Word: hokusai
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...since the war-Rashomon, Ugetsu, Gate of Hell-were made, and made superbly, to win world prestige for the Japanese product. The Impostor was made for the folks back home who have a yen for the movies. The difference is startling. The other three often had the exquisiteness of Hokusai prints brought to life. The Impostor, far more popular at the Japanese ) box office, has the look of a grade A Hollywood costume adventure that was shot with an almond-eyed camera. The story opens in a geisha house, where lies "the bored baron" (Utaemon Ichikawa), the D'Artagnan...
Frasconi's simple and humble working philosophy is close to that of Japan's great woodcut artists, Hiroshige and Hokusai (18th and early 19th centuries) who also made cheap prints of familiar scenes. If his work is far from rivaling those old masters, it does meet similar challenges in a similar spirit. And no living woodcut artist puts a clearer sense of place mood weather and human activity into his pictures than Frasconi...
Matisse compared old friend Marquet's sketches to those of Master Japanese Draftsman Hokusai. Said Paris-Presse Critic René Barotte: "It is difficult to express more life in fewer lines . . . impossible to use black and white better...
...popular printmakers, the Japanese have long been tops. In the 18th and 19th Centuries the genre was dominated by four masters: Kiyonga, Hokusai, Hiroshige and Utamaro. Their color prints made from wood blocks sold for a few cents each, were sometimes used to wrap tea for export. They greatly influenced such modern European painters as Manet, Degas, Toulouse-Lautrec and Van Gogh. Now the wind blows the other way, and many Japanese prints show the influence of European art. Two of the postwar examples on the opposite page could only have been created through a meeting of East and West...
...pure color created an effect of light-vibration which was not confined to the pictures themselves but seemed to radiate from them. And where the impressionists minimized drawing, he applied an oriental concept that he had learned from studying the woodcuts of the 19th Century Japanese artists, Hiroshige and Hokusai. To Van Gogh, as to the Japanese, line was more than a lasso for capturing shapes, it was a way of touching and riding the slope of a field, the thirsty arc of a sunflower, the surge of a mountain or the flamelike thrust of a cypress...