A group of laborers, wearing hats and jackets, walks from viewer's right to left along a street littered with garbage. The two in the front carry shovels. In the background is an industrial landscape, dirty and in disrepair.
One of George Grosz's many works from the period after the First World War that explore the hardship of the poor and the working class in Germany's economic crisis, against a backdrop of a decaying industrial landscape.
This painting depicts a solitary bird perched on a tropical banana plant. There are inscriptions and signature of the artist on the upper left-hand corner: "A farewell gift for Mr. Katsuizumi, as he goes south. Baishi."
In 1922, a friend persuaded Baishi to submit paintings to a Sino-Japanese art exhibition in Japan. It was a spectacular success: his paintings sold for far higher prices than he had been earning in China and several were chosen for an exhibition in Paris, which led to international fame. The Japanese remained some of Baishi’s most eager customers, although he increasingly refused their requests after Japanese incursions into China in the early 1930s.
However, this painting was a gift for the artist's Japanese friend. The artist inscription indicates that it was a farewell gift for his Japanese friend Katsuizumi Sotokichi when he left Beijing for a more southerly post.
It perhaps anticipates that Katsuizumi would be lonely in his new environment. Made in probably the 1920s, it quietly bears witness to an earlier and more congenial phase in Chinese-Japanese relations.
In thick, sketchy lines, this print portrays a scene in which a figure leans against a wall on the left, and a crowd of people look over a balcony on the right. The top half of the composition is taken up mostly by a ceiling with two lamps hanging from it.
(Cited from the book Fresh Impressions: Early Modern Japanese Prints) Oda Kazuma began his career by studying painting. While learning Western-style painting, he became interested in lithography. He was also influenced by his older brother, who was a lithography technician. While first associated with the Shin-hanga style, Oda Kazuma became deeply involved in the Creative Prints movement, or Sosaku-hanga, and in 1918 he was a founding member of Nihon Sosaku Hanga Kyokai. Oda Kazuma focused mostly on lithography, and his painterly style set him apart from his contemporaries. Oda Kazuma was particularly interested in portraying the developing urban landscape in Japan.