Sparrow Bird  and Calliandra Ukiyo-e Print c. 1890
  • Sparrow Bird and Calliandra Ukiyo-e Print c. 1890

    ₪250.00Price

    23 x 13  cm (size of the print)

     

    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 picture feel 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

      SHIPPING:

      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.

       

      PAYMENT:

      We accept payment by Credit Cards, Paypal, BIT or Bank Transfer.

    • PRINT CONTEXT

      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).