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KASAMATSU Japanese Woodblock Print SEA OF ECHIGO 1957

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KASAMATSU Japanese Woodblock Print SEA OF ECHIGO 1957

SHIRO KASAMATSU

Sea of Echigo


Date: 1957, this (ato-zuri) undated later edition published by Unsodo
Size: approx. 10.5" x 15.5"
Condition: Fine, never framed, no flaws, uncirculated print
Impression: Fine; made from the original blocks
Color: Fine, exceptional color; often times later editions of this print are washed out, this print is crisp and has very strong color
ABOUT THE SEA OF ECHIGO
Echigo was the name for an old province in north-central Japan. Today the area is part of Niigata prefecture, which also includes the island which was the old Sado province. Echigo is blessed with scenic beauty and productive land, but cursed with a harsh climate and isolation. Consequently, early settlers did not migrate to this region. Locked between sea and mountain, Echigo's narrow corridor of harvest is hampered annually by immense snowfalls. Humidity is high during the winter season due to moisture from the Sea of Japan, and heavy snowfall is typical in most of the area. Its winters are some of the most severe in the world, with annual accumulations of snow that range from thirteen to sixteen feet.

The winter landscape of Echigo (Niigata) and neighboring Sado Island has often been depicted in woodblocks by Japanese artists like Hasui, Kuniyoshi, Hiroshige, Hokusai and of course this renowned print by Kasamatsu.

In the late 1950s Kasamatsu, while working with the publisher Unsodo, made a suite of four landscape prints that were predominantly black and white with subtle use of other colors. Two are winter scenes: this print along with Sunset at Minakami, Gunma, Joshu (1958); and two are spring scenes: Mountain Stream of Atara (1958) and Plum Trees at Yoshino (1958).


ABOUT SHIRO KASAMATSU
Born in the Asakusa section of Tokyo to a middle class family, Shiro Kasamatsu started his art studies at a young age. In 1911 he became a student of Kaburagi Kiyokata, a master of the bijin-ga genre. Shiro studied Japanese style painting (Nihonga) but unlike his teacher, he concentrated on landscapes. Kiyokata chose his artist's name "Shiro", which used the character shi from one of Kiyokata's own pseudonyms and was conveniently an alternate spelling of Kasamatsu's given name.

Shiro's paintings were shown at several prestigious exhibitions including the government sponsored Bunten, where they caught the eye of Watanabe Shozaburo, a Tokyo publisher. In 1919, Watanabe approached Shiro about designing woodblock prints. No doubt Kiyokata facilitated this introduction as he had done for several other students, including Kawase Hasui and Ito Shinsui. Shiro's first print, A Windy Day in Early Summer, was published in that same year. He designed several landscape prints over the next few years, but the blocks for these were lost in the 1923 Kanto earthquake and consequently they are quite rare.

Shiro resumed his work with Watanabe in the 1930's. His designs were mainly of landscapes, but also included bijin-ga, interiors, and Noh masks (one of his particular interests). Western collectors were especially attracted to his romantic landscapes depicting traditional Japanese life and landmarks. Shinobazu Pond, published in 1932, was so popular that it was continually reprinted throughout the 1930's and 1940's. It was published in several different color combinations, including an aizuri-e (blue) version. In this print and many others, Shiro used foreground elements like branches to draw in the viewer and give the image depth. This was a design technique first originated by the ukiyo-e artist Hiroshige.

In 1939, Shiro designed the series Eight Views of Tokyo, but only four prints were completed. His relationship with Watanabe was nearing a close, probably because Watanabe did not give him the creative control that he desired. Shiro was intrigued by the independence of sosaku hanga printmakers who carved and printed their own designs. After World War II, he stopped working with Watanabe. However, it would be nearly a decade before Shiro began producing his own prints. In the meantime, he established a short collaboration with Unsodo, a publisher in Kyoto, designing landscape and animal prints. Many of the prints published by Unsodo are quite striking and compare favorably with the Watanabe-published prints.

By the late 1950's, Shiro was ready to break out on his own. He began carving and printing his own designs in limited, numbered editions. He signed these prints himself in English. Some of his Watanabe-published prints also bear English signatures; however, these signatures were applied by Watanabe's employees, not by the artist himself.

Although Shiro's self-made prints lack the refined carving of his shin hanga designs, they have a simplicity and expressiveness that is very appealing. The upward carving strokes and angular lines of Five Story Pagoda at Dusk make it one of Shiro's most dynamic prints. The building seems ready to explode off the paper. In contrast, the grid-like designs of Passage and Windows of Tearoom help to convey a sense of tranquility. Shiro continued to create prints for several decades, but never promoted them through exhibitions or gallery affiliations. As a result, his self-carved prints were more a labor of love than a commercial success.


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