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Byōdō-in chihan (Lakeside at the Byōdō-in), from James A. Michener, The Modern Japanese Print: An Appreciation

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Hiratsuka Un'ichi, Byōdō-in chihan (Lakeside at the Byōdō-in), from James A. Michener, The Modern Japanese Print: An Appreciation, 1959/1962, monochrome woodblock print on hodomura paper, The Carol and Seymour Haber Collection in memory of Ardis Spliid Hendricks, © unknown, research required, 2004.39a

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Details
Title

Byōdō-in chihan (Lakeside at the Byōdō-in), from James A. Michener, The Modern Japanese Print: An Appreciation

Related Titles

alternate: Byodo-in chihan (Byodo-in Lakeside)

book title (original language): The Modern Japanese Print: An Appreciation

Artist

Hiratsuka Un'ichi (Japanese, 1895-1997)

Date

1959/1962

Medium

monochrome woodblock print on hodomura paper

Edition

126/510

Dimensions (H x W x D)

image: 17 1/16 in x 11 1/4 in; sheet: 18 9/16 in x 12 5/8 in

Inscriptions & Markings

signature: Hiratsuka Un'ichi 平塚運一, printed in brown ink, right margin, bottom Language: Japanese

artist's seal: Un 運, printed in black reserve on red ground, lower left Language: Japanese

signature: Un-ichi Hiratsuka, graphite, lower right

edition: 126/510, graphite, lower right

Collection Area

Asian Art; Graphic Arts

Category

Prints

Japanese Modern Prints

Object Type

relief print

Culture

Japanese

Credit Line

The Carol and Seymour Haber Collection in memory of Ardis Spliid Hendricks

Accession Number

2004.39a

Copyright

© unknown, research required

Terms

books

Japanese woodblock prints

lakes

relief printing

relief prints

woodcuts

Description

In 1959, James A. Michener organized a two-part printmaking competition in Tokyo and New York City with the goal of promoting modern Japanese printmakers on the international stage. This deluxe limited edition volume contains original prints numbered and signed by the ten winning artists. Hiratsuka Un’ichi was a prominent leader from the early years of the Creative Print (sōsaku hanga) movement, and later found a dedicated patron in Michener. His view of the Phoenix Hall (Byōdō-in), south of Kyoto, is representative of his postwar style.

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