Keith | Moonlight, Soochow

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Elizabeth Keith (1887-1956)

苏州夜色
Moonlight, Soochow

1924

木版画 | 纵绘大大判 | 43cm x 33cm
Woodblock-print | Large Oban tate-e | 43cm x 33cm

画面左下题记“Moonlight, Soochow”和右下以红色蜡笔题署艺术家姓名 Elizabeth Keith;整体品相非常好,画面边缘有先前轻微装裱痕迹
Signed in pencil Moonlight, Soochow and red crayon Elizabeth Keith; slight discolouration to margins, otherwise in good condition

一片幽蓝夜色,晕染出百年前姑苏水乡的静谧风华。苏格兰女版画家 Elizabeth Keith 运用日本新版画工艺,将二十世纪二十年代苏州运河沿岸的夜景定格于木版画之上。

整幅画面沉浸在层层递进的靛蓝色调之中。沿河而建的民居顺着石砌驳岸错落展开,黑瓦屋顶、木构楼阁与临水棚架勾勒出典型的江南水乡风貌。暖黄灯火从窗棂与店铺间悄然透出,行人穿行于狭窄街巷,点点人间烟火为宁静夜色增添生机。画面右侧石桥横跨运河,桥下货船停泊,船夫忙于整理货物,展现出彼时苏州运河真实而鲜活的日常景象。

作为长期旅居东亚的西方艺术家,Keith以旅行者的敏锐视角记录中国城市风貌,并借助新版画细腻的套色与渐变技法,巧妙表现夜色、灯火与水面倒影交织而成的光影氛围。

本作不仅展现了江南水乡独特的夜景之美,更珍贵地保存了民国时期苏州运河沿岸的生活记忆与城市风貌。百年之后,观者仍可循着艺术家的视线,在深蓝夜色与点点灯火之间,重温旧日姑苏的温润气息。

Interested in purchasing?
Please contact us.

Elizabeth Keith (1887-1956)

苏州夜色
Moonlight, Soochow

1924

木版画 | 纵绘大大判 | 43cm x 33cm
Woodblock-print | Large Oban tate-e | 43cm x 33cm

画面左下题记“Moonlight, Soochow”和右下以红色蜡笔题署艺术家姓名 Elizabeth Keith;整体品相非常好,画面边缘有先前轻微装裱痕迹
Signed in pencil Moonlight, Soochow and red crayon Elizabeth Keith; slight discolouration to margins, otherwise in good condition

一片幽蓝夜色,晕染出百年前姑苏水乡的静谧风华。苏格兰女版画家 Elizabeth Keith 运用日本新版画工艺,将二十世纪二十年代苏州运河沿岸的夜景定格于木版画之上。

整幅画面沉浸在层层递进的靛蓝色调之中。沿河而建的民居顺着石砌驳岸错落展开,黑瓦屋顶、木构楼阁与临水棚架勾勒出典型的江南水乡风貌。暖黄灯火从窗棂与店铺间悄然透出,行人穿行于狭窄街巷,点点人间烟火为宁静夜色增添生机。画面右侧石桥横跨运河,桥下货船停泊,船夫忙于整理货物,展现出彼时苏州运河真实而鲜活的日常景象。

作为长期旅居东亚的西方艺术家,Keith以旅行者的敏锐视角记录中国城市风貌,并借助新版画细腻的套色与渐变技法,巧妙表现夜色、灯火与水面倒影交织而成的光影氛围。

本作不仅展现了江南水乡独特的夜景之美,更珍贵地保存了民国时期苏州运河沿岸的生活记忆与城市风貌。百年之后,观者仍可循着艺术家的视线,在深蓝夜色与点点灯火之间,重温旧日姑苏的温润气息。

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?