Northern Flicker Bird Ukiyo-e Print c. 1890
25 x 16,5 cm (size of the photography)
30 x 40 cm (passepartout size)
The picture is provided with a passepartout but without a frame. If you wish to have a custom made frame or to buy a full print wall as on the third picturefeel free to email us.
IMPORTANT! WHEN BUYING PRINTS FROM US:
- The prints are not sold with a frame.
- All the prints are original vintage lithographies.
- They are LIMITED ARCHIVE ORIGINALS
- They are not reprints or digital prints produced by us.
- Since the prints are old they may have scratches, lines or other wears of time, which just underlines the authenticity and age of it.
- What you will buy from us has a true historical value and authenticity.
- All these old prints have a story to tell and come from reliable sources.
- The second picture is just an example on how it could look with a frame.
SHIPPING & PAYMENT
After your payment approval, the photography / print will be delivered to you within 5 to 7 days (Israel) and 10 to 15 days (abroad).
We put the greatest attention on the packaging in order them to get to you in the best conditions.
We accept payment by Credit Cards, Paypal, BIT or Bank Transfer.
The Japanese Tenpō Reforms of 1841–1843 sought to suppress outward displays of luxury, including the depiction of courtesans and actors. As a result, many ukiyo-e artists designed travel scenes and pictures of nature, especially birds and flowers.
It was not until late in the Edo period (1850-60) that landscape came into its own as a genre, especially via the works of Hokusai and Hiroshige The landscape genre has come to dominate Western perceptions of ukiyo-e, though ukiyo-e had a long history preceding these late-era masters. The Japanese landscape differed from the Western tradition in that it relied more heavily on imagination, composition, and atmosphere than on strict observance of nature.
Ukiyo-e prints, as well as Japanese paintings, were widely admired by European artists for their refreshingly non-European characteristics: in particular, their asymmetrical compositions, use of strong diagonals and silhouettes, use of bold cropping techniques, elongated pictorial formats, aerial perspective and other new angles of vision, and a focus on expressively decorative motifs. Large 'flat' (unshaded) areas of vibrant colour were also conspicuous. Most of these characteristics of Japanese art were a direct contradiction of traditional
Western academic art and were welcomed by 19th century artists, as a source of new ideas. Ukiyo-e images, for instance, with their curvilinear lines, patterned surfaces and flat picture-planes, were a major source of inspiration for Post-Impressionist styles like Synthetism (1888-94), Cloisonnism (1888-94) and the Nabis (1890s), as well as Art Nouveau (c.1890-1914), Jugendstil (c.1890s-1914) and Vienna Secession (1897-1939).