Latest news with #Hokusai
Metropolis Japan
15-07-2025
- Entertainment
- Metropolis Japan
Wow, Hokusai! Interactive Encounter with Japan's Most Iconic Artist
This summer, step into the brilliant world of Katsushika Hokusai like never before. Through August 31, the Sumida Hokusai Museum in Tokyo invites you to experience 'Wow, Hokusai! See, Examine, and Discover Ukiyo-e.' Known worldwide for the ever-iconic The Great Wave, Hokusai was a master of surprise. This exhibition encourages you to slow down, look closer and uncover the hidden genius behind his brushstrokes. Through simple, engaging descriptions and a carefully curated lineup of works by Hokusai and his students, you'll be led on a path of discovery— one 'Wow!' moment at a time. In addition to the main gallery, visitors can enjoy the 'Education Room – Discover Hokusai' —a space designed to illuminate Hokusai's techniques and artistic tricks with accessible insights for all ages. Whether you're a long-time ukiyo-e fan (a genre of Japanese woodblock prints and paintings that flourished during the Edo period (1603–1868) or new to the genre, this exhibit offers a chance to not just see Hokusai's art—but to truly experience it. The museum is located in Hokusai's hometown of Sumida, making it the perfect destination to connect with Tokyo's cultural roots. Don't miss this immersive and eye-opening celebration of Japan's most iconic artist.
Japan Forward
11-07-2025
- Entertainment
- Japan Forward
Wow, Hokusai! See, Examine, and Discover Ukiyo-e
The Sumida Hokusai Museum is a prolific presenter of thematic exhibitions that draw on the work of acclaimed woodblock print artist Katsushika Hokusai. Previous recent exhibitions have focused on the subject matter of samurai, theater, and the Yoshiwara pleasure quarter. Others have highlighted the woodblock printing process. The current exhibition, Wow, Hokusai! See, Examine, and Discover Ukiyo-e, is something of a departure. As the title suggests, it identifies the "wow moments," the multitude of devices that Hokusai employed, that make the viewer gasp with astonishment. The exhibition's explanatory panels are divided into two, with the top section identifying the artwork and the lower portion explaining the wow factor. The exhibition therefore serves as an excellent introduction to the skills and techniques of the woodblock artist. It will be held in two terms, the first until July 27 and the second from July 29 until the end of the summer holiday period on August 31. Hidden Subtleties In truth, many of the highlighted techniques are subtle, and so the gasps are likely to be of the delayed and restrained variety. This is particularly true when figures within the prints point at objects to which the viewer's eye is not naturally directed. The best example is The Sazaido of the Gohyaku Rakamji Temple, in which the eyes of a single elderly character gaze towards birds perched under a temple roof, rather than the more obvious focus of Mt Fuji. Realization of the existence of the birds is one that is reserved for those who truly take time to examine the print. Visual Redirection The technique employed in The Sazaido of the Gohyaku Rakamji Temple is also evident in Sarumaru Dayū, from the series One Hundred Poems Explained by a Nurse. When viewing the print, one's eye is drawn in the direction in which a group of women is moving — to the right. Two of the women, however, look and point back towards a hill on the far left, where perceptive viewers of the print will notice a pair of deer. Two deer standing in an area to which the eye is not naturally drawn. | Katsushika Hokusai, Sarumaru Dayū, from the series One Hundred Poems Explained by a Nurse, The Sumida Hokusai Museum (all terms) Advertisement The Creation of Scale Creating a sense of scale is another technique in which Katsushika Hokusai was skilled. In his classic print Rainstorm Beneath the Summit, lightning appears at the base of Mt Fuji while a blue sky and fluffy white clouds can be seen overhead. The dual weather patterns within the vicinity of the mountain make it clear that Mt Fuji is massive enough to create its own weather. Thunder, lightning, and fluffy white clouds. An even more compelling example of scale creation occurs in Honganji Temple at Asakusa in Edo, from the series Thirty-six Views of Mount Fuji. The height of the roof is symbolically suggested by low-lying clouds, a kite soaring high, and a sizable scaffold for the digging of a well. These references create a gross exaggeration of the actual size of the temple, but imply that it is a particularly venerable object. Symbolic Shapes The status of the temple is further enhanced via an appropriation of the spirituality of Mt Fuji through repeated shape. The temple roof facing, and Mt Fuji, are both triangular — suggesting parallels between the temple and one of Japan's most sacred mountains. The creation of scale and repeated triangles. | Katsushika Hokusai, Honganji Temple at Asakusa in Edo, from the series Thirty-six Views of Mount Fuji, The Sumida Hokusai Museum (1st term) Repeated triangles can also be seen in Hokusai's most famous work, Under the Wave off Kanagawa. The wave in the foreground (in front of the more striking cresting wave) resembles Mt Fuji in both shape and color. The tranquility and stability of Mt Fuji contrast dramatically with the temporary nature and destructive energy of the wave. Dual triangles of blue and white: Mt Fuji and the wave in the foreground. Advertisement Wear and Tear A visit to the Sumida Hokusai Museum is never complete without an increased appreciation of the trials and demands of the print-making process. An initial print run during Hokusai's time always turned out woodblock prints most in line with what the artist intended. It was supervised by the artist himself, and the woodblocks were in their best condition. The natural wear on woodblocks over time, however, inevitably led to broader lines in subsequent printings. The absence of supervision by the artist in the additional print runs could also result in mistakes or unwanted interpretations. Missing Details Below are two images of Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, created from different print runs. In the upper print, a woman in a tea house is pointing at three birds in the sky, which were most likely included by Hokusai to create a sense of height and depth. In the second print, the outlines are thicker. Moreover, the birds are missing. According to the exhibition curator, the birds may not have survived upon the block face over time due to their small size, or they may have been on a woodblock that the printer simply forgot to print. A woman points to birds in the sky. | Katsushika Hokusai, Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, Yoshino Gypsum Collection, deposited in The Sumida Hokusai Museum (1st term) In a later edition of the print above, the birds are no longer there! | Snowy Morning at Koishikawa, from the series Thirty-six Views of Mount Fuji, The Sumida Hokusai Museum (1st term) Katsushika Hokusai was an immensely talented and deeply influential artist. His catalog work is also an invaluable pictorial record of the Edo era, prior to the advent of photography. A visit to Wow, Hokusai! See, Examine, and Discover Ukiyo-e is guaranteed to increase one's appreciation of how Hokusai keeps the life and times of the Edo alive, for us of the current day. Advertisement RELATED: Author: Paul de Vries
Times of Oman
30-06-2025
- Entertainment
- Times of Oman
Manga Hokusai Manga Exhibition
Muscat: The Embassy of Japan in Muscat, in collaboration with the Ministry of Culture, Sports and Youth, will be hosting the travelling exhibition 'Manga Hokusai Manga' which includes manga drawings by the Japanese artist Katsushika Hokusai dating back to the 19th century. These drawings will be presented through the lens of contemporary Japanese comics, giving visitors the opportunity to experience the essence and depth of the Japanese culture and life in all its details through these drawings. The exhibition will be held at the Omani Society for Arts in Ghala from July 3 to 22, 2025, and entry is free.
Globe and Mail
27-06-2025
- Entertainment
- Globe and Mail
Japan's Edo Era Brought to Life in Summer 2025 Exhibition at the Cleve Carney Museum of Art and McAninch Arts Center
"Hokusai & Ukiyo-e" Invites Visitors to Journey Back in Time Through an Art Collection Making Its U.S. Debut and Interactive Experiences Including an Immersive Manga & Anime Exhibit, Silk & Samurai Selfie Station, Kids Area, DIY Digital Ukiyo-e Art and More Tickets Start at $12 Glen Ellyn, Illinois--(Newsfile Corp. - June 27, 2025) - The Cleve Carney Museum of Art (CCMA) and McAninch Arts Center (MAC), located on the College of DuPage campus (425 Fawell Blvd.), present "Hokusai & Ukiyo-e: The Floating World, Artworks from the Chiossone Collection," May 31 - Sept. 21, 2025. The all-encompassing exhibition takes guests on a fascinating journey into the world of shoguns, samurai and Kabuki actors during a vibrant time of Japanese cultural renaissance. Tickets start at $12 and are now available on the exhibition's website, or through the MAC box office. To view an enhanced version of this graphic, please visit: The "Hokusai & Ukiyo-e: The Floating World" exhibition authentically brings 17th-century Japan to life through meticulously crafted recreations, immersive experiences, hands-on activities and historical exhibits. Visitors will be transported to a time when the city of Edo (now Tokyo) flourished under shogunate rule as the cultural and economic heart of Japan, embracing the arts, nature and leisurely pursuits. The multi-faceted experience centers around the world-class presentation of a 63-piece collection making its U.S. debut, featured as " Museum Galleries - Chiossone Collection" in the exhibition. On loan from the Edoardo Chiossone Museum of Oriental Art in Genoa, Italy, the collection includes 53 woodblock prints and original paintings by leading artists of ukiyo-e -a major artistic genre that flourished during Japan's Edo period (1603-1868)-along with several handcrafted objects such as games, instruments and daily objects. Enhancing the museum exhibition, "Hokusai & Ukiyo-e" immerses guests in Japan's iconic shogun era through a variety of engaging, interactive exhibits spanning over 10,000 square feet. Supporting the art collection and created exclusively for the CCMA and MAC, the show features: Historical Edo & Ukiyo-e Exhibit: With a layout inspired by a woodblock print, the first exhibit provides context to the featured art collection, focusing on the lives of Hokusai, Hiroshige and Edoardo Chiossone, the development of ukiyo-e and its lasting impact, the art of woodblock printing, and works from the College of DuPage permanent art collection. Hokusai's World: Step Into Edo: This streetscape walk-through experience features recreations of a woodblock printshop and Japanese market. As visitors step into the printshop, they will spot a scene depicting Hokusai and his daughter Oi-both deeply focused on their craft. Publishing boomed in Hokusai's time, and he helped fuel the craze for illustrated books known as ehon. Waves of DuPage: Beautiful Cities: Naperville artist Rich Lo created ukiyo-e-style landscapes based on iconic DuPage County locations. These original works were created for the DuPage Public Art Project and will be displayed as murals within communities throughout the county. Framed prints of all these pieces will be showcased together at the exhibition. Immersive History of Manga & Anime: Guests can explore the evolution of manga-Japanese comics-through a fully designed environment by Vanessa Vu and Kevin Yu of 2d, where every inch of the space, including walls, furniture and floors, merge into a black-and-white, larger-than-life comic book. Hokusai Kids Area: Families can dive into the fascinating world of Hokusai with an original Hokusai biographical anime film, a Children's Day display celebrating how strong, brave and bright kids are with traditional Japanese toys that are gifted, a Japanese dragon costume featured in parades and celebrations, a cherry blossom wish tree where children can write down their wishes and tie it to the tree, calligraphy and origami making, and more. Ukiyo-e Imagination Station: Visitors can create their very own ukiyo-e masterpieces through a hands-on digital experience. Samurai & Silk Selfie Station: Visitors can snap a photo with exquisite recreations of Edo Era clothing, including a samurai uniform on loan from Warner Bros., a Kabuki character costume designed by Kim Morris, and a stunning empress kimono. Great Wave Gardens: The curated outdoor garden will feature a selection of live plants including flowering trees and sculpted evergreens, plus a Japanese bridge, teahouse façade, picnic area and more to convey the spirit of peaceful Japanese landscapes. Edo EATS! and Gift Shop: Food and drink will be available at the Edo EATS! concession, and Hokusai-themed merchandise and souvenirs will be sold in the gift shop. "Think of this exhibition as an immersive cultural dive into Japan's captivating Shogun era, packed with everything from historic masterpieces and recreations of daily life to cherished traditions, natural beauty, and a few surprises along the way," said Diana Martinez, Executive Director of the McAninch Arts Center. "From centuries-old legendary artworks to anime, digital art and kid's activities, there's something around each corner for visitors of all generations to explore, learn and enjoy." "We are thrilled to collaborate with our international partners to bring this important collection to the museum. Japanese ukiyo-e artists have had a profound influence on global visual culture, and although these works are centuries old, they continue to resonate powerfully with contemporary audiences." said Justin Witte, Curator of the Cleve Carney Museum of Art. Widely considered as one of the most recognizable images in the world, the collection will feature Katsushika Hokusai 's iconic masterpiece, "Under the Wave off Kanagawa," along with eight more of his original works. There will also be 15 works by Utagawa Hiroshige, particularly known for the "One Hundred Famous Views of Edo" series, along with works by 15 of their contemporaries. The MAC will host on-site lectures by authors and curators, film screenings, weekly Japanese calligraphy and woodblock printmaking classes, and more. For many of these events, a "Hokusai & Ukiyo-e" exhibition ticket will grant free access. In addition, 22 cities within DuPage County are celebrating the much-anticipated exhibition displaying ukiyo-e style murals of iconic locations and landmarks as part of the "Waves of DuPage: Beautiful Cities" public art project. Each will also host themed events. More information about the "Hokusai & Ukiyo-e: The Floating World" can be found at Additional Exhibition Information The exhibition is organized by the Cleve Carney Museum of Art, with works from the Edoardo Chiossone Museum of Oriental Art of Genoa, Italy that was originally collected by Edoardo Chiossone (1833-1898), whose collection is known worldwide for the quality of art and its remarkable state of conservation. The featured ukiyo-e collection on loan will be curated by professor and art historian Rossella Menegazzo of The University of Milan as part of the larger exhibition at the MAC and CCMA, curated by Justin Witte. Support for "Hokusai & Ukiyo-e: The Floating World, Artworks from the Chiossone Collection" is provided in part by The County of DuPage, Ball Horticultural, DuPage Foundation, Arts DuPage, Wight & Company, The Illinois Arts Council, Capstone Financial Advisors, the JCS Fund, National Endowment for the Arts, Molex, the Japanese Chamber of Commerce, the College of DuPage, Discover DuPage and DCVB DuMore DuPage. Exhibition Tickets Ticket prices range from $12 to $32 ($12 tickets available Tuesdays and Wednesdays from 2 - 5 p.m.). VIP add-on packages start at $25 and include benefits such as audio tours, catalogs and exhibition merchandise. For tickets or more information visit or call the MAC Box Office 630.942.4000. Discounts are available for groups of 20 or more by contacting the group sales coordinator at 630.942.3026 or grouptix@ Guests can explore the evolution of manga-Japanese comics-through a fully designed environment by Vanessa Vu and Kevin Yu of 2d, where every inch of the space, including walls, furniture and floors, merge into a black-and-white, larger-than-life comic book. To view an enhanced version of this graphic, please visit: About the Cleve Carney Museum of Art The late Cleve Carney provided a significant legacy gift to establish the Cleve Carney Art Gallery at College of DuPage. The gallery opened in February 2014 with its inaugural exhibition, "Selections from Cleve Carney's Art Collection." In fall 2019, the gallery was expanded to a 2,500 square-foot museum. The Cleve Carney Museum of Art opened June 2021 with the highly anticipated "Frida Kahlo: Timeless" exhibition followed it up in summer 2023 with "Warhol." Funding for CCMA is provided by the Cleve Carney Endowment Fund, which supports vital programming including artist engagement opportunities for community members and students, gallery exhibitions, artist commissions, new acquisitions and other teaching and learning tools that foster cultural enrichment in our community. More information can be found at and on social media @CleveCarneyMuseumofArt. About the MAC McAninch Arts Center at College of DuPage is located 25 miles west of Chicago near I-88 and I-355. It houses three indoor performance spaces (780-seat proscenium Belushi Performance Hall; 186-seat soft-thrust Playhouse Theatre; and a versatile black box Studio Theatre), outdoor Lakeside Pavilion, plus the Cleve Carney Museum of Art and classrooms for the college's academic programming. The MAC has presented theater, music, dance and visual art to more than 1.5 million people since its opening in 1986 and typically welcomes more than 100,000 patrons from the greater Chicago area to more than 230 performances each season. For more information about the MAC, visit or @AtTheMAC on Facebook and Instagram. # # # Media Contact: Carol Fox & Associates Alyssa Krueger / Ann Fink 708.870.0968 / 773.969.5042 alyssak@ annf@ Click Here for Photos To view the source version of this press release, please visit
23-06-2025
- Entertainment
Katsushika Hokusai: The Woodblock Virtuoso Who Enthralled the World
In a famous afterword to an edition of his illustrated book One Hundred Views of Mount Fuji , Katsushika Hokusai (1760–1849), then in his seventies, gave an insight into his artistic spirit. From the age of 6, I was in the habit of copying the forms of things, and many of my pictures have been published since I was 50, but everything I created before 70 was worthless. At 73, I came to know a little about the structure of birds, animals, insects, and fish, and the botany of trees and plants. Thus, when I'm 86, I'll make further progress with my technique, at 90 I'll master this art, at 100 I'll reach the level of the divine, and at 110 every dot and line I paint will appear to be full of life. These words demonstrate how he was never complacent, and always seeking to improve his art. Finding His Path Hokusai's career as an ukiyo-e artist began in 1779, when he was 18. He became a student of Katsukawa Shunshō, who was known for his portraits of kabuki actors, and created his own pictures of actors, many of which survive to the present day. Hokusai, who used many names during his lifetime, was known as Shunrō at this time (however, this article will generally refer to him as Hokusai). His 1791 portraits of Ichikawa Ebizō and Sakata Hangorō on stage show a high level of polish, indicating that he got off to a smooth start in the ukiyo-e world. Portraits of Ishikawa Ebizō (left; courtesy Metropolitan Museum of Art) and Sakata Hangorō (right; courtesy Tokyo National Museum/Colbase). After the death of his teacher Shunshō in 1792, Hokusai's position within the Katsukawa school appears to have become difficult. The likely cause is thought to have been a falling out with Shunkō, the student who became the new leader of the school; in 1794 Hokusai became the successor to another ukiyo-e artist called Tawaraya Sōri, himself taking the name Sōri. Then, rather than producing work in the main ukiyo-e genre of commercial nishiki-e prints, he threw his energies into producing surimono , which were single-sheet works that were not sold directly to the public, such as simplified calendars distributed by merchants at the start of the year and event invitations. While they were also woodblock prints, Hokusai met the demand for the lighter, more delicate colors that were favored in these works. During this time, he was also illustrating books of kyōka (humorous poems), which similarly called for delicacy and refinement. Hokusai was a major painter in these two genres, both of which reached a high artistic level from around the end of the eighteenth century. Den'en kōraku (A Trip to the Country) from Otoko tōka (Men's Stamping Song). (Courtesy Tokyo National Museum/Colbase) New Directions In 1798, he passed on the name Sōri to one of his students, and began calling himself Hokusai, the name by which he is now widely known. From his latter days as Sōri, for a decade or so, his works in the genre of bijinga (pictures of beautiful women), with their tall, slim, and elegant figures, won him huge popularity. A book published in 1800, when the great bijinga artist Kitagawa Utamaro was still active, praised Hokusai's work as comparable to that of the respected author Santō Kyōden for representation of beautiful women. His hand-painted Sōri-style bijin , named after his artistic sobriquet at the time he started painting them, are highly regarded today. Nibijinzu (Two Beauties). (Courtesy MOA Museum of Art) One popular genre of books in the Edo period (1603–1868) was the yomihon , thanks to authors like Kyokutei Bakin; this was story-driven literary fiction, but illustrations were very important in boosting sales. Hokusai was a leading illustrator, his tightly knit compositions matching the complex literary style of a text that incorporated Chinese words, while his dynamic brushstrokes brought to mind contemporary gekiga manga, and he made effective use of inky darkness to depict mysterious happenings. Bakin was known for his scathing comments, but while he noted Hokusai's 'contrary' nature in not simply following the instructions of the writer, he highly rated the artist's level of skill. They worked together on Strange Tales of the Crescent Moon , which is one of the masterpieces of the genre. An illustration by Hokusai from Chinsetsu yumiharizuki (Strange Tales of the Crescent Moon) by Kyokutei Bakin. (Courtesy National Diet Library Digital Collection) Around almost the same time that he was producing illustrations for yomihon , Hokusai took on a new challenge. This was creating 'Western-style' woodblock prints that aimed to reproduce the texture and density of depiction of Western copperplate engravings and oil paintings. After pioneering works by painters like Shiba Kōkan and Aōdō Denzen piqued his curiosity, Hokusai produced a number of series representing the scenery of Edo and other areas in a style different from the nishiki-e of the time, deploying techniques such as shading and copperplate hatching or colors seen in oil paintings. In this novel form of expression, the artist's rakkan seal is written in hiragana that mimics Roman letters. While not always successful in the market, it had a considerable influence on ukiyo-e artists' depiction of scenery, including Hokusai's own students. This was a base from which he would develop toward later scenic works like Thirty-Six Views of Mount Fuji . The Western-style work Yotsuya Jūnisō (Jūnisō at Yotsuya). (Courtesy Tokyo National Museum/Colbase) Hokusai and Fuji Hokusai passed his most famous name on to a student in 1815, and began calling himself Taito. The previous year had seen the publication of the first volume of Hokusai Manga , which would make the name Hokusai known around the world. This contained sketches of people, animals, insects, fish, flowers, and many other kinds of things, and was designed as a collection of models for art students to use in their practice. As Hokusai had established himself as a master artist, there was massive demand for his sample pictures, and subsequent volumes followed, with the fifteenth and final one being published in 1878, around three decades after Hokusai's death. There were also caricatures that were more for enjoyment than simple models. The forms of the people, birds, fish, and insects give a firm impression of Hokusai's individuality, and their creative impact appealed to both Japanese artists and later ones from the West. First volume of Hokusai Manga . (Courtesy Metropolitan Museum of Art) Around 1830, Hokusai produced Thirty-Six Views of Mount Fuji , including The Great Wave off Kanagawa , which still enthralls people around the world today. Mount Fuji had a special place in the hearts of Edoites, and the series' presentation of the iconic peak in a range of compositions from different locations and in varied weather conditions was a big break for Hokusai, helped in part by abundant use of the imported synthetic pigment Prussian blue, which had gained popularity for its vibrant color. Landscapes were formerly a minor genre within nishiki-e , compared with representations of actors and beauties, and the publication of a series of dozens of pictures must have entailed considerable risk. About a decade earlier, Hokusai had taken on the name Iitsu, and the artist was by now an elderly man of 70. His bold effort to take on a new genre demonstrated how he did not plan to rest on his laurels. Kanagawa-oki nami ura (The Great Wave off Kanagawa) from the Fugaku sanjūrokkei (Thirty-six Views of Mount Fuji) series. (Courtesy Metropolitan Museum of Art) The success of Thirty-Six Views of Mount Fuji established the landscape genre within woodblock art, and spurred Hokusai on to further series, including A Tour of Waterfalls in Various Provinces and Famous Bridges in Various Provinces . Other artists like Utagawa Kuniyoshi and Utagawa Hiroshige also tackled the genre. Shimotsuke Kurokami-yama Kirifuri no taki (Kirifuri Waterfall at Kurokami Mountain in Shimotsuke) from the Shokoku taki meguri (A Tour of Waterfalls in Various Provinces) series. (Courtesy Art Institute of Chicago, Clarence Buckingham Collection) Through the 1830s, Hokusai also produced series centered on flowers and birds, playing a leading role in establishing these further genres. In 1834, he adopted the name Manji, which he used for his famous afterword to One Hundred Views of Mount Fuji . As well as scenery, this multifaceted illustrated book also looked at myths and literature associated with the sacred peak. The audacious composition greatly enlarged aspects of the foreground to highlight comparisons with the mountain in the distance. Tanabata no Fuji (Fuji at Tanabata) from Fugaku hyakkei (One Hundred Views of Mount Fuji). (Courtesy Tokyo National Museum/Colbase) The influence of Hokusai's landscapes extended outside Japan to the West. Notably, in France this included woodblock prints by Henri Rivière and glassware by Émile Gallé. Les Trente-six vues de la Tour Eiffel (Thirty-Six Views of the Eiffel Tower) by Henri Rivière was inspired by Hokusai's Mount Fuji landscapes. (Courtesy Yamaguchi Prefectural Art Museum/Uragami Memorial Hall) Hokusai, who had hoped to live until 110, died in 1849 at the age of 88. Three years before his death, he is reported as having still been a hardy walker, and his creative spirit and painting ability seem to have remained undiminished until the end, as he completed several great works in the last year of his life. He often described himself as 'mad' about painting, but Hokusai could more accurately be characterized as deeply dedicated to the art, with his firm sense of purpose and ongoing innovation. (Originally published in Japanese on May 19, 2025. Banner image created based on a portrait of Hokusai by his student Keisai Eisen, taken from a book by Kimura Mokurō. Courtesy National Diet Library Digital Collection.)
