The Japanese Art Society of America (JASA) promotes the study and appreciation of Japanese art. Founded in 1973 as the Ukiyo-e Society of America by collectors of Japanese prints, the Society's mission has expanded to include related fields of Japanese art.
While the Society now addresses all aspects of Japanese art and culture, it traces its origins to a small group of ukiyo-e print collectors in and around New York City in 1973, at a time when Parke-Bernet Galleries (later to merge with Sotheby's) had begun to develop a market for Japanese art. The first major auction was the 1969 sale of the Blanche McFetridge estate, consisting of ukiyo-e prints once owned by Frank Lloyd Wright, followed by the 1972 sale of the estate of Hans Popper, a Viennese businessman who spent time working in Japan. His collection included masterpieces by Harunobu, Utamaro, Sharaku and Hokusai, and the sale attracted many of the great collectors and dealers of the era, including Richard Pillsbury Gale (1900–1973) in Minnesota, Felix Tikotin (1893–1986), a dealer living in Switzerland, and Nishi Saiju (1927–1995), the first Japanese dealer to attend a sale in the United States.
JASA entered its fourth decade under the direction of Joan Baekeland as president, and the long-time Chicago collector George Mann as vice president. The current president is Dr. Susan Peters. Today, JASA has some 400 members from countries around the world, including Japan.
Through its annual lectures, seminars and other events, the Society provides a forum for the exchange ideas and experiences about traditional and contemporary arts of Japan.
The Society also sponsors exhibitions, such as Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680–1860, [1] which was shown at Asia Society in New York City in Spring 2008.
Programs for members and the public remain the focus of the Society: in 2009, for example, members had tea in the Japanese teahouse at Kykuit, the Rockefeller estate in Pocantico Hills near Tarrytown, New York; visited private and public collections in Sacramento and San Francisco; and toured the Richard Fishbein and Estelle Bender Collection as well as the mini-museum of the Mary Griggs Burke Collection in New York City. Lecture programs in New York are held at the New York University Institute of Fine Arts and elsewhere.
The programs and publications of the Society were valuable in the 1970s, when ukiyo-e studies and, for that matter, Edo period art history had scarcely entered the academic mainstream either in the United States or Japan.[ citation needed ]
The society publishes a quarterly newsletter for members as well as an annual journal, Impressions. ( ISSN 1095-2136) [2] [3] Impressions was the recipient of the 2009 Donald Keene Prize for the Promotion of Japanese Culture, [4] awarded by the Donald Keene Center, Columbia University.
Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.
Ukiyo-e is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e translates as 'picture[s] of the floating world'.
Utagawa Kunisada, also known as Utagawa Toyokuni III, was a Japanese ukiyo-e artist. He is considered the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Japonisme is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme was first described by French art critic and collector Philippe Burty in 1872.
Nishiki-e is a type of Japanese multi-coloured woodblock printing; the technique is used primarily in ukiyo-e. It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu, who produced many nishiki-e prints between 1765 and his death five years later.
Shin-hanga was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized the traditional ukiyo-e art rooted in the Edo and Meiji periods. It maintained the traditional ukiyo-e collaborative system where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga movement.
Masami Teraoka is an American contemporary artist. His work includes Ukiyo-e-influenced woodcut prints and paintings in watercolor and oil. He is known for work that merges traditional Edo-style aesthetics with icons of American culture.
Okumura Masanobu was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga.
The Fifty-Three Stations of the Tōkaidō, in the Hōeidō edition (1833–1834), is a series of ukiyo-e woodcut prints created by Utagawa Hiroshige after his first travel along the Tōkaidō in 1832.
The Great Wave off Kanagawa is a woodblock print by Japanese ukiyo-e artist Hokusai, created in late 1831 during the Edo period of Japanese history. The print depicts three boats moving through a storm-tossed sea, with a large, cresting wave forming a spiral in the centre and Mount Fuji visible in the background.
Tsutaya Jūzaburō was the founder and head of the Tsutaya publishing house in Edo, Japan, and produced illustrated books and ukiyo-e woodblock prints of many of the period's most famous artists. Tsutaya's is the best-remembered name of all ukiyo-e publishers. He is also known as Tsuta-Jū and Jūzaburō I.
Ogata Gekkō was a Japanese artist best known as a painter and a designer of ukiyo-e woodblock prints. He was self-taught in art, and won numerous national and international prizes and was one of the earliest Japanese artists to win an international audience.
The Society for Japanese Arts was founded in 1937 by a group of Dutch collectors of, and dealers in, Japanese art. Originally called The Society for Japanese Arts and Crafts, the society became international in the 1960s. It currently has over 550 members in 24 countries.
Richard Douglas Lane (1926–2002) was an American art critic, collector, dealer, historian, and writer. He was dealer of Japanese art, lived in Japan for much of his life, and had a long association with the Honolulu Museum of Art in Hawaii, which now holds his vast art collection.
Utagawa Toyoharu was a Japanese artist in the ukiyo-e genre, known as the founder of the Utagawa school and for his uki-e pictures that incorporated Western-style geometrical perspective to create a sense of depth.
Henri Vever (1854–1942) was one of the most preeminent European jewelers of the early 20th century, operating the family business, Maison Vever, started by his grandfather. Henri was also a collector of a broad range of fine art, including prints, paintings, and books of both European and Asian origin. By the 1880s, Vever became one of the earliest Europeans to formally collect Japanese ukiyo-e woodblock prints, purchasing extensively from dealers such as Hayashi Tadamasa. He was a member of Les Amis de l'Art Japonais, a group of Japanese art enthusiasts including Claude Monet, that met regularly to discuss Japanese prints and other works over dinner.
Three Travellers before a Waterfall is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Ryūsai Shigeharu (1802–1853). It depicts a light-hearted scene of two men and one woman travelling on foot through the country-side. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
Shinagawa no Tsuki, Yoshiwara no Hana, and Fukagawa no Yuki are three hanging-scroll paintings corresponding to the themes of "moon", "flowers", and "snow", respectively. These were produced in the late 18th century by the Japanese ukiyo-e artist Kitagawa Utamaro for the prominent merchant Zenno Ihē.
Ellis Tinios is a book historian at the University of Leeds.
Clifton Karhu was an American artist of Finnish heritage who settled in Japan after serving there in the U.S. military during World War II and returning as a missionary. He became locally and internationally renowned for his woodblock prints, inspired by ukiyo-e, which he began making in the early 1960s and produced until his death. Karhu became known for using traditional Japanese printmaking methods to create contemporary bold and colorful landscapes of Kyoto and Kanazawa. Karhu became the first foreign member of the Japan Print Association. Japanese media began to describe him as being "more Japanese than a Japanese," because of his adherence to traditional methods of print production.