Maple Money Magic: Quick And Easy Financial Wins In Canada – Katsushika Hokusai (葛飾北 c, 31 October 1760 – 10 May 1849), known simply as Hokusai, was a Japanese ukiyo-e painter, illustrator and printmaker of the Edo period.
He is best known for a series of woodblock prints entitled Thirty Views of Mount Fuji, which includes the Great Wave off Kanagawa. Hokusai was instrumental in the development of ukiyo-e, a painting style that focused primarily on figures and actors, to a broader art style that focused on landscapes, flora, and fauna. His works are believed to have influenced Vincent van Gogh and Claude Monet during the wave of Japonism in Europe in the late 19th century.
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As part of his travels within Japan and his personal interest in Mount Fuji, Hokusai produced sixty views of Mount Fuji.
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These series, especially Kanagawa and Beautiful Wind, The Big Wave, Clear Tomorrow, made him popular in Japan and abroad.
Hokusai is best known for his ukiyo-e woodblock prints, but also worked in a variety of media, including photography and book illustrations. From his childhood until his death at the age of 88, he continued to perfect his style. During his long and successful career, Hokusai produced more than 30,000 paintings, sketches, woodblock prints, and picture book illustrations. Innovative in his compositions and unique in his painting style, Hokusai is considered one of the greatest masters in art history.
The date of Hokusai’s birth is uncertain, but he is said to have belonged to an artisan family in Katsushika on the 23rd day of the 9th month of the Hareki era (Old Caldera or 31st October 1760).
Hokusai began painting at the age of six, possibly learning from his father, who designed the stained glass in his work.
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Hokusai was known by at least thirty names during his lifetime, although the use of multiple names was common among Japanese artists of the time, but he had more nicknames than any other Japanese artist. His name changes are so frenetic and often associated with changes in his artistic production and style that they are used to divide his life into phases.
At age 12, his father asked him to work in a bookstore and the leading library of a famous Japanese institution, where reading wooden books was a popular pastime among the middle and upper classes.
At age 14, he entered the studio of Katsukawa Shunsho, where he worked as a carpenter’s apprentice until age 18. Shun Ōki ukiyo-e, the woodblock print and painting that Hokusai mastered, was the director of a school called Katsukawa.
Ukyo-e focused on depictions of courtesans (bijin-ga) and kabuki actors (yakusha-e) popular in urban Japan at the time by artists such as Shunsho.
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A year later, Hokusai changed his name for the first time to his mentor Shunro. He published his first publication, Portraits of Kabuki Actors, in 1879. Within a decade of working at Shunshu’s studio, Hokkaido married his first wife, about whom little is known. In the early 1890s he remarried in 1797, but this second wife also died soon after. With these two wives he fathered two sons and three daughters, and his youngest daughter, E, also known as Ōi, became an artist.
After Shunsho’s death in 1893, Hokusai began to explore other styles, including the European style that originated through French and Dutch brass engraving.
Soon, Shuno’s main student, Shuno Katsukawa, is expelled from the school to attend the rival Kano School. The quote was inspired by his own words: “What inspired the development of my artistic style was my embarrassment at the hands of Shanks.”
Hokusai changed the subject of his work by moving away from the typical ukiyo-e subject of courtiers and actors. Instead, his work focused on scenes and portraits of the daily life of Japanese people of various social classes.
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Hokusai’s most famous publication, The Great Wave of Kanagawa, is the first of sixty views of Mount Fuji.
More recently, Hokusai became associated with the Tawaraya school and adopted the name “Tawaraya Sori”. During this period he published several commissioned publications for special events (Surimono) and books of humorous poetry (Kaika Ehn). In 1898, Hokusai transferred his name to a student and took the name Hokusai Tomisa, breaking away from school and working as an independent artist for the first time.
In the 1800s, Hokusai used ukiyo-e for purposes other than portraiture. He also adopted the name Katsushika Hokusai, the former referring to his birthplace in Edo, the latter meaning ‘Northern Studio’, symbolizing the deity. Its status is important in Buddhism
In the same year, he collected twice, the famous View of the Eastern Capital and the Eight Views of Edo (present-day Tokyo). He also began to attract his own students and taught 50 students during his lifetime.
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In recent decades, he has become more famous for his art and self-presentation skills At the Edo Festival in 1804, he created a magnificent painting of the Buddhist prelate Daruma with a 200-square-meter fountain and ink bucket.
Another story places him at the court of Shogun Tokugawa Iri, where he is invited to compete with other artists who practice more traditional brush painting. Hokusai draws a blue curve on a piece of paper and chases a chicken with red painted legs. He described the Shagun painting as a scene of Tasta winning the red maple leaf swimming contest on the riverbed.
Between 1804 and 1815, Hokusai collaborated with the famous author Takizawa Bakin on picture books. In particular, the fantasy novel Chinsetsu Umumiharizuki (Strange Tales of the Crazy Moon, 1807–1811) with Temetomo without Minimoto as the protagonist became popular and Hokusai became famous for his creative and powerful illustrations, but the collaboration was abandoned after thirteen works. There are various theories as to why they ended their partnership. There are conflicting opinions about different personalities and linguistics
Hokusai also produced several albums of erotic art (shunga). The most famous image of this genre is The Fisherman’s Wife’s Dream, from the 1814 trilogy Kino no Komatsu, in which a young woman has sex with eight fireflies.
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Focusing on his Hokkaido work, Hokusai wrote in a letter to the publisher that Hokusai departed from Hokusai’s style while working with Toshi Ehn on Japanese versions of classic Chinese poems by former collaborator and respected block writer Egawa Tomekichi. Later, Sugita, another blocker involved in the project, wrote a letter to Kinsuke saying that Kinsuke did not like the style of the Ahuta school, which cut off the eyes and nose of the figure, and needed amdmts to match the style. Final print. Hokusai’s letters included examples of eye and nose drawings and the style of the Ahuta school.
In 1811, at the age of 51, Hokusai changed his name to Tito, during which time Hokusai produced manga and various Eton or art manuals.
Beginning in 1812, these manuals were introduced as a solid way to make money and attract more studios by providing quick instructions on a simple sketch. The first volume of manga (aka random sketches) was published in 1814 and was an instant success.
By 1820, he had produced twelve volumes (including three subsequent editions) containing thousands of drawings of objects, plants, animals, religious figures, and everyday people.
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On October 5, 1817, Hangan-ji in Nagoya painted the Great Daruma outside the Nagoya Betsui. The ink painting on paper measures 18 x 10.8 meters and attracted many people. This popularity was expressed in a popular song, naming him “Darus” or “Daruma Master”.
Although the original was destroyed in 1945, Hokusai’s promotional manual has survived ever since and is housed in the Nagoya City Museum.
In 1820, Hokusai changed his name again, this time to Aitu, beginning his period of fame as a Japanese painter. His most famous work is Sixty Views.
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