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Autobiography 3
Woodblock print, ink on Awagami paper with watercolor
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Geri Waddington (British,b. 1953)
Pergola
Wood engraving
psikonauti
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Blackberries, James Dexter Havens (1900 - 1960) - Color Woodblock -
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Tadashi Nakayama aka Nakayama Tadashi aka 中山 正 (Japanese, 1927-2014, b. Niigata-shi, Niigata Prefecture, Japan) - Girl with Black Cat, 1973, Woodblock Prints: Ink, Color on Paper
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Saburo Miyata
from the series, “Nihon Fukei Mokuhanga Shu” (Collection of Landscape of Japan Woodblock Print). “Kyoto”. “Kiyomizu-dera Temple”. The tall performance platform is seen from the dark inside room.
via artelino
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Hiroshi Yoshida - Impressions of India, color woodblock prints
In 1930, traveling mostly by boat and train, Japanese printmaker Yoshida Hiroshi made an artistic pilgrimage to India. His principal destination was the Taj Mahal, which he depicted in six of the 32 woodblock prints he made after returning to Japan, but he also represented scenes from Singapore, Rangoon, and Lahore, as well as Delhi, Bombay, Calcutta, and other locations throughout the Indian subcontinent. (Golden Temple at Amritsar is pictured.) Yoshida’s renderings owe little to traditional Japanese art, suggesting instead a blend of art nouveau and Western magazine illustrations. His overriding concern was a quality of light that he found very different in India from at home, and he frequently portrayed the same subject from the same angle at different times of day to capture the shifts in illumination. Rather than employ the vivid colors of Japan’s famed and influential 19th-century printmakers, Yoshida used his own technique for creating prints with the soft, thin hues of watercolors. Remarkably, he managed to produce this appearance despite repeated overprintings. One of these pieces—a street scene of a crowd watching a snake charmer—uses 81 color impressions. Yet it, like the other 31 woodblocks, catches the limpid light that was clearly Yoshida’s greatest discovery in a country that, despite essential cultural links, was very unlike his own.
[source]
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Major Mitchell’s Cockatoo (Kurumasaka ōmu), from the series At the Zoological Garden (Dobutsuen), Yoshida Hiroshi, Taishō period, dated 1926, Harvard Art Museums: Prints
Harvard Art Museums/Arthur M. Sackler Museum, Gift of Mrs. William L. Payson in memory of her husband, William L. Payson (Class of 1923, Harvard Law School 1926) and of her son William L. Payson, Jr. (Class of 1954) Size: H. 41.2 x W. 27.8 cm (16 ¼ x 10 15/16 in.) Medium: Woodblock print in “ōban” format; ink and color on paper
#Major Mitchell’s Cockatoo#Kurumasaka ōmu#At the Zoological Garden#Dobutsuen#Yoshida Hiroshi#Taishō period#1926#Harvard Art Museums#Print#Arthur M. Sackler Museum#Gift of Mrs. William L. Payson#William L. Payson#Class of 1923#Harvard Law School#William L. Payson Jr.#Class of 1954#1954#1950s#1920s#Woodblock#Woodblock Print#ōban#Ink#Color#Paper#harvard-art-museums-prints#rumforall
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Tsuchiya Koitsu - Returning Sailboat at Yabase, color woodblock print
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Sanjo Bridge , Summer - Koichi Okumura , 1950s
Japanese, 1904-1974
Woodblock print
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Sano Seiji was born in 1959 in Iwata in Shizuoka prefecture. In 1978 he moved to Kyoto where he studied woodblock print with a well-known contemporary artist Ido Masao. Seiji is one of the numerous contemporary artists who strive to depict and preserve in their art the beauty of Japanese rural landscape set against the ever-changing backdrop of the four seasons.
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Ito Shinsui - Before the Storm, color woodblock print, 1920
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Walter Crane, Almond Blossom and Swallow, 1878, Color woodblock print on paper
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Kameido Bridge, Tokyo, 1927
Yoshida Hiroshi 1876-1950
Woodblock Print
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Plum - Tōshi Yoshida , 1980.
Japanese, 1911-1995
Colour woodblock print on paper, 51 x 25 cm.
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Source: pinterest.com
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Toshi Yoshida Woodblock Prints.
Source: midcenturia.com