Yoshida | Canal in Venice
吉田博 Hiroshi Yoshida (1876–1950)
威尼斯运河
Canal in Venice
1925
木版画 | 纵绘大大判 | 42cm x 28cm
Woodblock-print | Large Oban tata-e | 42cm x 28cm
自摺；品相近完美
Jizuri seal; great condition
$6,300
就在游历欧洲后返回日本的那一年，1925年，吉田博成立了吉田版画工作室，着手开始出版著名的木版画系列《美国系列》和《欧洲系列》，正式开启了崭新的创作生涯。
吉田博曾经多次到访威尼斯，并以其为主题创作了多幅油画与木版画作品。这座碧波上的水城由118个小岛、一条主运河的177条水道与401座桥梁连成一体，放眼望去，处处是风景。在本作中，吉田博选取了一个高度约为建筑二层的视角，将运河与对岸的几栋威尼斯式传统小楼用风景写生的方式简要勾勒。从屋顶、窗棂的排线，与街道行人与路灯的轮廓线可以看出，此时的吉田博依然对线条有着较强的依赖。但一旦将视线转向运河的水面，就能领略到他标志性的带着浓郁流动水彩感的独特版画风格：经过数十次摺印而形成的精妙波纹仿佛在不停地盘旋扩散，让一条条贡多拉也好似航行在裸眼3D立体画上，体积感真实而饱满，使观者一瞬间就能置身于运河之城，亦足可见吉田博的深厚风景画功力。
In the waning days of Ukiyoe, when Yokohama-e prints dominated, many late-period artists produced views of foreign cities and harbors they’d never visited. Some of these were quite fanciful and bore little resemblance to the actual places. But just more than 50 years later, Japanese artists were free to travel the world, and Hiroshi Yoshida was one of the first.
Here we see a classic view of the Grand Canal in Venice – itself one of the greatest works of art humankind has produced. We can only imagine Yoshida’s reaction when he first gazed upon this fabled, water-borne metropolis with its winding canals, Rococo Palazzos and singing Gondoliers. (One suspects they were just for tourists, even back then.)
Yoshida sketched this design on his third trip to Europe in the early 1920s; his training and background as a watercolor painter is quite evident. (In fact, he came relatively late to print-making.) The currents swirl majestically, and we get a visceral sense of the muted Venetian sun playing on the facades. It is as painterly a Japanese print as has ever been produced.
Interested in purchasing?
Please contact us.
吉田博 Hiroshi Yoshida (1876–1950)
威尼斯运河
Canal in Venice
1925
木版画 | 纵绘大大判 | 42cm x 28cm
Woodblock-print | Large Oban tata-e | 42cm x 28cm
自摺；品相近完美
Jizuri seal; great condition
$6,300
就在游历欧洲后返回日本的那一年，1925年，吉田博成立了吉田版画工作室，着手开始出版著名的木版画系列《美国系列》和《欧洲系列》，正式开启了崭新的创作生涯。
吉田博曾经多次到访威尼斯，并以其为主题创作了多幅油画与木版画作品。这座碧波上的水城由118个小岛、一条主运河的177条水道与401座桥梁连成一体，放眼望去，处处是风景。在本作中，吉田博选取了一个高度约为建筑二层的视角，将运河与对岸的几栋威尼斯式传统小楼用风景写生的方式简要勾勒。从屋顶、窗棂的排线，与街道行人与路灯的轮廓线可以看出，此时的吉田博依然对线条有着较强的依赖。但一旦将视线转向运河的水面，就能领略到他标志性的带着浓郁流动水彩感的独特版画风格：经过数十次摺印而形成的精妙波纹仿佛在不停地盘旋扩散，让一条条贡多拉也好似航行在裸眼3D立体画上，体积感真实而饱满，使观者一瞬间就能置身于运河之城，亦足可见吉田博的深厚风景画功力。
In the waning days of Ukiyoe, when Yokohama-e prints dominated, many late-period artists produced views of foreign cities and harbors they’d never visited. Some of these were quite fanciful and bore little resemblance to the actual places. But just more than 50 years later, Japanese artists were free to travel the world, and Hiroshi Yoshida was one of the first.
Here we see a classic view of the Grand Canal in Venice – itself one of the greatest works of art humankind has produced. We can only imagine Yoshida’s reaction when he first gazed upon this fabled, water-borne metropolis with its winding canals, Rococo Palazzos and singing Gondoliers. (One suspects they were just for tourists, even back then.)
Yoshida sketched this design on his third trip to Europe in the early 1920s; his training and background as a watercolor painter is quite evident. (In fact, he came relatively late to print-making.) The currents swirl majestically, and we get a visceral sense of the muted Venetian sun playing on the facades. It is as painterly a Japanese print as has ever been produced.
Interested in purchasing?
Please contact us.
吉田博 Hiroshi Yoshida (1876–1950)
威尼斯运河
Canal in Venice
1925
木版画 | 纵绘大大判 | 42cm x 28cm
Woodblock-print | Large Oban tata-e | 42cm x 28cm
自摺；品相近完美
Jizuri seal; great condition
$6,300
就在游历欧洲后返回日本的那一年，1925年，吉田博成立了吉田版画工作室，着手开始出版著名的木版画系列《美国系列》和《欧洲系列》，正式开启了崭新的创作生涯。
吉田博曾经多次到访威尼斯，并以其为主题创作了多幅油画与木版画作品。这座碧波上的水城由118个小岛、一条主运河的177条水道与401座桥梁连成一体，放眼望去，处处是风景。在本作中，吉田博选取了一个高度约为建筑二层的视角，将运河与对岸的几栋威尼斯式传统小楼用风景写生的方式简要勾勒。从屋顶、窗棂的排线，与街道行人与路灯的轮廓线可以看出，此时的吉田博依然对线条有着较强的依赖。但一旦将视线转向运河的水面，就能领略到他标志性的带着浓郁流动水彩感的独特版画风格：经过数十次摺印而形成的精妙波纹仿佛在不停地盘旋扩散，让一条条贡多拉也好似航行在裸眼3D立体画上，体积感真实而饱满，使观者一瞬间就能置身于运河之城，亦足可见吉田博的深厚风景画功力。
In the waning days of Ukiyoe, when Yokohama-e prints dominated, many late-period artists produced views of foreign cities and harbors they’d never visited. Some of these were quite fanciful and bore little resemblance to the actual places. But just more than 50 years later, Japanese artists were free to travel the world, and Hiroshi Yoshida was one of the first.
Here we see a classic view of the Grand Canal in Venice – itself one of the greatest works of art humankind has produced. We can only imagine Yoshida’s reaction when he first gazed upon this fabled, water-borne metropolis with its winding canals, Rococo Palazzos and singing Gondoliers. (One suspects they were just for tourists, even back then.)
Yoshida sketched this design on his third trip to Europe in the early 1920s; his training and background as a watercolor painter is quite evident. (In fact, he came relatively late to print-making.) The currents swirl majestically, and we get a visceral sense of the muted Venetian sun playing on the facades. It is as painterly a Japanese print as has ever been produced.
Interested in purchasing?
Please contact us.
Hiroshi Yoshida (1876–1950)
Hiroshi Yoshida is perhaps the second best known Shin Hanga artist, after Hasui. Trained as a painter from a young age, he showed his work at the Detroit Museum of Art in 1899, making him among the first Japanese artists to gain a reputation in the United States. Eventually, like so many of his contemporaries, he worked for Watanabe Shozaburo producing landscape prints. While many were set in Japan, he traveled extensively and produced several wonderful designs of American subjects, such as New York skyscrapers, the Pittsburgh waterfront and national parks, and European subjects, such as Lake Como in Italy. His prints always had a distinctly painterly feel, as if they’d fallen off a watercolor brush.