The sight of the elusive Mount Fuji on a clear day, its beautiful shape rising up like a singular majestic cone, is truly awe-inspiring. Formed by three volcanoes, Fuji has always held sway over the Japanese psyche as a spiritual place—the abode of Shinto or Buddhist deities, the focus of pilgrimages, and an entrance to paradise or hell. Yet it was not until the 17th century that many people were able to see the legendary mountain thanks to a well-maintained road system and the many vantage points afforded by the shogun’s new capital of Edo (now Tokyo). By the early 19th century, a large number of Edo’s inhabitants subscribed to a belief known as Fujiko—and climbed the mountain as a sign of their devotion. For those who couldn’t make the journey, mini-Fujis were erected throughout the city.
Katsushika Hokusai’s series Thirty-Six Views of Mount Fuji (Fugaku sanjurokkei) is nearly as celebrated as the mountain it depicts, especially the print commonly known as “The Great Wave.” Begun in 1830 when the artist was 70 years old, this tour-de-force established landscape as a popular print genre. The series is also noteworthy in its abundant use of the then newly affordable Berlin blue pigment. Its even finish and high-tinting strength can be found in the prints’ large swaths of sky and water.
While incredibly popular, Hokusai’s inventive compositions are seldom on view due to concerns that exposure to light would cause the paper to darken and the pigments to fade, as is the case with all the prints in the Art Institute’s collection. This exhibition thus affords a rare opportunity to view several prints from the famous Thirty-Six Views of Mount Fuji series, such as three versions of “The Great Wave.” Displayed alongside illustrated books and Hokusai’s earlier surimono, or privately published prints, this presentation demonstrates how this masterful series from late in the artist’s life is the culmination of stylistic experiments throughout his career.
1 day 12 hours ago The Art Institute of Chicago CLOSING SOON—Invisible Man: Gordon Parks and Ralph Ellison in Harlem
Two major figures in American art and literature aim to make the black experience visible in postwar America.
Closing August 28—http://bit.ly/2aQrnYd
1 day 17 hours ago The Art Institute of Chicago It is believed Van Dyck never intended for the early stages of his etchings to be circulated and was surprised by their immediate popularity in the art market. Finding success at a time when artists didn’t usually show works in progress, these “unfinished” prints helped set the stage for the more recent popularity of works that reveal the creative process. See the prints that altered conventions in Van Dyck, Rembrandt, and the Portrait Print—closing August 7.
2 days 12 hours ago The Art Institute of Chicago #TBT 1983: The museum held an exhibition for the collection of Jalane and Richard Davidson, Chicago collectors of contemporary American realist drawings. Acknowledged at the time for collecting against prevailing art world trends, they amassed a comprehensive collection of work spanning the careers of both well-known artists—like Jack Beal, pictured here with Jalane herself and a portrait he made of her—and lesser-known Midwestern artists. The entire Davidson collection was bequeathed to the museum and saw another exhibition devoted to it in 1999.