{"id":26964,"date":"2024-05-20T16:30:36","date_gmt":"2024-05-20T15:30:36","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=26964"},"modified":"2024-06-22T18:42:15","modified_gmt":"2024-06-22T17:42:15","slug":"the-art-of-yuhan-ito-1882-1951","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2024\/05\/20\/the-art-of-yuhan-ito-1882-1951\/","title":{"rendered":"The art of Yuhan Ito, 1882\u20131951"},"content":{"rendered":"

\"ito02.jpg\"<\/p>\n

Sacred Bridge in Nikko.<\/em><\/p>\n

Sunsets, mist and moonlight. Yuhan Ito painted watercolours devoted to these subjects, a technique which he endeavoured to replicate in the less subtle print medium seen here. Those remarkable nebulous effects were achieved by avoiding the use of a black line-block although darker lines are still used to emphasise foregound shapes. Ito wasn’t a very prolific artist\u2014you won’t find many more prints than this handful from the 1930s\u2014but what there is of his work stands out immediately from that of his contemporaries.<\/p>\n

\"ito06.jpg\"<\/p>\n

Pagoda at Nikko.<\/em><\/p>\n

\"ito03.jpg\"<\/p>\n

Ukimi-do in Biwa Lake.<\/em><\/p>\n

\"ito08.jpg\"<\/p>\n

Boats in the Sunset Glow.<\/em><\/p>\n

\"ito04.jpg\"<\/p>\n

Sarusawa Pond.<\/em><\/p>\n

<\/p>\n

\"ito05.jpg\"<\/p>\n

Mt. Fuji from Tagonoura Bay.<\/em><\/p>\n

\"ito07.jpg\"<\/p>\n

Misty Moon at Miyajima.<\/em><\/p>\n

\"ito01.jpg\"<\/p>\n

Kiyomizu Temple.<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Eight Views of Cherry Blossom<\/a>
\n\u2022 Fourteen views of Himeji Castle<\/a>
\n\u2022 One Hundred Views of Mount Fuji<\/a>
\n\u2022 The art of Kato Teruhide, 1936\u20132015<\/a>
\n\u2022 Fifteen ghosts and a demon<\/a>
\n\u2022 Hiroshi Yoshida\u2019s India<\/a>
\n\u2022 The art of Hasui Kawase, 1883\u20131957<\/a>
\n\u2022 The art of Paul Binnie<\/a>
\n\u2022 Nineteen views of Zen gardens<\/a>
\n\u2022 Ten views of the Itsukushima Shrine<\/a>
\n\u2022 Charles Bartlett\u2019s prints<\/a>
\n\u2022 Sixteen views of Meoto Iwa<\/a>
\n\u2022 Waves and clouds<\/a>
\n\u2022 Yoshitoshi\u2019s ghosts<\/a>
\n\u2022 Japanese moons<\/a>
\n\u2022 The Hell Courtesan<\/a>
\n\u2022 Nocturnes<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Sacred Bridge in Nikko. Sunsets, mist and moonlight. Yuhan Ito painted watercolours devoted to these subjects, a technique which he endeavoured to replicate in the less subtle print medium seen here. Those remarkable nebulous effects were achieved by avoiding the use of a black line-block although darker lines are still used to emphasise foregound shapes. … Continue reading “The art of Yuhan Ito, 1882\u20131951”<\/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":[8,2],"tags":[13465],"class_list":["post-26964","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","tag-yuhan-ito"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-70U","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/26964","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=26964"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/26964\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=26964"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=26964"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=26964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}