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Shiko Munakata
"Femme 5" Figurative Woodblock on Rice Paper

1954

About the Item

"Femme 5" Figurative Woodblock on Rice Paper Bold figurative composition by Shiko Munakata (Japanese, 1903-1975). A woman is shown in a squatting position, with her head tilted. She is surrounded by leaves and branches, against a pale red background. Woodblock print with hand-applied color from the back which bleeds through to the front, from the series Munakata’s instantly recognizable style. From the Shokeisho – In Praise of the Bell Valley- Series of 24 images (Munakata’s first major post-war work) 1945. Munakata is credited with turning the craft of print-making into a fine-art The series was Munakata's first after the Pacific War. Each print was about 455 x 327 mm and hand-colored from the back. Munakata initially used the technique of urazaishiki ("back coloring": 裏彩色), a term associated with paintings, in 1938 when he brushed colors on the back of 12 prints in his series Kannon-gyô hangakan (Print volume of the Kannon Sûtra: 観音経版画巻) In the Shôkei series, each contorted figure virtually fills the picture space as flat black forms whose details (heads, torsos, limbs) were engraved or gouged out in reserve, apparently the first time the artist used this technique; it became a signature method for the remainder of his career. These bold "white" lines were for the most part hand-colored on the reverse in blue, purple, or tan, allowing the fluid colors to bleed through the paper to the front. The example immediately above is titled Raimon no saku Presented in a wood frame with a cream mat. Artists chop lower right margins. Frame size: 27.25H x 23"W Image size: 19.75"H x 15"W Shiko Munakata is by many regarded as one of the most significant modern Japanese artists of the twentieth century. His art work consists of paintings, prints, ceramics and calligraphy. Looking at his art work, the way he produced it and his fame, one could be tempted to call him the Japanese Picasso of the twentieth century - in every aspect. Born in Aomori Shiko Munakata was born as the son of a blacksmith in Aomori Prefecture, located in the North of Japan's main island. He first began to paint in oil as a self-taught artist. Later in 1924 he went to Tokyo to study art. Three years after the artist's death, the city of Aomori opened the Munakata Shiko Memorial Museum of Art. The museum web site has one page with a summary of the career of the artist in English. At the age of 23 Munakata Shiko saw a woodblock print by Sumio Kawakami and decided to try woodblocks himself. Under the guidance of Unichi Hiratuka he learned the art of making moku-hanga - woodblock prints. Three years later he exhibited four woodblocks at the Shunyokai exhibition. From then on Munakata Shiko was a hanga artist - a print artist. He continued to exhibit and by and by his reputation grew. After World War II had ended, the artist became famous outside Japan. His works were shown at the Lugano Print Exhibition in 1952, the Sao Paulo Biennal in 1955, the Venice Biennal in 1956. In each of these exhibitions he was awarded with first prizes. After these successful exhibition, Munakata went to the U.S., where he lectured at different universities and had numerous solo exhibitions. Munakata Shiko preferred to call his prints banga, which could be translated like picture made from a wooden panel. Munakata was a practicing Buddhist. Many of his prints and paintings show religious subjects. Other subjects are taken from Japanese legends or from nature. Munakata's prints are larger than the traditional Japanese oban (10x15 inches = 25.4x38 cm) size. With his larger-sized prints he followed Western contemporary artist's and the buying habits of Western clients. Japanese homes are usually small and have little wall space to hang art work and therefore Japanese art buyers tend to buy smaller sizes. A Munakata print is usually in black and white. The techniques he used are woodblocks, woodcuts and lithographs. Like Pablo Picasso, Shiko Munakata worked spontaneously, fast and was extremely prolific. In many early works, Munakata added colors by hand on the front surface of the prints, but he found it obscured the black keyblock lines, ruining the design. Around 1945, the aforementioned Yanagi Sôetsu, head of the Japan Folk Art Museum in Tokyo, and art critic, philosopher, and founder of the mingei (folk art: 民芸) movement in Japan in the late 1920s and 1930s, suggested coloring from the verso and allowing the pigments to bleed through to the front. Munakata was quite pleased with the results and called the technique urazaishiki ("back-coloring: 裏彩色). He would incorporate this type of coloring whenever he believed using only sumi (black) pigment did not achieve the particular feeling he desired in a design. Munakata pattern of thunderIn 1945, just after the end of the war, Munakata produced another important set on a Buddhist theme, this time 24 images (20 were female) intended to be mounted as a pair pf six-fold screens (two images on each leaf). Titled Shôkei shô hangakan (Print volume in praise of Shôkei: 鐘渓頌版画巻), the series was a tribute to Munakata's friend and supporter in the Mingei (Folk Art: 民芸) movement, Kawai Kanjirô (河井寬次郎 1890-1966), one of Japan's great twentieth-century potters (who refused all official honors, including the designation of Ningen Kokuhô 人間国宝, Living National Treasure). Kanjirô's self-made, eight-chamber kiln in the Gojô district of Kyoto was called "Shôkei'"(Valley of the Bell: 鐘渓). Munakata showed 12 of the 24 prints at the aforementioned Third Sao Paulo Biennale in 1955.
  • Creator:
    Shiko Munakata (1903 - 1975, Japanese)
  • Creation Year:
    1954
  • Dimensions:
    Height: 27.25 in (69.22 cm)Width: 23 in (58.42 cm)Depth: 1.5 in (3.81 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Overall good condition. Horizontal crease visible.
  • Gallery Location:
    Soquel, CA
  • Reference Number:
    Seller: DBH95861stDibs: LU54215399792

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