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Relevant bibliographies by topics / Japanese American painting

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Academic literature on the topic 'Japanese American painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 March 2023

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Journal articles on the topic "Japanese American painting"

1

Peremislov, I. A., and L. G. Peremislov. "JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES." Arts education and science 1, no. 2 (2021): 79–88. http://dx.doi.org/10.36871/hon.202102010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

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2

Peremyslov, I. A., and L. G. Peremyslova. "JAPANESE AESTHETICS IN MASTERPIECES OF AMERICAN SILVER." Arts education and science 1, no. 1 (2021): 89–96. http://dx.doi.org/10.36871/hon.202101010.

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Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany jewelry multinational company).

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3

Cateforis, Alex. "My Fate is in Your Hand." Undergraduate Research Journal for the Humanities 2, no. 1 (2017): 48–59. http://dx.doi.org/10.17161/1808.23873.

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Yasuo Kuniyoshi (1889-1953) was a Japanese-American émigré artist active and successful in the United States from the mid-1920s until his death. However, despite his artistic achievement and integration into American culture, Kuniyoshi’s life and fate turned tragic as the Pacific War erupted, which intensified extreme racism toward the people of Japanese heritage and increased nationalism in the United States. Kuniyoshi’s 1950 painting My Fate is in Your Hand reveals the artist’s dual and conflicted identity, his social and political fate in the U.S. after Pearl Harbor, and suggests that a year before his death, the artist no longer controlled his fate. A majority of white Americans and the conservative American art world rejected him as an Asian “other.” Kuniyoshi grew weary, stressed, and anxious, an artist caught between success and rejection and his split Japanese and American identity. In this essay, I argue that each major portion of the work’s title— “My,” “Fate,” and “Your Hand”— reveals the symbolic meaning of the painting and suggests the artist’s inner state in 1950. I also analyze four of Kuniyoshi’s earlier works to provide insight into the meaning of My Fate is in Your Hand and to tell the story of the Japanese-American artist.

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4

Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.

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Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.

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5

Matsumura, Kimiko. "“We Who Are Enemy”: Incarceration Redress in the Paintings of Roger Shimomura." Asian Diasporic Visual Cultures and the Americas 5, no. 1-2 (2019): 129–54. http://dx.doi.org/10.1163/23523085-00501007.

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This article establishes historically specific connections between American artist Roger Shimomura’s paintings about Japanese American Incarceration and Incarceration Redress from roughly 1978 to 2003. Deploying a kind of history painting in the Minidoka series before turning to personal narrative in Diary and the juxtaposition of contrasting visual tropes in Stereotypes and Admonitions, Shimomura’s varying approaches reflect connections to timely emphases on raising awareness, sharing testimony, and preventing reoccurrences associated with significant moments in the detainment’s afterlife. Throughout these shifts in focus, Shimomura’s use of visual stereotype increasingly frames incarceration within its broader social meaning, rather than through its historical progression or its personal resonances. I show how Shimomura’s work comes to connect incarceration to its enduring social consequences, making it but one of many recent, racially motivated transgressions that provide greater lessons about the perpetuation of naturalized prejudice in the United States and its material effects.

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6

Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.

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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”

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7

Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.

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Abstract:

This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”

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8

Proppe, Rebecca. "Instruction Paintings." Re:Locations - Journal of the Asia-Pacific World 2, no. 1 (2019): 23–45. http://dx.doi.org/10.33137/relocations.v2i1.30801.

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In order to propose further research into non-Western avant-gardes and modernist narratives, this paper explores the contributions of Japanese-American artist Yoko Ono to our understanding of the narratives of modernism and contemporary art. Ono’s work is examined through her interactions with both Japanese and American avant-garde artists and philosophies, thus using Ono’s life and work as one potential case study in demonstrating the important dialog between East and West which manifested into several important avant-garde movements and artworks. My paper further seeks to complicate the traditional Western-centric narratives of art history by acknowledging intersectional readings of works and artists’ histories, by looking at Ono’s unique experience as a Japanese woman living in America, eventually marrying a pop singer whose fame would affect her public image for decades.

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9

Sharma, Manisha. "COLOURIMAGERY IN THE HAIKU POEMS OF IMAGISTS POETS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3541.

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Imagism was a movement in early 20th century Anglo-American poetry that favoured precision of imagery and clear, sharp language. Imagists stressed on the direct treatment of the subject matter and strictly adhered to the rule that even a single word was not used unnecessarily. Imagists used the exact word instead of decorative words and rejected most 19th century poetry as cloudy verbosity. Imagist poets were influenced by Japanese Haiku, poems of 17 syllables which usually present only two juxtaposed images. Ezra Pound has made a conscious study of the Japanese Haiku. According to Pound, Japanese make a wonderful use of Haiku where they usually use a single image. A haiku is a haiku because all the images it conveys occur simultaneously in a person's present perceptions of the world. Ezra Pound is one the major exponents of imagist school who gave systematic theory of modernism. Ezra Pound's In a Station of the Metro is regarded as a fine specimen of Haiku. Pound recalls that once he stepped out of a "metro", train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child's face, and then another beautiful woman. Throughout the day, Pound attempted to find words as worthy and as lovely as that sudden emotion. To his mind came an equation which was not in speech but in little sploches of colour. This feeling was the beginning of a language in colourfor Pound. Pound further elaborates that to express this kind of emotion he might find a new school of painting that would speak only by arrangements in colours. To substantiate his arguments, Pound expounds his view in Vorticism.

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10

Kitahara, Megumi. "Transcending Borders in the Work of Fumie Taniguchi." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (2020): 92–109. http://dx.doi.org/10.1163/23523085-00601006.

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Fumie Taniguchi was a nihonga painter whose modern portraits of women enjoyed widespread acclaim within art circles during the 1930s. Although she moved to America shortly after Japan lost the war and spent the latter half of her life there, her existence was suddenly forgotten. There are almost no extant examples of Taniguchi’s paintings from her American period, however, her autobiographical novels that appeared in Japanese American fanzines provide significant clues that help to trace her life. Through these publications and oral interviews with her family members, this article seeks to introduce readers to the painterly practice and life of Taniguchi, and make clear what exactly was distinctive and unique about her life and practice. For a woman who continued to struggle against the patriarchal gaze both in Japan and the Japanese American community, what did the notion of transcending borders mean?

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Books on the topic "Japanese American painting"

1

Masterpieces of Japanese screen painting: The American collections. G. Braziller, 1990.

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2

Kanemitsu, Matsumi. Kanemitsu Matsumi-- Kanemitsu Matsumi: 1950--90-nen, futatsu no sokoku, sengo Amerika gadan ni ikita Nikkeijin gaka = Kanemitsu, Matsumi. Ōsaka-fu, 1998.

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3

Dunbar, Elizabeth. Zephyr: Paintings by Gajin Fujita. Kemper Museum of Contemporary Art, 2007.

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4

1972-, Fujita Gajin, Hickey Dave 1940-, Sirmans Franklin, Steuber Jason, and Kemper Museum of Contemporary Art., eds. Zephyr: Paintings by Gajin Fujita. Kemper Museum of Contemporary Art, 2006.

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5

Bijutsukan, Tōkyō Kokuritsu Kindai, and Kyōto Kokuritsu Kindai Bijutsukan, eds. Kaiga, yūitsunaru mono: Gendai bijutsu e no shiten = Painting, singular object : a perspective on contemporary art. Tōkyō Kokuritsu Kindai Bijtusukan, 1995.

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6

Bijutsukan, Kyōto-shi, and Kyōto Shinbunsha, eds. Hikari no hō e--: Tokubetsuten. Kyōto-shi Bijutsukan, 1997.

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7

Ogawa, Kikuko. Amerika ni ikita nikkeijin gakatachi, kibō to kunō no hanseiki 1896-1945: Shūsen 50-nen kikaku. Nihon Terebi Hōsōmō, 1996.

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8

Bijutsukan, Nerima Kuritsu, ed. Amerikan shīn no Nihonjin gakatachi ten: Shimizu Toshi, Kuniyoshi Yasuo, Ishigaki Eitarō, Kitagawa Tamiji, Noda Hideo. Nerima Kuritsu Bijutsukan, 1995.

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9

Los Angeles County Museum of Art. Masterpieces from the Shinʼenkan Collection: Japanese painting of the Edo Period. Harper & Row, 1986.

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10

Masterpieces from the Shin'enkan Collection: Japanese painting of the Edo Period. The Museum, 1986.

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Book chapters on the topic "Japanese American painting"

1

Winther-Tamaki, Bert. "Overtly, Covertly, or Not at All: Putting "Japan" in Japanese American Painting." In East-West Interchanges in American Art: A Long and Tumultuous Relationship. Smithsonian Institution Scholarly Press, 2012. http://dx.doi.org/10.5479/si.9781935623083.112.

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Gaines, M. C. "Narrative Illustration: The Story of the Comics." In Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0008.

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This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.

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