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Hokusai: Mad about Painting

https://asia.si.edu/exhibition/hokusai-mad-about-painting/
<p>Freer, galleries 58 The Japanese artist Katsushika Hokusai (17601849) is widely recognized for a single imageGreat Wave Off the Coast of Kanagawa, an icon of global artyet he produced thousands of works throughout his long life. Charles Lang Freer recognized the artists vast abilities before many other collectors, and he assembled the worlds largest collection &#8230;</p>

banner-pi03

https://asia.si.edu/ar/banner-pi03-2/
<p>I Made Subandi (second from left, front) leading his Ceraken ensemble. Photo by Lisa Gold, 2014. From Performing Indonesia</p>

Reviews

https://asia.si.edu/exhibition/reviews/
<p>The Washington Post, A change in visual language signals a bigger cultural shift, by Philip Kennicott The Wall Street Journal, Whistler Along the Thames, by Lance Esplund Town &amp; Country, Whistler on the Thames: The Witty Painter Who Could One-Up Oscar Wilde, by Kevin Conley The Economist, A river runs through it The Art Newspaper, Bumpy canvas reveals hidden portrait of Whistlers mistress, by &#8230;</p>

Examples

https://asia.si.edu/exhibition/examples/
<p>#CityViewLondon Thames River traffic is shown in Whistlers Brown and Silver: Old Battersea Bridge and this recent photograph of the present-day bridge. Barges still pass under the 1890 bridge, which replaced the original wooden structure painted by Whistler in the 1860s. #CityViewTokyo To the north of Ryōgoku Bridge on the east bank of the Sumida &#8230;</p>

City View

https://asia.si.edu/exhibition/city-view/
<p>Explore Tokyo and London as seen by Kiyochika and Whistler in the nineteenth century. On September 3, 1868, the city of Edo ceased to exist. Renamed Tokyo (Eastern Capital) by Japans new rulers, the city exemplified the nations drive toward modernization. Railroads, steamships, gaslights, telegraph lines, and large brick buildings radically changed the cityscape. Kiyochika &#8230;</p>

Conservation and Science

https://asia.si.edu/exhibition/conservation/
<p>According to the ledger books of the London art supplier C. Roberson and Company, Whistler purchased sixteen blocks of wove paper from 1881 to 1883. Blocks of paper, compressed and sealed around the edges, not only minimized distortion of the wet paper, but they were also easy to carry while painting outside. Remnants of adhesive &#8230;</p>

Street Scenes and Nocturnes

https://asia.si.edu/exhibition/street-scenes-nocturnes/
<p>Street scenes of daily life fascinated Whistler. The theme appears throughout his career, from the quiet village of Saverne and a busy flower market in northern France, to the children in his London neighborhood and his &ldquo;nocturnes&rdquo; along Amsterdams canals. Through these watercolors, as well as his etchings, pastels, and oil paintings, Whistler conveyed the &#8230;</p>

Home and Studio

https://asia.si.edu/exhibition/home-and-studio/
<p>Whistler frequently depicted his model and longtime companion Maud Franklin, recognizable by her auburn hair, in quiet moments at home. Several compositions contain suggestions of an unseen personperhaps the artist himselfby including a hat on the bed or an empty chair. The small size of these works encourages the viewer to draw near, even though &#8230;</p>

Seascapes

https://asia.si.edu/exhibition/seascapes/
<p>While traditional landscapes held little interest for Whistler, he claimed, The sea to me, is, and always was, most fascinating! Rendered with simplicity, his seascapes of Southend, a popular seaside destination south of London, rely on broad washes of color with sparse detail. Whistler was a master at creating a mixture of pigments that produced &#8230;</p>