Today's postings
- [Baren 24101] Re: Viewing Japanese prints in Sacramento (Margaret Szvetecz)
- [Baren 24102] Re: Viewing Japanese prints in Sacramento (Margaret Szvetecz)
- [Baren 24103] Munakata (Janet Hollander)
Message 1
From: Margaret Szvetecz
Date: Tue, 3 Feb 2004 09:46:31 -0800 (GMT-08:00)
Subject: [Baren 24101] Re: Viewing Japanese prints in Sacramento
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Dear Carol,
No other suggestions from me for Japanese prints in Sacramento!
Later,
Margaret (Szvetecz)
margarszv@earthlink.net
PS. I like looking at your Crater Lake print in the postcard calendar--it has a very spontaneous fee, like an onsite watercolor.
No other suggestions from me for Japanese prints in Sacramento!
Later,
Margaret (Szvetecz)
margarszv@earthlink.net
PS. I like looking at your Crater Lake print in the postcard calendar--it has a very spontaneous fee, like an onsite watercolor.
Message 2
From: Margaret Szvetecz
Date: Tue, 3 Feb 2004 09:50:11 -0800 (GMT-08:00)
Subject: [Baren 24102] Re: Viewing Japanese prints in Sacramento
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Oopsie, I was careless--that last post I made was supposed to be just an email to Carol Wagner.
Margaret
Message 3
From: Janet Hollander
Date: Tue, 03 Feb 2004 15:51:27 -0500
Subject: [Baren 24103] Munakata
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We swapped a number of postings on the Forum re Shiko Munakata and his
prints, especially a year ago when there was a traveling exhibition of his
work. I just stumbled onto a few paragraphs about him in a memoir by Beate
Sirota Gordon ("Gordon's memoir ... recalls the life and times of a woman
who made significant contributions to both Japanese and American cultures,
first as an advocate for civil rights clauses in post World War II Japan and
later as a promoter of Asian-American amity though the arts for the Japan
Society and the Asia Society.") If you locate the Only Woman In The Room,
read about Munakata on pages 148-149.
Here's some of what she wrote:
>When he unpacked the prints he'd brought with him for a one-man show...,
>they tumbled out, wrinkled, wrapped in bits of newspaper, the edges bent.
>The gallery owner looked distraught. "I thought you'd bring them ready to
>hang," she said.
>"It's better not to confine the prints to frames," she was told. "They're
>alive - they don't like to be penned in."
>To please her, though, since she looked ready to call the whole show off, he
>produced an iron and quickly pressed them flat.
[And here's a fine brief description of printmaking]
>Munakata, rather than discuss technique, talked about his source of
>inspiration - Buddhism - saying it wasn't he who did the carving but some
>greater power.... He then gave a demonstration of how a print was made. he
>took a thin piece of paper and make a sketch on it before pasting it
>face-down on the block. Working at astonishing speed, he started to carve
>through the paper with a chisel. His nose was almost touching the block, his
>head moving from left to right. Then, just as quickly, he dipped a brush in
>some black ink and water and spread it over the block. On this he placed a
>piece of paper dampened to facilitate the transfer of ink and to prevent it
>from shrinking. First slowly, then very rapidly, he rubbed a bamboo pad over
>it and, while we held our breath, carefully removed the paper. Finally, he
>painted some light colors onto the back of the print. When he held up the
>finished work, the effect was fabulous.
Janet
Janet Kravetz Hollander, NimbleJacks Design
prints, especially a year ago when there was a traveling exhibition of his
work. I just stumbled onto a few paragraphs about him in a memoir by Beate
Sirota Gordon ("Gordon's memoir ... recalls the life and times of a woman
who made significant contributions to both Japanese and American cultures,
first as an advocate for civil rights clauses in post World War II Japan and
later as a promoter of Asian-American amity though the arts for the Japan
Society and the Asia Society.") If you locate the Only Woman In The Room,
read about Munakata on pages 148-149.
Here's some of what she wrote:
>When he unpacked the prints he'd brought with him for a one-man show...,
>they tumbled out, wrinkled, wrapped in bits of newspaper, the edges bent.
>The gallery owner looked distraught. "I thought you'd bring them ready to
>hang," she said.
>"It's better not to confine the prints to frames," she was told. "They're
>alive - they don't like to be penned in."
>To please her, though, since she looked ready to call the whole show off, he
>produced an iron and quickly pressed them flat.
[And here's a fine brief description of printmaking]
>Munakata, rather than discuss technique, talked about his source of
>inspiration - Buddhism - saying it wasn't he who did the carving but some
>greater power.... He then gave a demonstration of how a print was made. he
>took a thin piece of paper and make a sketch on it before pasting it
>face-down on the block. Working at astonishing speed, he started to carve
>through the paper with a chisel. His nose was almost touching the block, his
>head moving from left to right. Then, just as quickly, he dipped a brush in
>some black ink and water and spread it over the block. On this he placed a
>piece of paper dampened to facilitate the transfer of ink and to prevent it
>from shrinking. First slowly, then very rapidly, he rubbed a bamboo pad over
>it and, while we held our breath, carefully removed the paper. Finally, he
>painted some light colors onto the back of the print. When he held up the
>finished work, the effect was fabulous.
Janet
Janet Kravetz Hollander, NimbleJacks Design