A History of Japanese Art: From Prehistory to the Taisho by Noritake Tsuda

By Noritake Tsuda

A historical past of jap Art bargains readers a finished view of eastern paintings via eastern eyes—a view that's the such a lot revealing of all views. even as, it offers readers with a consultant to the areas in Japan the place the easiest and such a lot consultant creations of eastern artwork are to be visible.

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Additional resources for A History of Japanese Art: From Prehistory to the Taisho Period (Tuttle Classics)

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Fundamental questions regarding the nature of Inness’s practice and the meaning of his art remain unanswered or have yet to be posed. One aspect of this practice that demands attention, and that I explore in detail in this study, is Inness’s interest in the problems of nineteenth-century scientific inquiry and, more specifically, his interest in the nature and limits of human perceptual capacity. Inness’s project was shaped by a preoccupation with questions concerning visual function; his landscapes make a series of fascinating claims about the nature of seeing and, collectively, represent an ongoing investigation of the larger problems of perception.

Two men accompany the herd; the one closest to us stands still, the other is engaged in some sort of work. Save for touches of orange in the middle ground, greens, browns, and grays predominate, making the scene, despite the coming storm, appear relatively quiet and subdued. Many nineteenth-century critics praised Inness’s paintings of the 1870s and early 1880s for their beautiful and truthful effects. Inness was called one of [ 7 ] [ 8 ] Chapter 1 America’s most promising artists because, among other things, his landscapes appeared to be accurate and striking representations of the natural world.

Photograph © 1979 The Detroit Institute of Arts. [ 10 ] Chapter 1 what he could have witnessed himself. ”12 A painting such as Kearsarge Village, with its effects of light and weather, its earthy palette, and its meticulously rendered tree trunks, branches, and leaves, reflects this preoccupation, as do many of his landscapes from the 1870s and 1880s. Critics called these pictures “true to nature” because they appeared to render, beautifully and masterfully, the facts before Inness’s eyes. Yet not everyone thought that Inness’s pictures were properly true to life, including that critic who called him not right in his mind.

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