Amanhã, sexta, abre exposição coletiva com os participantes das oficinas de gravura do CIC (em Florianópolis).
Dentre os participantes, meu pai e minha mãe.
Detalhes aqui no blog:
https://ivanjeronimo.com.br/2025/12/04/artistas-da-xilogravura-abrem-exposicao-no-cic/
#florianopolis #santacatarina #xilogravura #grabado #woodcut #woodblock
The Paroquet (ca. 1900) by Itō Jakuchū.
Source: The Metropolitan Museum
Available to buy as a print.
https://pdimagearchive.org/images/e2c297d3-b70f-4639-af62-abca28aa971b
Ray Morimura, Medicinal Botanical Garden. Repost from Shin Hanga Daily (https://bsky.app/profile/shinhangadaily.bsky.social) on bluesky (https://bsky.app/profile/shinhangadaily.bsky.social/post/3m6rizyaklm2s)
Sister Giotto
The Sagrada, Sunday, December 14 at 04:00 PM MST
A Gallery of Vintage Design on Instagram: "New exhibit: the work of Giotto Moots In the 1960s Moots brought the sacred arts to Albuquerque, NM. After working as an art school dean in Italy through the mid century she set her heart on the deserts of the American Southwest. By working with famed architect Antoine Predock to create artist residences and a hundful of Domican nuns to handmake thousands of adobe bricks to build Our Lady of Guadalupe chapel, a vibrant art school campus emerged. The location, now called Patio Escondido is a registered historic site. Filled with community, intention and care, the spirit of Sagrada Art Studio lives on. We are delighted to celebrate a homecoming. Join us for a special showcase of Giottos handcarved blockprint artwork and understand the iconography that inspired her. December 14th 4-7pm #historicoldtown #historicpreservation #oldtownhistory #TheSagrada"
Henri Rivière’s Thirty-Six Views of the Eiffel Tower (1888–1902)
View of the Eiffel Tower
https://publicdomainreview.org/collection/36-views-of-the-eiffel-tower/
What’s your favourite? I love the snowy scene and the view from inside the tower.
Tsukioka Yoshitoshi (1839-1892), Ghost Painting Coming to Life in the Studio of Maruyama Okyo, 1882, woodblock print. As a print, it appears in many collections, both public and private. This work is a homage to artist Maruyama Ōkyo (1733-1795). #arthistory #woodblock #printmaking
Kakemono IV
Plaques gravées : bois, lino, carton et encres Charbonnel sur papier Wenzhou.
Réalisé lors du week-end de la Saint Denis à Montulé - maison des arts, Dreux, France. 2025.
Engraved plates: wood, linoleum, cardboard and Charbonnel inks on Wenzhou paper.
Created during the Saint Denis weekend at Montulé - Maison des Arts, Dreux, France. 2025.
#estampe
#boisgravé
#linogravure
#cartondécoupé
#corps
#fragments
#contemporaryprintmaking
#woodblock
#linocut
#bodies
#artonpaper
Skeletons Seducing a Beauty, Kawanabe Kyosai
This is so cool, I love the skeletons marching in the fog in the distance, I love the grasping and desperation of the expressive skeletons, they need that life, that beauty, that vitality, the woman seems sort of surprised and modest but maybe not terrified. I love the guy with the hat, that takes it up a notch for me to the Halloween level 🤣
#art #woodblock #japan #masterpiece #spooky #halloween #october @art #beauty #skeletons #muertos
Fuck the Border Art Show
Mothership Gallery, Friday, October 3 at 06:00 PM MDT
Samuel POLLO Sisneros on Instagram: ""F*ck The Border Art Show is a collection of Woodblock prints from artists in Oaxaca, Oaxaca. This artistic movement began in 2006, a creative outlet in the aftermath of political unrest as APPO, ‘la Asamblea Popular de los Pueblos de Oaxaca’, responded to governments’ arrest and violence against professors. This moment changed Oaxacan politics forever, and allowed print-making, which at that time was only taught in the university, to explode onto the streets. Using bold mark-making and iconography, these prints now have a life of their own, demanding the viewer to think critically about the world around us. Now, we are honored to present a small portion of this revolutionary art form, which highlights the importance of standing up for what is right. These works are visually-rich, thematically intriguing, and serve as a spark to light the fire in each and every one of us.""
Illustration by Katsushika Hokusai, from Illustrated Warrior Vanguard of Japan and China (1836).
Source: The Metropolitan Museum
Available to buy as a print.
https://pdimagearchive.org/images/0f651454-24c8-4dd7-82c0-e316798de4f8
#warriors #mountains #rivers #japan #woodblock #trees #legend #folklore #landscapes #mythology #monsters #war #art #publicdomain
Wood Work: The Parasole #Woodblock Carvers in Early Modern Rome
Center Research Talk
The National Gallery Of Art
Woodcut book illustrations shaped art, knowledge, and devotion in early modern #Rome.
Join us for this talk by Evelyn Lincoln, professor emerita of history of art and architecture and Italian studies at Brown University.
Thursday, September 25, 4:30 p.m.
West Building Lecture Hall and Virtual
Registration is free.
https://www.nga.gov/calendar/wood-work-parasole-woodblock-carvers-early-modern-rome
This Friday's art appreciation moment is Abstraction, 1926, Blanche Lazzell, on display at the Provincetown Art Association and Museum (#PAAM). #art #aartist #AbstractArt #WoodBlock #PTownArtist
Random but, this is interesting if you are interested in woodblock paintings #woodblock #japan #Canada #youtube
https://youtube.com/watch?v=HycBmwVHa6Y&si=gmyt5d6Oye-DOtPn
Utagawa Hiroshige (Japanese, 1797–1858). New Year's Eve Foxfires at the Changing Tree, Oji, No. 118 from One Hundred Famous Views of Edo, 9th month of 1857. Woodblock print, sheet: 14 3/16 x 9 1/4 in. (36.0 x 23.5 cm); image: 13 3/8 x 8 3/4 in. (34.0 x 22.2 cm), this impression in the collection of the Brooklyn Museum. #arthistory #asianart #woodblock #woodblockprint #printmaking
From the museum: “In the late 1850s, while Japanese color prints were dominated by themes of the fantastic, Hiroshige emphasized the realities of the observed world in his work. However, here he has ventured into the world of spirits. It was believed that on New Year's Eve all the foxes of the surrounding provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional cult of the god Inari. There the foxes would change their dress for a visit to the shrine, where they would be given orders for the coming year. On the way, the animals would emit distinctive flames by which local farmers were able to predict the crops of the coming year.”
July! A new month, a new art history theme. For July, my theme is light in the darkness. Today we have Fireworks at Ike-no-hata (Ike-no-hata hanabi), by Kobayashi Kiyochika (Japanese, 1847–1915), Publisher: Fukuda Kumajirō, 1881, woodblock print (nishiki-e); ink and color on paper, 23.8 × 33.6 cm (9 3/8 × 13 1/4 in.), Museum of Fine Arts, Boston. #arthistory #asianart #woodblockprint #woodblock #printmaking
From the Smithsonian National Museum of Asian Art: ‘On September 3, 1868, the city called Edo ceased to exist. Renamed Tokyo (“Eastern Capital”) by Japan’s new rulers, the city became the primary experiment in a national drive toward modernization. Kobayashi Kiyochika (1847–1915), a minor retainer of the recently deposed shogun, followed his master into exile. When he returned to his birthplace in 1874, Kiyochika found Tokyo filled with railroads, steamships, gaslights, telegraph lines, and large brick buildings—never-before-seen entities that were now ingrained in the cityscape.
Self-trained as an artist, Kiyochika set out to record his views of Tokyo. A devastating fire engulfed the city in 1881 and effectively ended the project, but the ninety-three prints he had completed were unlike anything previously produced by a Japanese artist. Avoiding the colorful and celebratory cityscapes of traditional woodblock prints, Kiyochika focused on light and its effects. Dawn, dusk, and night were his primary moments of observation, and his subjects—both old and new—are veiled in sharply angled light, shadows, and darkness. To accommodate this new way of seeing, Kiyochika effectively invented a visual vocabulary that incorporated elements of oil painting, copperplate printing, and photography. Interest in Kiyochika’s prints revived in the 1910s, when Tokyo intellectuals began to interpret the series as a critique of modernity.’
