161:, c. 1928. It is unclear whether the smaller prints are contemporaneous to the larger impressions, and archival materials suggest that they were made later. The purpose of the scaling exercise is similarly ambiguous. Hilary Chapman hypothesises that the popularity of the subjects may have motivated Brangwyn to commission the smaller prints. In 1924, Urushibara produced with Brangwyn the portfolio
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Urushibara was influential in the
English revival of colour woodblock printing in the 1920s and 1930s. At first he carved and printed to other artists' designs, but later printed many of his own designs. He took up the 'art name' of Mokuchu (木虫), which appears on some of his print seals.
133:. He carved and printed many prints from Frank Brangwyn's designs of horses, landscapes, and flowers. In a portfolio called "Bruges" (1919) he reproduced several of Brangwyn's watercolours as large woodblock prints. Especially interesting within the Bruges portfolio is
82:(漆原木虫) (1888–1953), given name YoshijirĹŤ, was a Japanese print maker known for his many black-and-white prints of horses. He lived in Europe for many years, and exhibited in the United States after
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as a young man. In 1908, aged nineteen, he travelled to London, where he was among a group of woodblock print craftsmen who demonstrated printing techniques at the
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studied printmaking under
Urushibara, and Urushibara bought several of Womrath's works. Later Urushibara donated some of these works to the British Museum.
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After the museum job, Urushibara worked independently, becoming a significant member of a growing group of
Japanese artists based in London, including
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104:. He remained in London after the exhibition, restoring prints, making reproductions of prints, and mounting scrolls at the
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108:. In 1912, the British Museum employed Urushibara to make accurate copies of a famous Chinese scroll painting by
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Urushibara returned to Japan in 1934. After 1945 he exhibited in the United States
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The two artists worked together until
Urushibara's departure for Japan in 1940.
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Hilary
Chapman, 'Yoshijiro Ushibara and Frank Brangwyn: A Question of Size',
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129:. He collaborated with English and French designers on prints—notably with
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Ten
Woodcuts by YoshijirĂ´ Urushibara after Designs by Frank Brangwyn.
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Urushibara
YoshijirĂ´ was born in Tokyo in 1888 and studied
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Chapman, 'Yoshijiro
Urushibara and Frank Brangwyn', p. 33.
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Chapman, 'Yoshijiro
Urushibara and Frank Brangwyn', p. 36.
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Chapman, 'Yoshijiro
Urushibara and Frank Brangwyn', p. 35.
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Guide to Modern Japanese Woodblock Prints: 1900-1975
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234:"Introduction to Yoshijiro (Mokuchu) Urushibara"
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143:Ruins of a Roman Bridge over the Loire River
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201:Helen Merritt, Nanako Yamada (1995).
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357:"Works by Womrath in British Museum"
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102:Anglo-Japanese Exhibition of 1910
327:"Andrew Kay Womrath (1869–1939)"
263:"URUSHIBARA MokuchĂ» (1888-1953)"
333:. 12 April 2010. Archived from
397:20th-century Japanese painters
207:. University of Hawaii Press.
23:YoshijirĹŤ (Mokuchu) Urushibara
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151:Messina, Life Among the Ruins
155:Outside the Walls of Avignon
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135:The Bridge at Predikheren
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267:Viewing Japanese Prints
127:Ryuson Chuso Matsuyama
139:The Beguinage, Bruges
112:(c. 344–406 AD), the
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16:Japanese print maker
174:Andrew Kay Womrath
147:The Devil's Bridge
115:Admonitions Scroll
80:Urushibara Mokuchu
84:World War II
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381:Categories
366:2022-08-19
272:2012-05-11
243:2012-05-11
214:082481732X
183:References
65:Printmaker
62:Occupation
110:Gu Kaizhi
90:Biography
57:Japanese
97:mokuhan
341:11 May
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73:Horses
343:2012
209:ISBN
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