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Courtesan Asleep, a bijin-ga surimono print, c. late 18th to early 19th century Fireworks in the Cool of Evening at Ryogoku Bridge in Edo, print, c. 1788–89. Hokusai's date of birth is unclear, but is often stated as the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, or 31 October 1760) to an artisan family, in the Katsushika district of Edo, the capital ...
The Great Wave off Kanagawa (Japanese: 神奈川沖浪裏, Hepburn: Kanagawa-oki Nami Ura, lit. ' Under the Wave off Kanagawa ') [a] is a woodblock print by Japanese ukiyo-e artist Hokusai, created in late 1831 during the Edo period of Japanese history.
The Great Wave off Kanagawa, the best known print in the series (20th century reprint). Mount Fuji is in the center distance.. Thirty-six Views of Mount Fuji (Japanese: 富嶽三十六景, Hepburn: Fugaku Sanjūrokkei) is a series of landscape prints by the Japanese ukiyo-e artist Hokusai (1760–1849).
The Dream of the Fisherman's Wife (Japanese: 蛸と海女, Hepburn: Tako to Ama, "Octopus(es) and the Shell Diver"), also known as Girl Diver and Octopi, Diver and Two Octopi, etc., is a woodblock-printed design by the Japanese artist Hokusai.
The first volume is inscribed by the artist: "From the brush of the former Hokusai Iitsu changing name to Manji, the old man crazy about painting" (Saki no Hokusai Iitsu aratame Gakyo Rojin Manji hitsu). The book is the first major project of his to use the name "Manji" which he wrote with a character meaning ten thousand, a symbol of longevity ...
A former Playboy model killed herself and her 7-year-old son after jumping from a hotel in Midtown New York City on Friday morning. The New York Post reports that 47-year-old Stephanie Adams ...
Hokusai divided the painting with a crescent arc that acts as a divisional line before human world and a supernatural, ghost world. [4] The work has similar framing that is present in Hokusai's previous landscape prints such as View from Massaki of Suijin Shrine, Uchigawa Inlet, and Sekiya (1857). The plain background is akin to a wall, and the ...
It shows that even in his old age, Hokusai's powers remained undiminished. [3] Narazaki Muneshige wrote of this painting, "While the artist's body was emaciated and bones wearied by age, in his thoughts he was a charging tiger". The seal reading Hyaku, or "One Hundred", is another sign of Hokusai's preoccupation with longevity. [4]