17 Items in this Learning Collection
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!["Rosetsu uses the wisteria tree to frame the painting and to create two separate planes, the foreground and the background. While doing this, he does not paint a very prominent background, thus making the foreground landscape more important and the focal point of the painting...The sinewy shape of the wisteria dominates the painting. There appear to be two separate trunks rooted to a small sliver of land pictured at the left side of the image. These trunks merge into one stem, forming a curve that snugly holds the monkey’s body. The branch continues upward, disappearing at one point until it reappears, winding around the right side of the painting. Rosetsu uses a dark ink to create the trunk and branches of the wisteria, and there does not appear to be any indication of shading or altering the color to appear lighter. This darkening is especially noticeable compared to the stark, white flowers at the top of the painting. Their stems are soft and wispy, as if they are floating in the air."<br /](/media/W1siZiIsIjIwMjIvMDUvMjUvNmkwdGlxNHByYl9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=33b948efa249a29f ""Rosetsu uses the wisteria tree to frame the painting and to create two separate planes, the foreground and the background. While doing this, he does not paint a very prominent background, thus making the foreground landscape more important and the focal point of the painting...The sinewy shape of the wisteria dominates the painting. There appear to be two separate trunks rooted to a small sliver of land pictured at the left side of the image. These trunks merge into one stem, forming a curve that snugly holds the monkey’s body. The branch continues upward, disappearing at one point until it reappears, winding around the right side of the painting. Rosetsu uses a dark ink to create the trunk and branches of the wisteria, and there does not appear to be any indication of shading or altering the color to appear lighter. This darkening is especially noticeable compared to the stark, white flowers at the top of the painting. Their stems are soft and wispy, as if they are floating in the air."<br /")
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Tôto meisho: Kasumigaseki
Accession Number
1960/1.147
Title
Tôto meisho: Kasumigaseki
Artist(s)
Utagawa Kuniyoshi
Artist Nationality
Japanese (culture or style)
Object Creation Date
circa 1840-1849
Medium & Support
color woodblock print on paper
Dimensions
14 in. x 19 in. ( 35.6 cm x 48.3 cm )
Credit Line
Museum Purchase
Label copy
Urban landscapes such as this street on a hot summer’s day were not neglected by ukiyo-e art. Western aesthetics had enormous impact on Japanese art in the 1800s. Kuniyoshi’s adaptation of Western linear perspective emphasizes the people, hilltop, and receding distance.
Primary Object Classification
Print
Primary Object Type
color print
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Keywords
umbrella
1960/1.147
Title
Tôto meisho: Kasumigaseki
Artist(s)
Utagawa Kuniyoshi
Artist Nationality
Japanese (culture or style)
Object Creation Date
circa 1840-1849
Medium & Support
color woodblock print on paper
Dimensions
14 in. x 19 in. ( 35.6 cm x 48.3 cm )
Credit Line
Museum Purchase
Label copy
Urban landscapes such as this street on a hot summer’s day were not neglected by ukiyo-e art. Western aesthetics had enormous impact on Japanese art in the 1800s. Kuniyoshi’s adaptation of Western linear perspective emphasizes the people, hilltop, and receding distance.
Primary Object Classification
Primary Object Type
color print
Collection Area
Asian
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Keywords
umbrella
