Shinsui | Before the Storm, Eight Views of Omi

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伊東深水Ito Shinsui(1898-1972)

近江八景之内 暴雨前夕
Before the Storm, from the series of Eight Views of Omi

1920, March (pre-earthquake)

木版画|纵绘间判|33cm × 23.5cm
Woodblock-print |Aiban tate-e|33cm × 23.5cm

地震前作品;品相非常好
Pre-earthquake design; mint condition

Price on request

深水早期的风景画,就像梵高早期的素描,总是那样的老实拘谨,以至于带着些拙劲。但正是这拙劲,透露出一种流动的忧郁。这种独有的愁绪,是在深水后期的作品中极少看到的。

瞧瞧这幅其貌不扬的画吧,画面的一半都是乌云密布的天空,其间仅有一只极小的雀鸟逆风飞过。而下方的高粱地,画的真是“拙拙逼人”:远处的簇簇高粱叶简直就是简笔画,高粱穗更是像被随意抹出来的。左前方三根特写的高粱,多像三个失意落魄的人,每根的叶片都怪异的弯曲成波浪一般,有一根的顶上还缺了穗。整幅画感觉除了让你看见了一处暴风雨前夕,快被风吹得稀里糊涂的高粱地外,就什么都没有了。

深水朴实的再现了眼中的一切,朴实到我越看这幅画,越能感受到一股热风夹杂着尘土向我涌来,越焦虑这场暴风雨的到来。

Interested in purchasing?
Please contact us.

伊東深水Ito Shinsui(1898-1972)

近江八景之内 暴雨前夕
Before the Storm, from the series of Eight Views of Omi

1920, March (pre-earthquake)

木版画|纵绘间判|33cm × 23.5cm
Woodblock-print |Aiban tate-e|33cm × 23.5cm

地震前作品;品相非常好
Pre-earthquake design; mint condition

Price on request

深水早期的风景画,就像梵高早期的素描,总是那样的老实拘谨,以至于带着些拙劲。但正是这拙劲,透露出一种流动的忧郁。这种独有的愁绪,是在深水后期的作品中极少看到的。

瞧瞧这幅其貌不扬的画吧,画面的一半都是乌云密布的天空,其间仅有一只极小的雀鸟逆风飞过。而下方的高粱地,画的真是“拙拙逼人”:远处的簇簇高粱叶简直就是简笔画,高粱穗更是像被随意抹出来的。左前方三根特写的高粱,多像三个失意落魄的人,每根的叶片都怪异的弯曲成波浪一般,有一根的顶上还缺了穗。整幅画感觉除了让你看见了一处暴风雨前夕,快被风吹得稀里糊涂的高粱地外,就什么都没有了。

深水朴实的再现了眼中的一切,朴实到我越看这幅画,越能感受到一股热风夹杂着尘土向我涌来,越焦虑这场暴风雨的到来。

Interested in purchasing?
Please contact us.

Ito Shinsui (1898-1972)

Born into poverty in 1898, Ito Shinsui was forced to take a job with the Tokyo Printing Co. when he was just 12. This bad luck turned out to be good luck for him, and for anyone who loves art and Japanese woodblock prints.

Naturally talented, but also a determined hard worker, he continued his education and studied Nihonga painting in the evenings. His talent was recognized at work, and he was moved to the company’s drawing section, where he became an illustrator – a skill he used throughout his life. But fine art exerted an irresistible pull. He became a student of the Ukiyoe painter Kaburagi Kiyokata and began winning prizes.

Like so many Shin Hanga artists, his connection with the great publisher Watanabe Shozaburo cemented his career and reputation. His first print for Watanabe was “Before the Mirror” in 1916. But here’s the twist: we know Shinsui as the great artist of beauties – bijin. But his first love actually was landscapes, and his wonderful, atmospheric and tonalist “Eight Views of Omi” remains a highpoint of early Shin Hanga landscape designs.

In fact, those early views were so well received that they prompted Hiroshi Yoshida and another Kiyotaka pupil, none other than Kawase Hasui, to pursue landscapes themselves. This, in turn, contributed to Shinsui’s switch to female portraits. Perhaps the landscape genre felt too crowded. But this became his true fame. His women were often caught at private moments, at the mirror or after the bath, gazing introspectively, deep in thought. Other times, they were out in the world, dressed elegantly, beautiful in the pouring rain or in the swirling snow. They are captured for all time in his greatest collections — the first and second, “Series of Modern Beauties" and "Twelve Images of Modern Beauties."

In the end, he and Watanabe executed 60 landscape prints and 100 portrait prints together, in addition to the occasional work Shinsui did for others. Throughout it all, he continued to paint. In his later years was acclaimed as a national treasure, his work embraced around the world. A long journey from the day that little 12-year-old boy started his first day in the noisy, dirty printing shop.