If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A native of Shanghai, Zhang Gunian (Chang Ku-nien) first studied painting at the age of nine under the tutelage of his uncle. His work clearly embraces the free brushwork that flourished in Shanghai painting circles in the early part of the twentieth century. After his move to Taiwan, he frequently did scenes that reflected the accomplishments of the Nationalist Government in creating a modern China. He organized a group of like-minded colleagues as the "Seven Friends of Painting and Calligraphy," and together they often did collaborative works. His paintings and calligraphy were much admired in Taiwan and Japan in the second half of the twentieth century, although less known in the West. A major donation to UMMA of nearly forty paintings by Zhang Gunian, given by his son and daughter, will allow for serious study of this artist's work in North America.
A rock dominates the image, with orchids and grasses growing next to it. Calligraphic text accompanies the image, places above the rock, with three seals.
Subject Matter
Creating cooperative works with peer artists has been a fashion closely connected to the literati’s painting concept and practice. As modes of personal expressions, according to literati theory, paintings are created for private occasions and are shared and appreciated among circles of friends. The cooperative work celebrates respectful mutual relationships and reinforce affections among the painters participated.
Chang collaborated with two friends from the Seven Friends Painting Club, Liu Yantao and Gao Yihong. Naturally, in a cooperative work, each artist often takes on a subject best representing his/her talents. Appealing to scholar-artist, the elegance and subtle fragrance of orchids have long been regarded as the emblem of righteous gentlemen, thus a suitable subject for scholars alike.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
A close friend of the scholar and literati artist Minagawa Kien, and a pupil of the "naturalist" master Maruyama Ôkyo. Expelled from Ôkyo's studio, and developed a highly individualistic style. With near contemporaries Itô Jakuchû and Soga Shôhaku, often considered of the "eccentric" masters of late 18th century painting.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Peonies in full bloom grow as if from a rock or tree stump. A calligraphic inscription is on the left side.
Subject Matter
In 1731, Yûhi had the chance to study with a Chinese artist, when Shen Nanpin (ca. 1682–after 1733) arrived in Nagasaki for a stay of nearly two years. Nanpin specialized in bird-and-flower painting, of which this painting is similar in style.
Label Copy
Kumashiro Yûhi is the earliest of the artists in this exhibition, and the one who had the most direct access to Chinese sources. He was a native of Nagasaki, the port city in Kyûshû that was for most of the Edo period Japan’s sole point of contact with foreign trade. There was a thriving Chinese quarter in the city, and the hereditary occupation of Yûhi’s natal family was translating Chinese. He learned Chinese at an early age, and was able to study directly from imported paintings. In 1731, Yûhi had the chance to study with a Chinese artist, when Shen Nanpin (íæìÏÂ_, 1682–after 1733) arrived in Nagasaki for a stay of nearly two years. Nanpin specialized in bird-and-flower painting, a genre that in China had been associated with professional artists because the subject demanded a high level of skill. Most of Nanpin’s extant works are done in bright colors on silk, in a style that is both realistic and decorative. Here Yûhi moves away from Nanpin’s commercially popular model to a more personal and expressionistic style, in bold ink wash.
Maribeth Graybill, for the exhibition "Japanese Visions of China," 9/21/02 - 1/26/03
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Kumashiro Yûhi benefited greatly from and was inspired by direct access to Chinese sources. A native of Nagasaki, the port city in Kyûshû that was for most of the Edo period Japan’s sole point of contact with foreign trade, Yûhi learned Chinese at an early age, and was able to study directly from imported paintings. In 1731, Yûhi had the chance to study with Chinese artist Shen Nanpin (circa 1682–after 1733), who specialized in bird-and-flower painting, a genre that in China had been associated with professional artists rather than amateur literati painters. Most of Nanpin’s extant works incorporate bright colors on silk, in a style that is both realistic and decorative. Here Yûhi moves away from Nanpin’s commercially popular model to a more personal and expressionistic style, executed in bold ink wash.
(6/28/10)
(Japanese Gallery Rotation, Spring 2010)
Inscription
Inscription and signature of the artist:
Picture wishing eternal wealth and honor. Old Mr. Rokkei painted at the Gate of Spring Pavilion. Shuko. (Manen fuki zushuku Rokkei Rosensei sha o Manshuntei Shuko.)
Four seals of artist: Yuhi, Shuko. 2 illegible seals.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Verso, inscribed in red paint on canvas over u. horizontal support member of stretcher, l. portion: 80.19; in black marker on canvas, u.l.: BOSMAN; label, on c. horizontal support member of stretcher: Brooke Alexander, Inc./20 West 57th Street/New York, N.Y. 10019/STOCK NO. [black letterpress] 80-025 [typescript]; to the right: ARTIST [black letterpress] RICHARD BOSMAN [typescript]/TITLE [black letterpress] MAn, Rock & Ship 1980 [typescript]/MEDIUM [black letterpress] oil on canvas/34 x 51 1/2 inches [typescript]/EDITION [black letterpress]
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
Subject Matter
This photograph depicts "Shiprock" a rock formation in the high-desert plain area of the Navajo Nation in New Mexico. This geological formation is a remnant of an ancient volcano. It has an important role in Navajo religion, mythology and tradition and is the most prominant landmark in northwestern New Mexico.
Label Copy
Gallery Rotation Spring/Summer 2011
Richard Misrach
United States, born 1949
Shiprock Triptych #1
1987
Cibachrome prints
Gift of Jack A. and Noreen Rounick, 2004/2.59.1–3
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The lower portion of this work depicts a dusty brown landscape with a craggy rock formation rising in the central portion of the horizon. A dirt road is shown in the foreground. The upper portion depicts a vast, cloudless sky in tones of blue and pink.
Subject Matter
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
Label Copy
Gallery Rotation Spring/Summer 2011
Richard Misrach
United States, born 1949
Shiprock Triptych #1
1987
Cibachrome prints
Gift of Jack A. and Noreen Rounick, 2004/2.59.1–3
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
The lower half of this work depicts a dusty brown landscape with a craggy rock formation rising in the central portion of the horizon. The upper portion depicts a vast, cloudless sky in tones of blue and gray.
Subject Matter
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
Label Copy
Gallery Rotation Spring/Summer 2011
Richard Misrach
United States, born 1949
Shiprock Triptych #1
1987
Cibachrome prints
Gift of Jack A. and Noreen Rounick, 2004/2.59.1–3
Born and raised in Los Angeles, Richard Misrach first began to photograph western landscapes as an undergraduate at Berkeley. Beginning in the late 1970s, he traveled extensively in the American West, using a large-format camera and color film to make beautiful and technically precise photographs of the often-disastrous effects mankind has had on the environment. For Shiprock Triptych #1, Misrach traveled to the Navajo and Chuska volcanic fields that stretch between northeastern Arizona and northwestern New Mexico, where Shiprock, the unique natural monument sacred to the Navajo, sits in close proximity to uranium mines and mill tailings (the radioactive waste resulting from the extraction and processing of uranium) that contaminate drinking and irrigation water and diffuse carcinogenic radon gas. Created from a volcanic eruption that occurred over 30 million years ago, Shiprock is shown in Misrach’s images as a majestic if distant presence, alone in the center of a sparse landscape. The three photographs—taken at intervals over the course of the day—emphasize both the actual passage of time and the sense of timelessness conjured by such natural monuments.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
