Japanese Prints From the Early Masters to the Modern.pdf

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257 plates, including
55 in full color
JAPANESE
PRINTS
From the Early Masters to the Modern
In James A. Michener the Japanese print has found its
ideal commentator. Combining the finished literary style
of an outstanding novelist with a mature knowledge of
his subject, he is able to bring this great art form to life
in words, directly communicating his understanding,
love, and enthusiasm rather than obscuring his subject
in pedantry. In fact, it might almost be said that he here
lets the prints speak for themselves, in a wealth of mag-
nificent illustrations and apt but unobtrusive commen-
tary. It is only when one has finished the book that he
realizes he has been conducted on a tour of three
centuries of art, a tour so carefully arranged as to give
a deep understanding of the history and aesthetics of
Japanese prints, a new appreciation of a superlative art.
The book has many other unique features. So far as
consonant with his aim of presenting a full survey, M r .
Michener has illustrated the book with lesser-known
masterpieces rather than with those few prints that have
been reproduced almost ad nauseam. Unlike earlier
books, this does not stop with the past century, but
brings the subject completely up to date, introducing,
in the modern Japanese print, some of the most exciting
art being created in Japan—and in the w o r l d — t o d a y .
The book also becomes a revealing account of the col-
lecting of Japanese prints, with many valuable hints to
collectors based upon the author's o w n experiences in
gathering together one of the best print collections of
recent years: it is a collecting field in which many hints
are needed, with prices varying from $5 to $5,000 per
print, and with forgeries and doubtful attributions on
every hand.
The final section of the book contains authoritative
notes concerning each print, prepared by Richard Lane.
In M r . Michener's words, Dr. Lane " w i t h his meticulous
knowledge of Japanese and his love for ukiyo-e seems
certain to become America's equivalent of the great
German scholar Fritz Rumpf."
It is appropriate that such a book should have been
produced in Japan, and with the unstinting support of
the Honolulu Academy of Arts—the increasingly im-
portant museum at the "crossroads of the Pacific"—
where M r . Michener's collection is presently housed.
N o effort has been spared, especially in the faithfulness
of the reproductions, to make it a worthy example of
the high standards of modern Japanese bookmaking,
drawing upon the same traditions of painstaking
craftsmanship that produced the Japanese print.
Jacket design by M. Kuwata, using a section
of a woodblock print by Chokl (see Plate 173).
JAPANESE PRINTS
BOOKS BY JAMES A. MICHENER
THE MODERN JAPANESE PRINT: An Appreciation
THE HOKUSAI SKETCHBOOKS: Selections from the Manga
JAPANESE PRINTS: From the Early Masters to the Modern
SAYONARA
THE BRIDGE AT ANDAU
with A. Grove Day
RASCALS IN PARADISE
THE FIRES OF SPRING
HAWAII
THE BRIDGES AT TOKO-RI
TALES OF THE SOUTH PACIFIC
CARAVANS
THE SOURCE
RETURN TO PARADISE
THE VOICE OF ASIA
THE FLOATING WORLD
I.
HARUNOBU:
Girl with Cranes.
See note, page 264
JAPANESE PRINTS
FROM THE
EARLY MASTERS
TO THE
MODERN
by James Ai. Michener
with Notes on the Prints by
RICHARD LANE
with the cooperation of
THE HONOLULU ACADEMY OF ARTS
CHARLES E. TUTTLE COMPANY: PUBLISHERS
RUTLAND, VERMONT
%
TOKYO, JAPAN

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