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[1] [2] Hiroshige paid homage to The Great Wave off Kanagawa with his print The Sea off Satta in Suruga Province [78] while French artist Gustave-Henri Jossot produced a satirical painting in the style of The Great Wave off Kanagawa to mock the popularity of Japonisme. [79] Many modern artists have reinterpreted and adapted the image.
Hokusai was instrumental in developing ukiyo-e from a style of portraiture largely focused on courtesans and actors into a much broader style of art that focused on landscapes, plants, and animals. His works had a significant influence on Vincent van Gogh and Claude Monet during the wave of Japonisme that spread across Europe in the late 19th ...
The Great Wave off Kanagawa, the best known print in the series (20th century reprint). Mount Fuji is in the center distance.. Thirty-six Views of Mount Fuji (Japanese: 富嶽三十六景, Hepburn: Fugaku Sanjūrokkei) is a series of landscape prints by the Japanese ukiyo-e artist Hokusai (1760–1849).
Waves at Matsushima, also named Pine Islands, is a pair of Japanese landscape paintings on two six-fold screens, made by artist Tawaraya Sōtatsu in the 1620s. They were painted with ink, color, gold, and silver on paper.
The Great Wave off Kanagawa (神奈川沖浪裏, Kanagawa-oki nami-ura) print by Hokusai Metropolitan Museum of Art. Woodblock printing in Japan (木版画, mokuhanga) is a technique best known for its use in the ukiyo-e [1] artistic genre of single sheets, but it was also used for printing books in the same period.
Japanese painters used the devices of the cutoff, close-up, and fade-out by the 12th century in yamato-e, or Japanese-style, scroll painting, perhaps one reason why modern filmmaking has been such a natural and successful art form in Japan. Suggestion is used rather than direct statement; oblique poetic hints and allusive and inconclusive ...
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Art historian Christine M. E. Guth notes the influence of Hokusai (1760–1849) on this work, particularly what she calls a "creative reinterpretation" of the style of Hokusai's The Great Wave off Kanagawa (1831), a style which Kuniyoshi returned to again in his later work, Tametomo's Ten Heroic Deeds (1847–50). [18] 6