A collection of Hokusai's works and his life / Recueil des œuvres d'Hokusai et de sa vie

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Ce coffret a été réalisé en dimensions réelles. This box is realized in real scales. Katsushika Hokusai (葛飾 北斎?), né le premier jour du cycle sexagésimal du neuvième mois de l'année métal-aîné-dragon de l'ère Hōreki — probablement le 31 octobre 1760 à Edo (actuel Tokyo) — et mort au matin du dix-huitième jour du quatrième mois de l'ère Kaei, an II — probablement le 10 mai 1849réf. nécessaire] dans la même ville —, est un peintre, dessinateur spécialiste de l’ukiyo-e, graveur et auteur d'écrits populaires japonais surtout connu sous le nom de Hokusai (北斎?), ou de son surnom de « Vieux Fou de dessin ». Son œuvre influença de nombreux artistes européens, en particulier Gauguin, Vincent van Gogh, Claude Monet et Alfred Sisley, voire le mouvement artistique appelé japonisme. Il signa parfois ses travaux, à partir de 1800, par la formule Gakyōjin, « le Fou de dessin ». En 1814, il publie son Manga regroupant croquis et dessins. Les Trente-six vues du mont Fuji (1831-1833) comptant en réalité 46 estampes et La Grande Vague de Kanagawa (1831) sont ses œuvres les plus connues. La couverture de la partition de La Mer (1905) de Claude Debussy reproduit notamment la Vague de Hokusai. Le peintre japonais laisse derrière lui près de 30 000 dessins. Katsushika Hokusai (葛飾 北斎?, About this sound listen (help·info), c. October 31, 1760 – May 10, 1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period.1] He was influenced by Sesshū Tōyō and other styles of Chinese painting.2] Born in Edo (now Tokyo), Hokusai is best known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景? Fugaku Sanjūroku-kei, c. 1831) which includes the internationally iconic print, The Great Wave off Kanagawa. In an exhaustive 2017 feature story on Mount Fuji, Smithsonian magazine columnist Franz Lidz wrote: 'Thirty-Six Views of Mount Fuji juxtaposed the mountain’s calm permanence with the turbulence of nature and flux of daily life. The long cycle of Fuji views—which would expand to 146—began in 1830 when Hokusai was 70 and continued until his death at 88. In the first plate of his second series, One Hundred Views of Mount Fuji, the mountain’s patron Shinto goddess, Konohanasakuya-hime, rises from the chaos and mists of antiquity. She embodies the center of the universe, emerging from the earth during a single night. Hokusai shows us glimpses of Fuji from a tea plantation, a bamboo grove and an old tree stump, framed by cherry blossoms, through a trellis, across a rice field, in a snowstorm, beneath the arch of a bridge, beyond an umbrella set out to dry, as a painted screen in a courtesan’s boudoir, cupped in the claw-like fume of a wave reaching its grip over fishing boats.”3] Hokusai created the 'Thirty-Six Views' both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji.4] It was this series, specifically The Great Wave print and Fine Wind, Clear Morning, that secured Hokusai’s fame both in Japan and overseas. As historian Richard Lane concludes, 'Indeed, if there is one work that made Hokusai's name, both in Japan and abroad, it must be this monumental print-series'.5] While Hokusai's work prior to this series is certainly important, it was not until this series that he gained broad recognition.6] Source : Wikipédia #artwork #book #collection #dessin #edo #Hokusai #japan #japanese #Katsushika_Hokusai #livre #manga #papier #recueil #tiger #tokyo_japon #Vague #Wave #日本