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Shiko MunakataPoplar Tree Bc. 1959
c. 1959
About the Item
Poplar Tree B
Lithograph, c. 1959
Signed and numbered in pencil by the artist (see photo)
Artist's red stamp lower left margin (see photo)
Edition: 50 (30/50)
Printed by Arthur Flory, 1959
In the spring of 1959, a remarkable joint project was born when the Japanese printmaker Munakata Shiko came to Philadelphia to work with Arthur Flory, who taught Munakata all about lithography. Their collaboration and friendship continued and remains an important legacy of the post-war cultural “soft power” of art at its most effective. (Courtesy Japan America Society of Greater Philadelphia)
Ccondition: Excellent
Image size: 15 3/4 x 13 7/8 inches
Sheet size: 18 x 16 1/4 inches
Munakata's works are in numerous private collections and in public institutions, including the Art Gallery of New South Wales; Art Institute of Chicago; Asian Art Museum, San Francisco; British Museum, London; Brooklyn Museum, New York; Carnegie Museum of Art, Pittsburgh; Cincinnati Art Museum; Detroit Institute of Art; Fine Art Museums of San Francisco; Harvard Art Museums; Honolulu Museum of Art; Japan Folk Art Museum, Tokyo; Los Angeles County Museum of Art;Metropolitan Museum of Art, New York; Minneapolis Museum of Art; Munakata Shikô Memorial Museum of Art; Museum of Fine Arts, Boston; Museum of Modern Art, New York; Museum of Modern Art, Tokyo; National Museum of Asian Art (Smithsonian), Washington, D.C.; National Museum of Modern Art, Kyoto; National Museum of Modern Art, Tokyo; Philadelphia Museum of Art; and Rijksmuseum, Amsterdam
During a one-week visit to Philadelphia in 1959, Munakata worked with Arthur Flory (1914-1972), a graphic artist and author/illustrator of children's books who was head of the Graphics Department and an instructor of graphics, printing, and drawing at the Tyler School of Art at Temple University. Quickly learning the techniques of lithography from Flory, Munakata explored the medium by creating a group of seven lithographs: two works of Buddhist figures, two prints of nudes, and one each of owls, calligraphy, and a scene of a large apple tree outside Flory’s studio. An example is shown below, called "Buddhist Triad" (Shaka mimasu zo zu: 釈迦三益像図), 539 x 393 mm. The collaboration was an invigorating and productive experience, and the two artists remained friends thereafter. They worked together the following year when Flory received a Rockefeller Foundation Grant sanctioned by the Japan Society to teach lithography in Japan. Flory supervised the workshop in Shinjuku, Tokyo, where he interacted with forty-two artists, producing sixty-four designs in editions of fifteen to twenty impressions. On November 10, 1960, Flory, who like many others was amazed by the speed at which Munakata worked, wrote: "Munakata came this morning and knocked off four stones."
Munakata 1959 Buddhis triadMunakata's prints have a distinctive spontaneity and spiritual energy. He saw himself as a temporary medium through which the design, not really his own, could be revealed. As a result, unlike Onchi Kôshirô and other artists of the sôsaku hanga (creative print: 創作版画) movement who advocated self-expression in their printmaking, Munakata disclaimed individual responsibility as an artist. For him, artistic creation was only one of many manifestations of nature's force and beauty, which is inherent in the woodblock. In Munakata's words, "The essence of hanga lies in the fact that one must give in to the ways of the board ... there is a power in the board, and one cannot force the tool against that power."
Courtesy: Viewing Japanese Prints
- Creator:Shiko Munakata (1903 - 1972, Japanese)
- Creation Year:c. 1959
- Dimensions:Height: 15.75 in (40.01 cm)Width: 13.88 in (35.26 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:
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