career was beginning to fade as younger artists such as became increasingly popular. But Hokusai never stopped painting and completed Ducks in a Stream at the age of 87. Just another five more years, then I could become a real painter. Most shunga are a type of , usually executed in print format. Shunga was enjoyed by both men and women of all classes. Superstitions and customs surrounding shunga suggest as much; in the same way that it was considered a lucky charm against death for a to carry shunga, it was considered a protection against fire in warehouses and the home. From this, we can deduce that samurai, , and housewives all owned shunga. All three of these groups would suffer separation from the opposite sex; the samurai lived in barracks for months at a time, and conjugal separation resulted from the system and the merchants' need to travel to obtain and sell goods. Records of women obtaining shunga themselves from book lenders show that they were consumers of it. It was traditional to present a bride with ukiyo-e depicting erotic scenes from. Shunga may have served as sexual guidance for the sons and daughters of wealthy families. Hokusai had a long career, but he produced most of his important work after age 60. His most popular work is the series , which was created between 1826 and 1833. It actually consists of 46 prints 10 of them added after initial publication. Both Hokusai's choice of and frequent depiction of stem from his religious beliefs. Mount Fuji has traditionally been linked with eternal life. This belief can be traced to , where a goddess deposits the elixir of life on the peak. Fuji was seen as the source of the secret of immortality, a tradition that was at the heart of Hokusai's own obsession with the mountain. These sketches are often incorrectly considered the precedent to modern , as Hokusai's Manga is a collection of sketches of animals, people, objects, etc. This was also part of the larger movement, with similar themes to Hokusai appearing in and. According to the Brooklyn Rail Many artists collected his woodcuts: , , , , , , and included. Hokusai: Genius of the Japanese Ukiyo-e. Retrieved May 22, 2017. XXXII 2 : 186—191. Helsinki, Finland: Helsinki City Art Museum. The Book in Japan: A Cultural History from the Beginnings to the Nineteenth Century. Honolulu: University of Hawaii Press. Retrieved July 9, 2007; November 8, 2002, at the. Images from the Floating World, The Japanese Print. Oxford: Oxford University Press. Hokusai: Genius of the Japanese Ukiyo-e. Hokusai: One Hundred Views of Mt. Giants of Japan: The Lives of Japan's Most Influential Men and Women. New York: Kodansha International. Hokusai: The Man Who Painted a Mountain. Frances Foster Books, New York. The Drawings of Hokusai. Indiana University Press, Bloomington. Hokusai Rizzoli, New York. Hokusai and His School: Paintings, Drawings and Illustrated Books. Hokusai: Paintings, Drawings and Woodcuts. Art of Hokusai in Book Illustration. Hokusai: Life and Work. Hokusai and his School: Japanese Prints c. Specific works of art For readers who want more information on specific works of art by Hokusai, these particular works are recommended. Fugaku Hiyaku-kei One Hundred Views of Fuji by Hokusai. The Thirty-six Views of Mount Fuji by Hokusai. The Hokusai Sketch-Books: Selections from the 'Manga '. Hokusai: One Hundred Poets. George Braziller, New York. Masterworks of Ukiyo-E: Hokusai — The Thirty-Six Views of Mt. Bournemouth, Parkstone International released in September. Bournemouth, Parkstone International released in September.
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