Landscape painting of costal scene overlooking a body of water using an aerial perspective; three tree tops in center in darkened foreground in front of a glowing sky
Seeking solace after the Civil War, Kensett acquired property on Contentment Island on the Long Island Sound near Darien, Connecticut. This painting, probably painted from the artist's third-floor bedroom window or cupola, at the highest point of the island, captures the spirit of a nation in transition after the Civil War and reflects the desire to escape the congestion of growing cities to a place of placid retreat, and a longing to return to nature and the simpler, rural life of early America.
A woodblock print of two men entangled in combat at the base of a tree. Tree trunk takes up left side of print, in the distance are two green mountain peaks. A brown horse and rider are in the background (center right).
Dark, wet ink wash and light accents of color capture the lyrical mood of an autumnal moonlit night at Lake Tai and Mount Dongting. A round moon hangs low in the sky at top right, with a diffuse glow slightly brightening the clouds and sky below. Two islands sit in the water below, the larger (closer) of the two has four boats moored just offshore. Up close the boats appear as freely brushed lines, and yet at a distance, their forms come into focus. A building sits on the closer island, light shining in the windows. The silhouette of a pagoda can be seen on the further island.
A Shanghai artist of the early twentieth century. Having traveled to Japan, Wu appears to have been aware of both Japanese-and European-style painting, drawing upon these to expand his artistic vision. Subtle use of loose brushwork suggests Impressionism, marking the beginning of a new phase in the development of Chinese painting.
Here, caught in a sudden downpour, people rush along the steep hillside. Bamboo bends under the force of wind and rain, and the people in the foreground mimic this downward motion in order to shield their eyes from the water streaming upon them in torrents. Masterfully depicted, the viewer can almost feel the bullets of rain, and sense of sympathy for these unfortunate travelers.
Shono is a 2.5 mile stretch of mountain path along the suzuka river. In legend, hero Yamato Takeru is fabled to have turned into a white swan somewhere along this stretch.
In this scene, the palaquin bearers scramble against the hill and torrential rain. Villagers bow their heads and straw hats and umbrellas into the wind to shield them from the sudden rain. Legs are raised upwards to show effort and speed as the people race to get out of the rain. Int he background the bamboo bend under the downpour, and the intensity of the rain gradually obscures them from our view.
The roaring success of the Hôeidô Tôkaidô series of woodblock prints firmly established Andô Hiroshige’s reputation as a master of his craft. Hiroshige had received attention for his previous publication of “Famous Places in the Eastern Capital,” but it was these 53 images along the Tokaidô Road that brought Hiroshige massive fame.
Travel guides and souvenirs from famous places and destinations were already on the market, and it was from some of these guides that Hiroshige often based his images. Some speculate that the mass appeal of the Hôeidô Tôkaidô series is due to the feeling, by viewing this images, that one is able to journey the famous road from Kyoto to the capital city of Edo without having to set foot on steep mountain paths or face inclement weather.
Inclement weather, however, is a phenomenon that Hiroshige excels at depicting. Here, caught in a sudden downpour, people rush along the steep hillside. Bamboo bends under the force of wind and rain, and the people in the foreground mimic this downward motion in order to shield their eyes from the water streaming upon them in torrents. Masterfully depicted, the viewer can almost feel the bullets of rain, and sense of sympathy for these unfortunate travelers.