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Masami Teraoka Signed Limited Ed 18 Color Lithograph Print Namiyo at Hanauma Bay
About the Item
A large and wonderfully detailed lithograph print by Asian/ Japanese American artist Masami Teraoka titled "Namiyo at Hanauma Bay". Teraoka conceived of this image in the 1980s while working on his New Wave series and Hawaii Snorkel series which featured snorkeling pearl divers, based on Utamaro's "Pearl Diver." In this image, the nude geisha-like diver has removed her mask as she senses the tentacles of an octopus caressing her legs. She is floating in the rolling ocean waves as her kushi comb begins to loosen from her long wet hair while holding her snorkeling headgear in her hands.
The 18-color lithograph is printed on Buff Arches Cover paper and was printed by Editions Press, San Francisco (see embossed chop mark, lower right). The image was drawn on two stones and thirteen aluminum plates with Charbonnel paste tusche and Korn's crayons, except for the calligraphy and the woodgrain, which were transferred photographically in eighteen colors. It is hand signed in pencil on print verso, numbered (2/150), and dated (1985 per the original Space Gallery tag on verso) as well as sealed by Teraoka with his personal embossed stamps/seals within the image.
This work can be found in the Rhode Island School of Design Museum of Art, The Walker Art Center, Minnesota, The Queensland Art Gallery, Brisbane, Australia, and The University of Michigan Museum of Art, to name a few.
Masami Teraoka has had over 70 solo exhibitions and he has twice been honored by the American Academy of Arts and Letters in New York. He has also received two fellowships from the National Endowment for the Arts. His works can be found in collections and museums around the world including:
The fine Arts Museums of San Francisco; the Asian Art Museum of San Francisco; the Smithsonian American Art Museum, Washington D. C.; the Honolulu Museum of Art, Hawaii; the Los Angeles County Museum of Art; the Metropolitan Museum of Art, New York; the National Portrait Gallery, Washington D. C.; Tate Modern, London, England; the Queensland Art Gallery/GOMA, Brisbane, Australia; the Gallery of Modern Art, Glasgow, Scotland and the Singapore Art Museum, Singapore.
This work can be found in The Metropolitan Art Museum (The Met), New York. The Tate, London, UK, The Addison Gallery of American Art, Andover, Massachusetts, and The National Gallery of Australia, Canberra, Australia.
The work has been previously professionally framed by Los Angeles high-end art go-to framer Jerry Solomon.
Would be a great addition to any Masami Teraoka artwork collection or collectors of contemporary modern art or eye-catching stand lone artwork in about any setting.
Framed dimensions: 28.75" high, 39.75" wide, 1.5" deep
Print: 24 7/8" high, 35 7/8" wide.
- Creator:Masami Teraoka (Artist)
- Dimensions:Height: 28.75 in (73.03 cm)Width: 39.75 in (100.97 cm)Depth: 1.5 in (3.81 cm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:1980-1989
- Date of Manufacture:1985
- Condition:The print is in excellent vintage condition with no discernable flaws. A deep, rich, colorful impression/image. The frame may have light wear consistent with age and use (please see images). Beautiful and highly engaging overall.
- Seller Location:Studio City, CA
- Reference Number:1stDibs: LU2254333318442
Masami Teraoka
Masami Teraoka brings a contemporary twist to traditional Japanese ukiyo-e woodblock prints, infusing them with ribald imagery and a pop art sensibility. He developed this signature graphic style after moving to the United States in 1961, where he received his BFA and MFA from Otis College of Art and Design. His highly regarded series “McDonald’s Hamburgers Invading Japan” and “31 Flavors Invading Japan” playfully fuse cross-cultural iconography to critique the widespread influence of American consumerism. Teraoka’s work has become more radical since the 1980s, when he began addressing issues like the AIDS epidemic, clergy sex abuse scandals, and nuclear proliferation. He has also drawn inspiration from religious Renaissance and Medieval art, painting grand triptychs that harken back to the stylized, flattened perspective of Edo-era prints.
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