25 UMMA Objects
25 UMMA Objects
!["The composition is classic for Chikuto with a central foreground grouping of trees, a low middle ground area, and a steeply rising series of hills. The large trees have curving trunks outlined by sinuous dry brushwork that is a Chikuto trademark. The varied brushwork in the foliage suggests a wide variety of plants. The soft pastel tints are characteristic of Chikuto's, reserved palette."<br />
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<b id="docs-internal-guid-6eefd8f4-7fff-20d5-0596-42dde0727b25">Adams, Celeste, and Paul Berry. <em>Heart, Mountains, and Human Ways: Japanese Landscape and Figure Painting: a Loan Exhibition from the University of Michigan Museum of Art.</em> Museum of Fine Arts, 1983.</b> ](/media/W1siZiIsIjIwMjIvMDUvMjUvMjRqYjRxdTYyd19kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=4683831e9d407fee ""The composition is classic for Chikuto with a central foreground grouping of trees, a low middle ground area, and a steeply rising series of hills. The large trees have curving trunks outlined by sinuous dry brushwork that is a Chikuto trademark. The varied brushwork in the foliage suggests a wide variety of plants. The soft pastel tints are characteristic of Chikuto's, reserved palette."<br />
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<b id=\"docs-internal-guid-6eefd8f4-7fff-20d5-0596-42dde0727b25\">Adams, Celeste, and Paul Berry. <em>Heart, Mountains, and Human Ways: Japanese Landscape and Figure Painting: a Loan Exhibition from the University of Michigan Museum of Art.</em> Museum of Fine Arts, 1983.</b> ")
Nakabayashi Chikutō
Mountain Landscape in Summer
1800 – 1849
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1982/2.56
![The piece includes a large title section, landscape image of the garden,<br />
two seals of the artist, and a portion of calligraphic text.<br />
The text reads: "The Small Cloud Dwelling occupies a corner of Mr. Dingfu's Green Surrounded Mountain Villa in Nanxun. His respected wife, Lady Pang, used to meditate and chant sutras there… In the 8th month, fall of 1909, Lu Hui completed this painting …"](/media/W1siZiIsIjIwMjIvMDUvMjUvN3doeHdlanBzN19kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=ec153753d4500d10 "The piece includes a large title section, landscape image of the garden,<br />
two seals of the artist, and a portion of calligraphic text.<br />
The text reads: "The Small Cloud Dwelling occupies a corner of Mr. Dingfu's Green Surrounded Mountain Villa in Nanxun. His respected wife, Lady Pang, used to meditate and chant sutras there… In the 8th month, fall of 1909, Lu Hui completed this painting …"")
Lu Hui
The Small Cloud Dwelling
1909
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1981/1.308
Kubota Kinsen
Enjoying the Scenery from a Mountaintop Tea House, from a collaborative album of 11Sketches
1918 – 1928
Gift of Dr. and Mrs. J. Robert Willson
1982/2.7.3
Utagawa Hiroshige (Japanese (culture or style))
The Fifty-Three Stations of the Tokaido (Kyoka Edition): #19 Ejiri
1830
Gift of J C Mathes and the Tokyo Center for Language & Culture (TCLC)
2008/2.331
![<em>"Lonely Fisherman at Autumn River</em> is oriented horizontally to provide the breadth of the river and emphasizes the softness of the mountains’ width as opposed to an imposing verticality...The main visual cue of the season in the piece is the seasonal poem of autumn, followed to the left by Itsuun’s signature and seal in red in the upper right-hand corner. A more subtle suggestion of autumn are the birds in a migratory formation just above the surface of the lake... The only separation between the sky and the river in the painting is the tall tree just to the right of the center of the painting that provides a focal point, but even then, the void of the water’s surface leaks into the edge of the mountain, and even lies within the outlines of the village..."<br />
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Nakamura, Chris. “Lonely Fisherman at Autumn River.” <i>Japanese Landscapes</i>, 18 Dec. 2009, japaneselandscape.wordpress.com/literati/literati-prints/lonely-fisherman-at-a](/media/W1siZiIsIjIwMjIvMDUvMjUvMWFuazFwdjZucF9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=44d62367839bcfa4 "<em>"Lonely Fisherman at Autumn River</em> is oriented horizontally to provide the breadth of the river and emphasizes the softness of the mountains’ width as opposed to an imposing verticality...The main visual cue of the season in the piece is the seasonal poem of autumn, followed to the left by Itsuun’s signature and seal in red in the upper right-hand corner. A more subtle suggestion of autumn are the birds in a migratory formation just above the surface of the lake... The only separation between the sky and the river in the painting is the tall tree just to the right of the center of the painting that provides a focal point, but even then, the void of the water’s surface leaks into the edge of the mountain, and even lies within the outlines of the village..."<br />
<br />
Nakamura, Chris. “Lonely Fisherman at Autumn River.” <i>Japanese Landscapes</i>, 18 Dec. 2009, japaneselandscape.wordpress.com/literati/literati-prints/lonely-fisherman-at-a")
Kinoshita Itsuun
Lonely Fisherman at Autumn River
1852 – 1949
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1983/2.246
![5 physical tears on left edge, indicating the original book bindings.<br />
TOP IMAGE. A river appears in lower right corner, traveling from "front" to "back" of image. Along its banks two distant windmills occur, indicating Holland as the location. A distant boat with sails, and a closer group of three row boats on river. The closer group has thee figures bent over their work, which looks like hauling nets. In the center is a nearly barren twisted tree, at whose base is a rough hut of blanks and branches. A path from the bottom right bends up and around the hut and tree, on which a small group of three are poised (two sitting figures appear to listen to a standing third) and a single man travels further into the distance. Houses with thatched roofs, some patched with boards, appear on the right of the image, along the riverbanks into the distance.<br />
BOTTOM IMAGE. A river curves gently back from the bottom right. Boulders surround the bank on the left half of the image, with scraggly](/media/W1siZiIsIjIwMjIvMDkvMjQvN3Jqajk2b2dsOV9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=1b6c3dbe9fa05c3f "5 physical tears on left edge, indicating the original book bindings.<br />
TOP IMAGE. A river appears in lower right corner, traveling from "front" to "back" of image. Along its banks two distant windmills occur, indicating Holland as the location. A distant boat with sails, and a closer group of three row boats on river. The closer group has thee figures bent over their work, which looks like hauling nets. In the center is a nearly barren twisted tree, at whose base is a rough hut of blanks and branches. A path from the bottom right bends up and around the hut and tree, on which a small group of three are poised (two sitting figures appear to listen to a standing third) and a single man travels further into the distance. Houses with thatched roofs, some patched with boards, appear on the right of the image, along the riverbanks into the distance.<br />
BOTTOM IMAGE. A river curves gently back from the bottom right. Boulders surround the bank on the left half of the image, with scraggly")
Franz Edmund Weirotter
TOP: Fishermen with the Inhauler of the Nets at the Town’s Shore (Fischer beim Einholen der Netze am Ufer vor der Stadt), sheet 4 from the folio 12 Views of Normandy (XII Vues de la Normandie) BOTTOM: River Landscape with Four Men Encamping on a Rock (Flußlandschaft mit vier auf einem Fels lagernden Männern), sheet 5 from the folio 12 Views of Normandy (XII Vues de la Normandie)
Gift of the Ernst Pulgram and Frances McSparran Collection
2007/2.113
Fujimoto Tetsuseki (Tesseki)
Autumn Retreat amidst Mountains and Valleys
1862
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1968/2.20
Tanomura Chokunyū (Japanese (culture or style))
Scholars in a Thatched Hut Under an Old Tree
1850 – 1950
Museum purchase made possible by the Margaret Watson Parker Art Collection Fund
1986/1.162
John Koch (American (North American))
Place Card (one of eleven)
1918 – 1928
Gift of Augusta M. Dillman in memory of her husband, Theodore Dillman
1987/2.29
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