In a previous blog post I wrote about how the Impressionists were influenced by Japanese woodcut prints. Emulation of this Japanese aesthetic has more recently been expressed in Jeff Wall’s nod to an iconic print by the nineteenth-century printmaker Hokusai (South Wind, Clear Weather, from his 36 views of Mount Fuji series) made in 1993. In Wall’s contemporary landscape, the minimalist sketch of Mount Fuji is reinterpreted as an anonymous modern landscape dotted with high-rises. Both scenes capture an unexpected moment when a sudden gust of wind spins its figures into dance-like contortions; sheets of a manuscript sent flying upwards into the air in a whimsical gesture.

Hokusai portrays a spontaneous moment; he offers his viewers a ‘photographic’ instantaneous moment. He captures the illusion of a frozen moment. On the other hand, Wall has painstakingly staged his digital composed print (this is one of a hundred attempted shots of the scene) to construct the so-called accidental scene. Hokusai’s image presents the illusion of a decisive moment while hiding the ‘linear’ time that went into its creation; whereas digital photography has allowed Wall to manipulate the relationship to ‘the moment’ -  that the camera is typically known for.

I found this threshold between the old and new through the lens of Japanese prints interesting, and if any of our readers have any other examples, do feel free to comment below!

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Calling all Paul Binnie fans! We’ve been looking forward to the much-awaited summer prints by this master woodblock printer. Here they are:

Kiyonaga no Kiseru (’Kiyonaga’s Pipe’) Tasogare (’Twilight’)

Kioynaga no Kiseru (left) plays with ‘Tasogare’ (right), adding a motif taken from a triptych design by Torii Kiyonaga of the later 18^th century. The original print shows a group of beauties enjoying a spring snowfall, and the central figure reaches up with her long bamboo pipe to the newly formed icicles hanging from the eaves to knock them off. Here it is as if the tattoo is reaching up to the long silver earring of the model, printed with silver, to tap it with her pipe. Pipes appear on the floor cushion while the baren sujizuri background in swirling, shaded black and grey is shared with all the designs of the Eastern Brocade Beauties series.

Tasogare (right) is the latest addition to the Collection of Eastern Broade Beauties series. Meaning ‘twilight’ or ‘dusk’, Tasogare was the name of one of the star-crossed lovers of Mitsuuji (Genji) in ‘Nise Murasaki, Inaka Genji’, by Ryutei Tanehiko, a 19th century parody novel (1829-1842) on the famous Genji Monogatari of the Heian period.

The Japanese verb ‘tasogarete iru’, meaning to daydream, or to gaze absent-mindedly, seems very much suited to the dreamy expression of this beauty. Details include: a shaded yellow, pink and blue background, a pink cushion heightened with various pinks, silver metallic pigment, and genuine 22c. gold leaf in a scattered cherry blossom pattern.

For specs and prices, just click here. If you’d like to email us for more info, just send your queries and notes to: petra@bluerimgallery.net. We’re looking forward to hearing your comments!

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News flash. We have a brand new print by master woodblock printmaker, Paul Binnie that we wanted to tell you about! Bold and dramatic, here it is:

Inazuma

‘Inazuma’ translates to ‘lightning’. The term hints at the Japanese literary idea of fertilising the fields, derived from ancient poetry.

The large format of this print emphasizes the verticality of this striking bolt of lightning, as it crackles between dark clouds and rain to earth…

This is a very exclusive edition, only 40 have been hand-crafted by Paul Binnie. There are 14 different printings, including 3 printings of solid black overlaid to achieve a deep, opaque darkness in the heaviest clouds.

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To reserve an edition or for more info, just drop us a line at: petra@bluerimgallery.net