Kappazuri or katazome dyed stencil print, 13 x 9 inches. Watanabe is, perhaps, the most famous Christian-Japanese print master to date. Frances Blakemore states that "Watanabe's works are in collections from South Africa to Australia, from the Philippines to Europe." (Who's who in Modern Japanese Prints, p. 228). 23 institutions list examples of his work in their collections, including the Museums of Modern Art of Tokyo and New York, the Honolulu Academy of Arts, the British Museum, and the Haifa Museum. Ten of Watanabe's prints are on permanent display in the Vatican Museum of Modern Art. Watanabe also has had shows of his prints in the US, Japan, Brussels, the Netherlands, China, Germany, Denmark, and Indonesia. His work was included into the exhibition of Japanese prints at the Winter Olympics in Sapporo in 1972. Watanabe has won the prizes of the Folk Art Museum, the Japanese Print Association, and other prestigious bodies. He is holder of the coveted prize of the Kokuga sosaku kyokai, the organization that holds the Arts in Spring-Kokuten Exhibition that is such an important event in the world of modern art in Japan. The range in date, subject, and size of these prints means that the Watanabe Collection of the Brauer Museum of Art provides excellent coverage of this key Creative Print master, increasing its value for his study.
The Colorado Alliance of Research Libraries was a pioneering library consortium that evolved from a small informal group of research library directors known as the Taskforce for Interlibrary Cooperation in the early 1970’s. Early projects including shared acquisitions funding, a union list of serials, and a shared public access catalog. Drawing upon published sources, unpublished primary sources and archival records, and personal interviews with early participants, the birth and early evolution of this organization is analyzed.
17" x 14" print depicting the Biblical story of the flight into Egypt, stencil print (kappazuri). Watanabe is, perhaps, the most famous Christian Japanese print-maker. His work is in collections from South Africa to Australia, from the Philippines to Europe. Institutions with his work include the Museums of Modern Art of Tokyo and New York, the Honolulu Academy of Arts, the British Museum, and the Haifa Museum. 10 of Watanabeâ€™s prints are on permanent display in the Vatican Museum of Modern Art. Watanabe has had innumerable shows in the US, Japan, Brussels, the Netherlands, China, Germany, Denmark, and Indonesia and has won the prizes of the Folk Art Museum, the Japanese Print Association, and the Kokuga sosaku kyokai. He was twice invited to this country by the Lutheran Church of America and has honorary degrees from such Christian schools as Linfield College, McMinniville, OR and Valpariso University, IN. He won the Confessor of Christ Award from Christ Seminary Seminex in cooperation with the Lutheran School of Theology, Chicago, and before his death in 1996, received the Distinguished Contribution to Christian Culture Award from the Christian Literature Society of Japan.
7-1/2" x 6-1/2". Sleeping man w/angels and God in chariot overhead. Monochrome woodblock print bearing the number 73. Yo or Hiroshi Iwashita was born in 1917. Other than that one fact, almost nothing is known about him. The presence of his work at Berea College is thus of interest in showing this collection to have more than the usual, standard works by well-known masters. Similarly, in New prints (Shin hanga), Berea college has both standard work by the famous Toshi Yoshida (1911-1955) but also an usual print by Koho Shoda (1875?-1925?), an Artist who style is intriguing in showing connections to Creative Prints but who is so unknown that not even his birth and death dates are clear. Iwashita's style is also intriguing. It resembles the rough manner of Munakata Shiko (b.1903), perhaps, the best known of the Creative Print masters. In this respect, Iwashita is a better representative of the Creative Print movement than Watanabe who used the unusual stencil-print technique.
Kappazuri (stencil printing); ink and colors on paper. Mori, who began as a textile designer, turned to stencil printing in 1954 after receiving encouragement from Yanagi SÃ´etsu. He straddled the worlds of the artist and the artisan-craftsman until 1962, when Serizawa Keisuke criticized Mori in a well-known debate for abandoning the crafts movement. Mori thereafter devoted himself to the art of kappazuri-e. His subjects included kabuki scenes, craftsmen, festivals, and figures from traditional stories. He printed on both colored and unprinted grounds. The Ross Museum print illustrates an example from a series of seven prints from 1973 depicting artisans. Though untitled, this design is known as "Potter under Tiled Roof." It is signed "Y. Mori," dated "73," and numbered 18/70. Arguably the best design from the group, the strength of the potter is admirably portrayed as he works the clay to form the vase. The simplicity of the roof and the boldness of the figure add a sense of monumentality to the design.