Ikeda asato (18 risultati)

Paperback. Condizione: Very Good. Book has faint rubbing to covers, a modest bump and scuff to bottom corner of spine, light wear to edges. otherwise in very good condition, strong binding, clean and unmarked pages; an overall sturdy copy with sharp text/illustrations.

Hardcover. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condizione: Brand New. 215 pages. 11.75x9.75x0.75 inches. In Stock.

Hardback. Condizione: New. This rich and nuanced study examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time-Yokoyama Taikan, Yasuda Yukihiko, Uemura Shoen, and Fujita Tsuguharu-through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country's cultural authenticity. She highlights the politics of "apolitical" art and challenges the postwar labeling of battle paintings-those depicting scenes of war and combat-as uniquely problematic.Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan's "national body" and spirituality, in contrast to the modern West's individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shoen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan.Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.…

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Hardback. Condizione: New. New copy - Usually dispatched within 4 working days.

Condizione: new.

Condizione: New. 2018. Hardcover. . . . . .

Hardcover. Condizione: Brand New. 132 pages. 10.25x7.25x0.75 inches. In Stock.

Condizione: New. 2018. Hardcover. . . . . . Books ship from the US and Ireland.

Hardback. Condizione: New. This rich and nuanced study examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time-Yokoyama Taikan, Yasuda Yukihiko, Uemura Shoen, and Fujita Tsuguharu-through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country's cultural authenticity. She highlights the politics of "apolitical" art and challenges the postwar labeling of battle paintings-those depicting scenes of war and combat-as uniquely problematic.Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan's "national body" and spirituality, in contrast to the modern West's individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shoen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan.Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.…

Condizione: new.

Hardcover. Condizione: Brand New. 01 edition. 400 pages. 9.75x7.75x1.25 inches. In Stock.

Paperback. Condizione: New.

Paperback. Condizione: New. Some fifty years ago, the remote Arctic community of Cape Dorset was introduced to the ancient traditions of Japanese printmaking by James Houston, a Canadian artist who had studied in Japan with Un'ichi Hiratsuka. Inspired, Cape Dorset artists creatively transformed these influences as they launched their own print studio, now one of the most successful in Canada. Featuring rare archival photographs, two essays and 46 exquisite artworks--Japanese prints brought to Cape Dorset, Inuit prints (1957-1963), and works by James Houston--this catalogue presents new scholarship on the birth of Inuit printmaking, situating the movement within global and local entanglements.…

First edition. 4to. 215 pp. Color illustrations. Softcover binding, pictorial wrappers, fine condition. (93502).

Paperback. Condizione: Brand New. 400 pages. 9.26x6.11x0.91 inches. In Stock. This item is printed on demand.

Condizione: new. Questo è un articolo print on demand.