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Details
- Alternative title
- Easel and model
- Place where the work was made
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Japan
- Period
- Shōwa period 1926 - 1988 → Japan
- Date
- 1934
- Media category
- Materials used
- colour woodcut
- Edition
- 93/100
- Dimensions
- 39.7 x 27.8 cm image; 45.0 x 32.2 cm mount
- Signature & date
Signed l.r. [image] in Japanese., ink "[artist's seal]". Not dated.
- Credit
- Purchased 1997
- Location
- Not on display
- Accession number
- 211.1997
- Artist information
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Yasui Sōtarō
Works in the collection
- Share
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About
Yasui Sôtarô, together with Umehara Ryûzaburô, dominated Western-style painting in modern Japan, particularly during the postwar period which is called the 'Yasui-Umehara era'. Yasui studied in France from 1907 to 1914 where he was most influenced by Cezanne. After a brief period of experimenting with different styles, by the end of the 1920s Yasui established what is often called 'Yasui style', a combination of dynamic composition, decisive colours and clarity of vision, which was best utilised in portraits.
This print (probably cut by Hiratsuka Un'ichi, one of the leaders of the Creative Print Movement which began in the 1910s) was produced in the same year as 'Kin'yô', his most famous painting which established his pre-eminence.
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Places
Where the work was made
Japan
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Exhibition history
Shown in 1 exhibition
Modern Boy Modern Girl - modernity in Japanese art 1910-1935, Art Gallery of New South Wales, Sydney, 18 Jul 1998–30 Aug 1998
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Bibliography
Referenced in 3 publications
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Chiaki Ajioka and John Clark, Modern Boy Modern Girl: modernity in Japanese art 1910-1935, 'The New Mainstream', pg. 55-80, Sydney, 1998, 75 (colour illus.), 170. cat.no. 86iii
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Jonathan Cooper (Editor), The Art Gallery of New South Wales Bulletin, 'Modern Boy Modern Girl', pg. 10-11, Sydney, May 1998-Jul 1998, 11 (colour illus.).
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Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, 'A New Dichotomy', Sydney, 2003, 276 (colour illus.).
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