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.
Painter, sculptor, and printmaker Horst Antes rose to fame in the 1960s. He had many exhibitions in Europe and the United States and was awarded the 1966 UNESCO Prize for painting. Antes’s mixture of Abstract Expressionism and figurative painting brought him international attention.
Antes’s work was influenced by Tachism and the Art Informal movements, both of which were European counterparts of American Abstract Expressionism. Under their influence, Antes began to favor a style of painting in which the artwork was created with violently flung colors of paint and a spontaneous gestural quality. Antes’s piece Untitled is an excellent example of this style.
Jamina Ramírez, Intern for Modern and Contemporary Art, on the occasion of the exhibition The New York School: Abstract Expressionism and Beyond, July 20, 2002 – January 19, 2002
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.
4 cm x 28.2 cm x 28.5 cm (1 9/16 in. x 11 1/8 in. x 11 1/4 in.)
Physical Description
Square shaped ceramic plate with iron black/brown glaze. Areas of raised black glaze with speckled texture sharply contrast lighter brown sections. Together they forn the shapes of circles, cracks, and lines.
Subject Matter
A square dish, perhaps used for sweets at a tea ceremony
Label Copy
In 1924, Hamada Shôji moved to the town of Mashiko, a folk pottery center about two hours from central Tokyo. After studying in Kyoto and England, he was intent on creating ceramics in this renowned rural kiln where over a period of hundreds of years, pots and other wares had been produced for everyday use. At first the young, educated potter was not welcomed by the community, but gradually he became part of it, and Mashiko’s rough clay, dark brown glaze made from local stones, and simple drawing style became essential elements of his work.
The Mingei movement expanded both nationally and internationally during the postwar period as the reputations of its major artists grew. Hamada and fellow-potter Kawai, the textile artist Serizawa Keisuke (1895–1984), and the printmaker Munakata Shikô (1903–1975) exhibited their work widely and won prizes at international art competitions. As a result, traditional folk pottery by anonymous potters began to be valued and collected. The movement also inspired a younger generation of studio potters, including Tamura Kôichi and Ôta Kumao, who created strikingly modern works using the traditional forms of folk pottery as a point of departure.
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.
Signed in ink on image, l.r.: M. Carrillo Stamped in purple ink, verso: Manuel Carrillo/ Bolivar 21/ Mexico 1, D.F. Mexico/ Telefono: 5-18-40-48 Inscribed in pencil, verso, u.l.: 1657
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.
17.8 cm x 21.4 cm x 20.4 cm (7 in. x 8 7/16 in. x 8 1/16 in.)
Label Copy
Nakazato Takashi comes from a family that has been making Karatsu ware for centuries. He began winning prizes at prestigious international competitions while still in his twenties. He pays homage to Momoyama period models in the shape of this footed water jar, with its squat, bottom-heavy form, the floppy-looking protruding handles, and the thickly rimmed lip. The glazing, however, is his own individual variant on tradition: Karatsu ware is normally evenly glazed, but Nakazato allows the ash glaze to puddle, forming brown streaks. Once again, a contemporary Japanese potter has found a way to use tradition, rather than be constrained by it.
Exhibited in "Japanese Costumes & Ceramics, Past & Present," October 2001 February 2002. Maribeth Graybill, Senior Curator of Asian Art
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 in 1923 to Russian immigrant parents, Larry Rivers was raised in the Bronx. In the 1940s he began a successful career as a jazz saxophonist playing with numerous bands and studying music theory at the renowned Julliard Music School. Through artist friends Nell Blaine and Jane Freilicher, Rivers was encouraged to take up painting, and by the late 1940s he put aside his saxophone to study with the Abstract Expressionist painter Hans Hofmann. Though trained by an abstract master, Rivers soon developed his own gestural, figurative style. Having returned from a trip to Paris in the 1950s, Rivers was deeply influenced by great history paintings and his own works at that time often co-opted their familiar imagery. His return to the themes of history painting and use of figurative imagery represented a profound shift from the abstract sensibility of the first generation of the New York School to the more representational style of his peers. Saying of his work at this time, "I wanted to do something the art world would consider disgusting, dead and absurd. I was branded a rebel against the rebellious abstract expressionists, which made me a reactionary." Like his contemporaries Jasper Johns and Andy Warhol, Rivers works of the 1960s focused on common, everyday images derived from American culture and mass media.
In Buick we see a fine example of the artist’s everyday imagery of the 1960s with sources in popular culture and commercial advertisements. Incorporating a highly gestural hand in which the graphite is actively applied, in some areas quite densely, Rivers presents the viewer with two similar yet not identical views of an automobile hood, windshield and grill. It is a work without a deeper emotional layer and requiring no interpretative work from the viewer— representing one of the differences between the first and second generations of the New York School.
Katie Weiss, Research Assistant, on the occasion of the exhibition The New York School: Abstract Expressionism and Beyond and Beyond, July 20, 2002 – January 19, 2003
Inscription
Signed in graphite, l. r.: Rivers
Written in blue ballpoint pen below the image: -245-/autotypie freistehend und ohne einvahmung [autotype ... vacant and
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.
Pierre Daura was born in 1896 in the Baleric Islands of Spain. He grew up in Barcelona and studied art there with Jose Ruiz Blasco, the father of Picasso. In 1914 he left for Paris, where he became a pupil of Emile Bernard and studied engraving and woodcuts.
In 1930, after participating in the founding of the group Cercle et Carre (Circle and Square)--compirsed of a number of artists who promoted geometric abstraction--Daura and his American wife left Paris and purchased a thriteenth-century house in Brittany in the small town of Saint Cirq-Lapopie. During the Spanish Civil War Daura fought against Franco. In 1939, due to the dangerous political climate in Europe, he and his family moved to the United States, settling in his wife's hometown of Richmond, Virginia. After the war Daura taught art in Lynchburg, Virginia and visited his home in Saint Cirq-Lapopie during the summers.
Daura was attracted to the stone architecture of the medieval village church of Saint Cirq-Lapopie, which he painted frequently. He found a certain comfort in what he called the "calm, serene, unchanged" qualities of the church. This painting explores the weightiness of the buildings, placing the church centrally within the composition and emphasizing it physicality with bright, framing color as it towers above the red roofs of the surrounding houses. Pencil drawing, visible beneath the surface of paint, accentuates the age of the houses, and black outlining animates them while flattening the pictured space. In this work Daura continues to explore an intriguing paradox that is present through much of his later work: a cubist-inspired breaking up of three dimensional space contrasted by the roundness of naturalistic forms.
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.
Stoneware tea bowl with short foot that flares out into the base of the tea bowl, and bends gently back inwards, until flaring slightly at the lip of the piece. Underglaze design of a circle and stylized design or plant decorates the side of the bowl.
Subject Matter
Tea bowl for tea or ceremony.
Label Copy
In 1924, Hamada Shôji moved to the town of Mashiko, a folk pottery center about two hours from central Tokyo. After studying in Kyoto and England, he was intent on creating ceramics in this renowned rural kiln where over a period of hundreds of years, pots and other wares had been produced for everyday use. At first the young, educated potter was not welcomed by the community, but gradually he became part of it, and Mashiko’s rough clay, dark brown glaze made from local stones, and simple drawing style became essential elements of his work.
The Mingei movement expanded both nationally and internationally during the postwar period as the reputations of its major artists grew. Hamada and fellow-potter Kawai, the textile artist Serizawa Keisuke (1895–1984), and the printmaker Munakata Shikô (1903–1975) exhibited their work widely and won prizes at international art competitions. As a result, traditional folk pottery by anonymous potters began to be valued and collected. The movement also inspired a younger generation of studio potters, including Tamura Kôichi and Ôta Kumao, who created strikingly modern works using the traditional forms of folk pottery as a point of departure.
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.
Beige dupioni (tamaito) silk with hand-painted landscape designs depicted streams and bridges in wooded mountains. Ground fabric possible dyed with tea.
Subject Matter
Nagoya obi were first produced at the end of the Taisho era, and are simpler than the more formal fukuro and maru obi. A portion of Nagoya obi fabric is folded and stitched in half, making it easier to tie. Senshô Kasen was the dyeing atelier and Takizawa Kôyû is responsible for the hand-painted designs.
Label Copy
Senshô Ksen (dyeing atelier) and Takizawa Kôyû, collaborative effort
Beige Nagoya-style obi with landscape painted by Takizawa Kôyû
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Nagoya obi
Japan, Showa period (1926–1989)
1930s–50s
Black silk with gold- and silver-wrapped thread
Gift of Howard and Patricia Yamaguchi, 2005/1.343
Nagoya obi
Japan, Showa period (1926–1989)
1960s
Black silk damask with metallic thread embroidery
Gift of Howard and Patricia Yamaguchi, 2005/1.330
Takizawa Kôyû
Japan, active 1940–1960
Nagoya obi
Showa period (1926–1989)
circa 1940–60
Tamaito (dupioni) silk with hand-painted landscape design
Gift of Howard and Patricia Yamaguchi, 2005/1.332
Nagoya obi
Japan, Showa period (1926–1989)
1930s–50s
Silk damask with woven pattern and metallic thread embroidery
Gift of Howard and Patricia Yamaguchi, 2005/1.331
Obi
Japan, Showa period (1926–1989)
1940s–50s
Silk with Saga brocade appliqués
Gift of Howard and Patricia Yamaguchi, 2005/1.335
On kimono, Saga brocade appliqués seem almost like delicately painted designs. The poems on the fan-shaped Saga brocades of this pink-grey obi were specially commissioned from a professional calligrapher by Iwata Shizuka; they allude to a long tradition of applying calligraphy directly to kimono during the Edo period (1615–1868).
Because of its origin as a pastime for the ladies-in-waiting of the Nabeshima clan, Saga brocade continues to be practiced today by women of upper-class families. Soon after she married in 1950, Iwata Shizuko took a class to learn the Saga brocade weaving technique. Both she and her mother liked the understated, elegant beauty of Saga brocade.
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.
Whie silk with yokobiki kanoko dyed pattern with contrasting beige/brown tatebiki kanoko dyed pattern.
Subject Matter
This haori required a labor intensive technique called shibori, in which hundreds of hours would have been spent tying up each small section where white can be seen on the fabric before immersing it in dye. Shibori textiles are very expensive due to the time and skill required to produce them.
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.
