{"id":15824,"date":"2014-10-06T02:27:46","date_gmt":"2014-10-06T01:27:46","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15824"},"modified":"2014-10-06T02:27:46","modified_gmt":"2014-10-06T01:27:46","slug":"the-art-of-toshiaki-kato","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/10\/06\/the-art-of-toshiaki-kato\/","title":{"rendered":"The art of Toshiaki Kato"},"content":{"rendered":"<p><img decoding=\"async\" alt=\"kato01.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato01.jpg\" \/><\/p>\n<p>Toshiaki Kato isn&#8217;t the first contemporary Japanese artist to work variations on Aubrey Beardley&#8217;s style but he&#8217;s one I&#8217;d not come across before. Kato&#8217;s cover illustrations run a gamut of familiar styles, not only Beardsley but Harry Clarke, Gustav Klimt, Tamara Lempicka, Maxfield Parrish and no doubt a few more I haven&#8217;t recognised. Beardsley&#8217;s influence is something I like to follow so it&#8217;s the black-and-white work you see here. It&#8217;s particularly fascinating seeing Japanese artists playing with Beardsley motifs when so much of Beardsley&#8217;s early style was derived from Japanese prints; a rare example of cultural influence finding its way back home after a century or more.<\/p>\n<p>There&#8217;s surprisingly little information about Toshiaki Kato on Anglophone websites but scans of his gorgeous paintings proliferate. <a href=\"http:\/\/houseofretro.com\/index.php\/2014\/04\/07\/the-sublime-art-of-toshiaki-kato\/\" target=\"_blank\">This page<\/a> is a good place to start but there&#8217;s plenty more at Pinterest and elsewhere.<\/p>\n<p><img decoding=\"async\" alt=\"kato02.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato02.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"kato03.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato03.jpg\" \/><\/p>\n<p><!--more--><\/p>\n<p><img decoding=\"async\" alt=\"kato04.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato04.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"kato05.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato05.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"kato06.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato06.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"kato07.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato07.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"kato08.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2014\/10\/kato08.jpg\" \/><\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/the-illustrators-archive\/\">The illustrators archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Toshiaki Kato isn&#8217;t the first contemporary Japanese artist to work variations on Aubrey Beardley&#8217;s style but he&#8217;s one I&#8217;d not come across before. Kato&#8217;s cover illustrations run a gamut of familiar styles, not only Beardsley but Harry Clarke, Gustav Klimt, Tamara Lempicka, Maxfield Parrish and no doubt a few more I haven&#8217;t recognised. Beardsley&#8217;s influence &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/10\/06\/the-art-of-toshiaki-kato\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of Toshiaki Kato&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,30,48],"tags":[94,2904,6531],"class_list":["post-15824","post","type-post","status-publish","format-standard","hentry","category-art","category-black-white","category-illustrators","tag-aubrey-beardsley","tag-maxfield-parrish","tag-toshiaki-kato"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-47e","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15824","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=15824"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15824\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15824"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15824"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15824"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}