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<h2 class="hd hd-2 unit-title">Day 6 - Influences</h2>
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<p style="text-rendering: optimizeLegibility; margin-right: 0px; margin-left: 0px; padding: 0px; border: 0px; outline: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 16px; font-stretch: inherit; vertical-align: baseline; color: #313131;">Kiyochika was strongly influenced by the artistic styles from the past, such as traditional woodblock-print series. He also struggled to compete commercially in a changing, global mass media landscape. Influences went both ways, as traditional Japanese woodblock prints also had a major impact on some well known artists in the West. We'll look at:</p>
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<p><strong>Day 6 Quiz - Influences</strong></p>
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<h2 class="hd hd-2 unit-title">Hiroshige‘s ”100 Famous Views of Edo,“ 1856–1858</h2>
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<h3 class="hd hd-2">Hiroshige‘s ”100 Famous Views of Edo, “ 1856–1858</h3>
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<p><strong>Hiroshige‘s ”100 Famous Views of Edo,“ 1856–1858</strong></p>
<p>Dr. Ulak describes this most famous of Japanese woodblock print series:</p>
<blockquote>
<h5>His [Kiyochika‘s] obvious inspiration was Andō Hiroshige’s 100 Famous Views of Edo (Meisho Edo Hyakkei), which Hiroshige began serializing in 1856, when Kiyochika was a youngster, and continued until his death in 1858. (Publication was completed in 1859.) This immensely popular series went through many printings, and eventually became known and admired by Western artists such as Vincent Van Gogh. Hiroshige’s colorful and exquisitely composed prints carried the vivaciousness of the popular woodblock-print tradition to new levels.</h5>
<h5>His “famous views of Edo,” however, present a very different picture than the “Tokyo” Kiyochika observed when he returned to the renamed city less than twenty years later. Hiroshige’s renderings are romantic, absent Western influences, often almost pastoral, and more often than not sparkling under a midday sun. (Ulak, ”Kobayashi Kiyochika“ <em>Kiyochika's Tokyo—1</em>, MIT Visualizing Cultures<span style="font-size: 1em; line-height: 1.6em;">)<br /><br /></span></h5>
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<div><img height="auto" width="90%" src="/assets/courseware/v1/de85f56029601fb2fb519f6c8bb9c152/asset-v1:MITx+VTx+1T2019+type@asset+block/008_hiroshige_100-views_1856_lib-cong_Suruga-ch__hiroshige_100Edo_loc.jpg" alt="#08 “Suruga-chō” by Hiroshige, from ”100 Famous Views of Edo,“ 1856, US Library of Congress " /></div>
<h5><br />Caption (above): #08 “Suruga-chō” by Hiroshige, from ”100 Famous Views of Edo,“ 1856 (Library of Congress)<br /><br /><br /></h5>
<div>Please compare the following two versions of print #13 to see the great variety that can happen in the woodblock-print process and aesthetic choices:<br /><br /></div>
<div><img height="auto" width="90%" src="/assets/courseware/v1/bd0da37c28088634aa7547bf27334536/asset-v1:MITx+VTx+1T2019+type@asset+block/013_Shitaya_hirok_ji_version_1_hiroshige_100Edo_loc.jpg" alt="#13 “Shitaya Hirokōji” by Hiroshige, from ”100 Famous Views of Edo,“ 1856, US Library of Congress" /></div>
<h5><br />Caption (above): version one of #13 “Shitaya Hirokōji” by Hiroshige, from ”100 Famous Views of Edo,“ 1856 (Library of Congress)<br /><br /><br /></h5>
<div><img height="auto" width="90%" src="/assets/courseware/v1/edc9a9d55f2c8c8a013765143eeefce9/asset-v1:MITx+VTx+1T2019+type@asset+block/013_Shitaya_hirok_ji_version_2_hiroshige_100Edo_loc.jpg" alt="#13 “Shitaya Hirokōji” by Hiroshige, from ”100 Famous Views of Edo,“ 1856, US Library of Congress" /></div>
<h5><br />Caption (above): version two of #13 “Shitaya Hirokōji” by Hiroshige, from ”100 Famous Views of Edo,“ 1856 (Library of Congress)<br /><br /><br /></h5>
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<div><img height="auto" width="90%" src="/assets/courseware/v1/f43053f0315915a377ac51d9a0df32c9/asset-v1:MITx+VTx+1T2019+type@asset+block/090__Night_View_of_Saruwaka-machi_hiroshige_100Edo_loc.jpg" alt="#90 “Night View of Saruwaka-machi” by Hiroshige, from ”100 Famous Views of Edo,“ 1856, US Library of Congress" /></div>
<h5><br />Caption (above): #90 “Night View of Saruwaka-machi” by Hiroshige, from ”100 Famous Views of Edo,“ 1856 (Library of Congress)<br /><br /><br /></h5>
<div><img height="auto" width="90%" src="/assets/courseware/v1/92550245d5966edc736bef021de47b1b/asset-v1:MITx+VTx+1T2019+type@asset+block/111__Meguro_Drum_Bridge_and_Sunset_Hill_hiroshige_100Edo_loc.jpg" alt="#111 “Meguro Drum Bridge and Sunset Hill” by Hiroshige, from ”100 Famous Views of Edo,“ 1857, US Library of Congress" /></div>
<h5><br />Caption (above): #111 “Meguro Drum Bridge and Sunset Hill” by Hiroshige, from ”100 Famous Views of Edo,“ 1857 (Library of Congress)<br /><br /></h5>
<h5><a href="https://www.hiroshige.org.uk/100_Views_Of_Edo/100_Views_Of_Edo.htm" target="_blank">View ”One Hundred Famous Views of Edo“ by Hiroshige on the hiroshige.org.uk website</a></h5>
<h5><a href="https://en.wikipedia.org/wiki/One_Hundred_Famous_Views_of_Edo" target="_blank">Another excellent source for these views on Wikipedia: One Hundred Famous Views of Edo</a></h5>
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<h2 class="hd hd-2 unit-title">Japonisme</h2>
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<p><strong>Japonisme</strong></p>
<p>Prof. Dower mentions Vincent Van Gogh as an example of a Western artist who was heavily influenced by Japanese woodblock prints, specifically <em>Ukiyo-e.</em> Van Gogh made copies of several of Hiroshige‘s 100 views, and his paintings show the influence of the graphical design of these prints: for example, the 1887 ”Portrait of Père Tanguy.“</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/41af4846c77cf117e9e7da578969b9a3/asset-v1:MITx+VTx+1T2019+type@asset+block/Van_Gogh_-_Portrait_of_Pere_Tanguy_1887-8.jpg" alt="Portrait of Père Tanguy by Vincent van Gogh, an example of Ukiyo-e influence in Western art (1887)" /></div>
<h5><br />Caption (above): ”Portrait of Père Tanguy,“ 1887, by Vincent van Gogh: a painting that shows the influence of Japanese woodblock prints, specifically <em>Ukiyo-e.</em> (© Rodin Museum) <a href="https://en.wikipedia.org/wiki/Japonisme" target="_blank">Wikimedia Commons: Click to read article and view other examples</a> This is external to edX and will open a new window<br /><br /></h5>
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<p>The particular print Prof. Dower describes that Van Gogh copied several times, and emulated in his paintings, is Hiroshige's ”Plum Park in Kameido.“</p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/cd2e9bc9af736eba9e714866a90b4d9c/asset-v1:MITx+VTx+1T2019+type@asset+block/hiroshige030_Plum_Park_in_Kameido.jpg" alt="#30 “Plum Park in Kameido” by Hiroshige, from 100 Famous Views of Edo, 1856, Wikimedia Commons" /></div>
<h5><br />Caption (above): #30 “Plum Park in Kameido” by Hiroshige, from 100 Famous Views of Edo, 1856 (Wikimedia Commons) <a href="https://en.wikipedia.org/wiki/Japonaiserie_(Van_Gogh)" target="_blank">Click here to learn more about Japonisme and Van Gogh on Wikipedia</a> This is external to edX and will open a new window<br /><br /><br /></h5>
<div><img height="auto" width="100%" src="/assets/courseware/v1/1cbd1088a8173cb79f45dd431cb60969/asset-v1:MITx+VTx+1T2019+type@asset+block/Vincent_van_Gogh_Flowering_plum_orchard_1887_Van_Gogh_Museum_2000w.jpg" alt="Flowering plum orchard: after Hiroshige by Vincent van Gogh, October 1887 - November 1887, Van Gogh Museum, Amsterdam, Netherlands" /></div>
<h5><br />Caption (above): <a href="https://artsandculture.google.com/asset/2wF6nM1fOWEp8Q" target="_blank">”Flowering Plum Orchard: after Hiroshige“ by Vincent van Gogh, October 1887 – November 1887</a> (Van Gogh Museum, Amsterdam, Netherlands) This is external to edX and will open a new window<br /><br /></h5>
<p>Excerpt from description by Van Gogh Museum:</p>
<blockquote>
<h5>He [Van Gogh] closely followed the composition of Hiroshige, but did not stick to the exact colours of the original. The Oriental characters he painted on the frame were derived from a Japanese example. The text they create has no coherent meaning and their function is primarily decorative. … ’the sleeping dragon plum tree‘ [was] a name it got from the way that the tree branched out via a network of underground roots only to emerge above ground somewhere else. (Van Gogh Museum, Amsterdam)</h5>
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<h2 class="hd hd-2 unit-title">Portrait Of Ōkubo Toshimichi Revisited</h2>
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<p>The discussion focuses on how print artists responded to the influx of new media—especially those influenced by the West—that were competing with the long-dominant woodblock print medium. The Ōkubo portrait is revisited, this time from an art-historical perspective.</p>
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<h2 class="hd hd-2 unit-title">Competing for Customers</h2>
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<p>Competing for Customers</p>
<p>The three Kiyochika images that show influences by other media, mentioned in the video by Dr. Ulak, follow here for closer examination:</p>
<p></p>
<blockquote>
<h5>Kiyochika applied this photograph-like sense to traditional subjects as well, as seen in his depiction (also from around 1878) of a triumvirate of geisha beauties representing Kyoto, Osaka, and Tokyo—the traditional Edo-era urban meccas of courtesan culture. The choice of black-and-white, oval framing typical of portrait photography, subtle “roughing” in background areas to simulate an engraving effect, and odd arrangement of faces suggesting a photographic multiple exposure—Kiyochika plotted all this with his publisher Matsuki to introduce a subtle foreign accent to time-honored methods of woodblock-print production. (Ulak, ”Kobayashi Kiyochika“ <em>Tokyo Modern—I</em>)<br /><br /></h5>
</blockquote>
<p></p>
<p>Prominent Japanese literary scholar, Maeda Ai (1931-1987),<span style="font-size: 1em;"> wrote about the changes in mass media confronting traditional woodblock-print artists, and the influence of European techniques on ”non-traditional artists like Kiyochika“:</span></p>
<p></p>
<blockquote>
<h5>The year 1877 saw the opening of the First National Industrial Exhibition. Mounted on display were lithographs, copperplate engravings, and etchings by Japanese artists. Of course, traditional <em>ukiyo-e</em> and <em>nishiki-e</em> [polychrome prints] were also made in great numbers at this time, in even greater numbers, most likely, than had been made during the Edo period. <em>Ukiyo-e</em> and <em>nishiki-e</em> continued to enjoy popularity but were to be gradually overwhelmed by lithographs and copperplate engravings due to the ability of the latter to depict reality in greater detail. It was an age that saw the appearance of non traditional artists like Kobayashi Kiyochika, known for his <em>Scenic Spots of Tokyo</em> [Tōkyō meisho zu]. Having begun his career as an <em>ukiyo-e</em> artist, Kobayashi went on to incorporate into his work the European realistic technique of lithography. (Maeda Ai, <em>Text and the City</em>, p. 258)</h5>
</blockquote>
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<p>___________________</p>
<h5>Source: Maeda, Ai. <em>Text and the City: Essays on Japanese Modernity</em>, edited by James A. Fujii, Duke University Press, Durham and London, 2004<br /><br /></h5>
<p></p>
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<p><img height="100%" width="100%" src="/assets/courseware/v1/6cb93dfeb2431261bd68e1256a652a0e/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003.8.1157_kiyochika-geisha_2000w.jpg" alt="“Three geisha: Kayo of Kyoto, Hitotsuru of Osaka, and Kokichi of Tokyo” Kobayashi Kiyochika Woodblock print, ca. 1878 [s2003_8_1157]" /></p>
<h5>Caption (above): “Three geisha: Kayo of Kyoto, Hitotsuru of Osaka, and Kokichi of Tokyo” by Kobayashi Kiyochika, woodblock print, ca. 1878 (Freer-Sackler Gallery, Smithsonian Institution)</h5>
<p></p>
<p>Dr. Ulak describes the cat with a lantern print in his essay:</p>
<blockquote>
<h5>Kiyochika’s 1877 woodblock print titled “Cat and Lantern,” for example, is a macabre tour de force that shows a short-tailed, belled cat attempting to extract a rat trapped in a tipped and burning lantern. Placed in a competition, this was initially misread as an oil painting. Here as in many of his printed works, Kiyochika dispensed with the omnipresent outline of the keyblock print and emphasized (still using multiple printing blocks) undelineated blends of color that replicated oil pigment brushed on a canvas. (Ulak, ”Kobayashi Kiyochika“ <em>Tokyo Modern—</em>I)<br /><br /></h5>
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<div><img height="100%" width="100%" src="/assets/courseware/v1/3928ec7f885c81356bc65dafbded931e/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003.8.1151_kiyochika-cat_2000w.jpg" alt="“Cat with Lantern” Kobayashi Kiyochika Woodblock print, ca. 1880 [s2003_8_1151]" /></div>
<h5><br />Caption (above): “Cat with Lantern” by Kobayashi Kiyochika, woodblock print, ca. 1880 (Freer-Sackler Gallery, Smithsonian Institution)<br /><br /><br /></h5>
<div><img height="100%" width="100%" src="/assets/courseware/v1/647ba92f9314970d752db0e7f73777e8/asset-v1:MITx+VTx+1T2019+type@asset+block/S2003.8.1267_kiyochika-hunting_2000w.jpg" alt="“Mount Fuji at sunset on Lake Suruga” by Kobayashi Kiyochika, woodblock print, Meiji era, 1878, Robert O. Muller Collection, Freer-Sackler Gallery, Smithsonian Institution" /></div>
<h5><br />Caption (above): “Mount Fuji at sunset on Lake Suruga” by Kobayashi Kiyochika, woodblock print, Meiji era, 1878 (Robert O. Muller Collection, Freer-Sackler Gallery, Smithsonian Institution)</h5>
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<h2 class="hd hd-2 unit-title">Day 6 Quiz - Influences</h2>
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<label>Which artist&#8217;s &#8220;100 views&#8221; most fits the following descriptors: </label>
<p>romantic</p>
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<p>melancholic</p>
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<p>often set at night</p>
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<p>show Western influences</p>
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<option value="Kiyochika"> Kiyochika</option>
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<p>absent of Western influences</p>
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<p>more often than not set in midday sun</p>
<div class="wrapper-problem-response" tabindex="-1" aria-label="Question 6" role="group"><div class="inputtype option-input ">
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<p>mostly pastoral</p>
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<option value="Hiroshige"> Hiroshige</option>
<option value="Kiyochika"> Kiyochika</option>
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<p>mostly urban</p>
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<option value="Hiroshige"> Hiroshige</option>
<option value="Kiyochika"> Kiyochika</option>
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