MARC Record from harvard_bibliographic_metadata

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010 $a 2011032443
020 $a9781883124328
020 $a1883124328
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050 00 $aNE1321.8$b.P68 2011
082 00 $a769.952/07479549$223
110 2 $aPortland Art Museum (Or.)
245 14 $aThe artist's touch, the craftsman's hand :$bthree centuries of Japanese prints from the Portland Art Museum /$cMaribeth Graybill, editor ; essays by John T. Carpenter ... [et al.].
246 30 $aThree centuries of Japanese prints from the Portland Art Museum
260 $aPortland, OR :$bPortland Art Museum ;$a[Seattle, Wash.] :$bDistributed by University of Washington Press,$c2011.
300 $a348 p. :$bchiefly ill. ;$c31 cm.
500 $aPublished on the occasion of an exhibition held at the Portland Art Museum, Portland, Or., Oct. 1, 2011-Jan. 22, 2012.
520 $a"Japanese prints have been integral to the identity of the Portland Art Museum since 1932, when the Museum was given 750 traditional woodblock prints from the collection of Mary Andrews Ladd. Since then, the museum's holdings have grown to more than 2,500 works and span from the late seventeenth century to the present day. [Title] is published on the occasion of an exhibition of the same name, held at the Portland Art Museum. the first major publication to draw exclusively from this remarkable public resource, [title] presents a selection of more than 250 of the most historically important and visually compelling Japanese prints in the collection. Nearly 100 of these works are extremely rare in North American collections, ans almost all of them appear here in an English-language publication for the first time.
520 $a Noteworthy areas of emphasis include early actor prints, dating back to the first decade of the eighteenth century; works by Suzuki Harunobu, the master associated with the origins of full-color printing in 1765; the deluxe, privately printed surimono of the early nineteenth century; painterly landscapes of the early twentieth century, including a series that documents the Great Kantō Earthquake of 1923; and contemporary prints, ranging from Op Art and Abstract expressionism to lyrical evocations of an imagined past. This volume is a collaboration by five scholars in the field of Japanese art and cultural history. Donald Jenkins, an authority on Japanese prints, has contributed an overview of the works in the exhibition as well as a focused article on Harunobu. Laurence Kominz, a specialist in traditional Japanese drama, writes about prints of kabuki actors and their enthusiastic fans.
520 $a John T Carpenter, an expert in Japanese calligraphy, poetry and prints, elucidates the cultural meanings in still-life surimono. Research associate Lynn Katsumoto introduces the reader to the donor of the founding collection, Mary Andrews Ladd. The essays are followed by a complete catalogue of the exhibition's 257 works, fully illustrated in color with extended commentary by exhibition curator Maribeth Graybill, the Arlene and Harold Schnitzer Curator of Asian Art, and Lynn Katsumoto. Also included are a chronology , glossary, bibliography, and a Japanese-language list of works."--Publisher's website.
504 $aIncludes bibliographical references.
505 00 $tThe artist's touch, the craftsman's hand: endurance and innovation in Japanese prints /$rDonald Jenkins --$tOn and off stage: gender, identity, and kabuki /$rLaurence R. Kominz --$tHarunobu reconsidered /$tDonald Jenkins --$tCultural symbolism in still-life surimono /$rJohn T. Carpenter --$tThe Mary Andrews Ladd Collection of Japanese prints /$rLynn Katsumoto --$tCatalogue of the exhibition /$rMaribeth Graybill and Lynn Katsumoto.
650 0 $aColor prints, Japanese$yEdo period, 1600-1868$vExhibitions.
650 0 $aColor prints, Japanese$yMeiji period, 1868-1912$vExhibitions.
650 0 $aUkiyoe$vExhibitions.
650 0 $aColor prints$zOregon$zPortland$vExhibitions.
610 20 $aPortland Art Museum (Or.)$vExhibitions.
655 7 $aExhibition catalogs.$2fast
700 1 $aGraybill, Maribeth.
700 1 $aCarpenter, John T.
899 $a415_565555
988 $a20120502
906 $0DLC