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9 hits

  • Thumbnail for The Sculptor of Tokobueï
    The Sculptor of Tokobueï by Paul Jacoulet (1896-1960)

    Color woodblock print, 11-3/8 x 15-1/2". The Sculptor of Tokobueï depicts a seated man carving a Buddha image. The last word is likely a French Romanization of a South Seas term for a location or name of the object being carved. Artist’s seal takes a floral shape around the character. A second seal with a legend in two columns seems also be associated with the artist’s identity or affiliation. Jacoulet [1896-1960] was born in Paris, but from a very young age lived in Japan.

  • Thumbnail for Oiran 2
    Oiran 2 by Ushio Shinohara (b. 1933)

    Color lithograph, #49/200, 18-1/2 x 18-1/2"". Bold, graphic print by a notorious modern/contemporary Japanese artist plays on the ukiyo-e iconography of geisha and pop sensibility. This print uses bold, unmodulated blocks of color to describe the dress and jewelry of an elite Japanese courtesan. Her face is, by contrast, left blank. Shinohara is one of the Neo-Dada movement organizers of the1960s. He began the Oiran series in 1965, a series which continued after his move to New York in 1969.

  • Thumbnail for Untitled [Carved wooden modern sculpture]
    Untitled [Carved wooden modern sculpture] by Sofu Teshigaraha (1900-1979)

    Carved wood, 55-1/2h x 16w x 22d". The piece is an intriguing abstract sculpture, evoking natural forms. The pattern of negative spaces calls to mind the ribs of an animal. It also preserves the marks of the artist’s chisel, as well as the signs of aging (cracking). The textures invite one to experience its tactile qualities. Several different views of this work are needed to appreciate sculpture by an artist better known for an ikebana school. Sofu is better known as the founder of a major school of ikebana, which continues to be active today. The file for this piece includes an undated, color exhibition catalogue with texts by Soichi Tominaga, Dir. of the National Museum of Western Art in Tokyo, and Yoshiaki TONO, an art critic. The texts are in English and French. This piece is number 23 in the catalogue. Pasted into the catalogue at the back is a listing of exhibitions of Sofu’s work: 1953 Takashimaya, 1954 Sao Paulo Quatrocentenary, 1956 Takashimaya, 1957 Trienalle, Milan, 1958 est. Sogetsu Kaikan Building, 1959 Martha Jackson Gallery, NY Stadler Gallery, Paris, 1960 “Art and Natureâ€, Venice, 1961 Stadler Gallery, Paris, 1962 Bunjin-ga at the Petit Palais, 1963 Takashimaya.

  • Thumbnail for Great Perfection of Wisdom Sutra (Heart Sutra)
    Great Perfection of Wisdom Sutra (Heart Sutra) by Fang Chao Ling (b. 1914)

    Ink on paper, 28-3/8 x 49-3/4". This is a large calligraphic work transcribing a Buddhist text that is popularly known as the “Heart Sutra.†A number of transcriptions and translations may be found in the file. The artist’s inscription records a date of 1960. An important contemporary and woman artist working in traditional Chinese ink medium, Fang in known primarily for her painting. But, this calligraphic work in standard script could be used in teaching calligraphy. It is also useful for providing some gender balance in the calligraphy canon. Gu Kaizhi was said to have learned his art from a woman, after all. Fang, known primarily as a paintier, is the subject of a major retrospective recently at the Asian Art Museum, San Francisco.

  • Thumbnail for Rice Culture II
    Rice Culture II by Hung Liu [b.1948]

    Rich and complex painting by Liu Hung [b.1948 in Changchun, China] appropriates imagery from Buddhist and traditional Chinese painting in juxtaposition with monumental images of anonymous female peasants planting/harvesting rice. This impressive canvas may be interpreted broadly as a comment on the relationship between labor and the production of art in China, with Buddhist and feminist inflections. The imagery is symbolic, art historical, and complex, with a Buddhist apsaras (or heavenly figure) and a repeating pattern of stylized lotus-leaf niches reminiscent of Six Dynasties murals at the Mogao caves near Dunhuang, an oxen from the famous scroll of Five Oxen attributed to Han Huang (ca. 723-787) (Palace Museum, Beijing), a bird that reminds one of the decorative paintings in the flower-and-bird genre of the Song Dynasty.

  • Thumbnail for Le Billet Doux
    Le Billet Doux by Paul Jacoulet (1896-1960)

    Color woodblock print, 15-1/2 x 12". “The Love Letter†[le billet doux] depicts a Mongolian woman crouching and turning round to meet the viewer’s eye. This image is printed on gold-flecked paper, and uses silver and gold ink sparingly to produce a subtle richness. The round purse at her waist is embossed. Jacoulet was born in Paris, but from a very young age lived in Japan.

  • Thumbnail for Vielle Ainu, Chikabumi, Hokkaido, Japan
    Vielle Ainu, Chikabumi, Hokkaido, Japan by Paul Jacoulet (1896-1960)

    Color woodblock print, 15-1/2 x 11-3/4". One of a pair of prints of Old Ainu Woman and Old Ainu Man. Both have owl-shaped seals. Both appear to be printed on mica-flecked paper, which adds a subtle richness to the print. Both depict their subjects from the waist up.

  • Thumbnail for Untitled (opposite side view) [Carved wooden modern sculpture]
    Untitled (opposite side view) [Carved wooden modern sculpture] by Sofu Teshigaraha (1900-1979)

    Carved wood, 55-1/2h x 16w x 22d". The piece is an intriguing abstract sculpture, evoking natural forms. The pattern of negative spaces calls to mind the ribs of an animal. It also preserves the marks of the artist’s chisel, as well as the signs of aging (cracking). The textures invite one to experience its tactile qualities. Several different views of this work are needed to appreciate sculpture by an artist better known for an ikebana school. Sofu is better known as the founder of a major school of ikebana, which continues to be active today. The file for this piece includes an undated, color exhibition catalogue with texts by Soichi Tominaga, Dir. of the National Museum of Western Art in Tokyo, and Yoshiaki TONO, an art critic. The texts are in English and French. This piece is number 23 in the catalogue. Pasted into the catalogue at the back is a listing of exhibitions of Sofu’s work: 1953 Takashimaya, 1954 Sao Paulo Quatrocentenary, 1956 Takashimaya, 1957 Trienalle, Milan, 1958 est. Sogetsu Kaikan Building, 1959 Martha Jackson Gallery, NY Stadler Gallery, Paris, 1960 “Art and Natureâ€, Venice, 1961 Stadler Gallery, Paris, 1962 Bunjin-ga at the Petit Palais, 1963 Takashimaya.

  • Thumbnail for Vieil Ainu, Chikabumi, Hokkaido, Japan
    Vieil Ainu, Chikabumi, Hokkaido, Japan by Paul Jacoulet (1896-1960)

    Color woodblock print, 15-1/2 x 11-3/4". One of a pair of prints of Old Ainu Woman and Old Ainu Man. Both have owl-shaped seals. Both appear to be printed on mica-flecked paper, which adds a subtle richness to the print. Both depict their subjects from the waist up.The male figure has an embossed pattern in his beard and eyebrows.