Keith | Spring in Soochow

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Elizabeth Keith (1887-1956)

苏州的春天
Spring in Soochow

1925

木版画 | 横绘超大判 | 31.5cm x 43.5cm
Woodblock-print | Naga Oban Yoko-e | 31.5cm x 43.5cm

初版;限量78幅,但实际印刷少于60幅;画面右下以蜡笔题署艺术家姓名 Elizabeth Keith;画面背面有艺术家以铅笔题写标题;品相非常好
First edition; edition of 78, fewer than 60 printed; signed in crayon Elizabeth Keith(faint); titled in pencil on by artist on the verso; very good condition.

这幅作品描绘的是20世纪初苏州城中的一处水巷街景。作为典型的江南水城,苏州自古以密集的河道、石桥与临水而居的街巷著称。至民国时期,这种以水为轴线展开的城市结构仍然深刻地塑造着当地人的日常生活。在 Elizabeth Keith 的中国题材作品中,苏州占据着相当重要的位置。她以苏州为主题创作了多达十二幅作品,是其笔下出现次数最多的中国城市之一。

画面以一座石拱桥为中心展开。桥上行人缓步而行,桥下水面平静,倒映着拱券的弧线;临水的宅院与小店顺着河道排布,人物活动被自然地分布在桥面、街巷与水岸之间。建筑与水道在画面中形成清晰而稳定的结构,而人物则让这一结构真正“被使用”起来——挑担、洗涤、交谈,一切都显得从容而有节奏。

在这幅画中,Keith并未刻意强调某个事件或人物,而是将注意力放在桥上、桥下、屋内、巷口这些彼此相连的空间之中。人物分布得很散,却各得其所,没有戏剧性的动作,也没有被刻意放大的情绪。正是在这种不被打断的日常中,苏州的城市气质被自然地呈现出来。

本作创作于1925年,限量78幅,而实际印刷量少于60幅,存世数量稀少。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

苏州的春天
Spring in Soochow

1925

木版画 | 横绘超大判 | 31.5cm x 43.5cm
Woodblock-print | Naga Oban Yoko-e | 31.5cm x 43.5cm

初版;限量78幅,但实际印刷少于60幅;画面右下以蜡笔题署艺术家姓名 Elizabeth Keith;画面背面有艺术家以铅笔题写标题;品相非常好
First edition; edition of 78, fewer than 60 printed; signed in crayon Elizabeth Keith(faint); titled in pencil on by artist on the verso; very good condition.

这幅作品描绘的是20世纪初苏州城中的一处水巷街景。作为典型的江南水城,苏州自古以密集的河道、石桥与临水而居的街巷著称。至民国时期,这种以水为轴线展开的城市结构仍然深刻地塑造着当地人的日常生活。在 Elizabeth Keith 的中国题材作品中,苏州占据着相当重要的位置。她以苏州为主题创作了多达十二幅作品,是其笔下出现次数最多的中国城市之一。

画面以一座石拱桥为中心展开。桥上行人缓步而行,桥下水面平静,倒映着拱券的弧线;临水的宅院与小店顺着河道排布,人物活动被自然地分布在桥面、街巷与水岸之间。建筑与水道在画面中形成清晰而稳定的结构,而人物则让这一结构真正“被使用”起来——挑担、洗涤、交谈,一切都显得从容而有节奏。

在这幅画中,Keith并未刻意强调某个事件或人物,而是将注意力放在桥上、桥下、屋内、巷口这些彼此相连的空间之中。人物分布得很散,却各得其所,没有戏剧性的动作,也没有被刻意放大的情绪。正是在这种不被打断的日常中,苏州的城市气质被自然地呈现出来。

本作创作于1925年,限量78幅,而实际印刷量少于60幅,存世数量稀少。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

Elizabeth Keith was born in Scotland and came to Japan in 1915 when she was 28 with her sister and brother-in-law; she ended up staying nine years. During that time, she used Tokyo as her home base while travelling extensively around Asia.

She was one of several Western women who participated in the Shin Hanga – New Print – movement, including Lillian May Miller and Bertha Lum. She became close with Shozaburo Watanabe, the father of Shin Hanga, and he published roughly 100 of her designs.

Keith was already a self-taught painter when she came to Japan; it was a show of her watercolors that attracted Watanabe’s attention. Her first print for him was “East Gate, Seoul” in Korea, which was then under Japanese occupation.

This was a time when the Western world was fascinated by all things Asian. To us Chinese it was just another day in the life. But Keith and her contemporaries were providing audiences back home with never-seen sites and views, as well as customs and traditions that must have seemed quite romantic. Prints allowed the artist to filter details and interpret the scene, to focus subjectively, as opposed to photography with its documentary qualities.

Keith travelled Asia by herself at a time when few “Gentlewomen” did so. She had striking red hair, so she must have attracted a great deal of attention at a time when Westerners were few and far between in this part of the world. She returned to England after the first nine-year stint and then went back to Japan, where she learned woodblock printing techniques. She also learned etching. And after World War II she returned again, working to help the grievously wounded nation.

Because of small runs, Keith's prints can be expensive, and some works with only 50 or even 30 copies published are especially rare. They were collected by the British Museum, the Guimet Museum in Paris and the National Gallery of Canada, among others; in 1937, a group of Asian-themed prints created by her were purchased by Queen Elizabeth. She died in 1956. 

She never married – but who needs a husband with a life like that?