Utagawa Kunisada (Toyokuni III), Ohana, die Frau von Yogosaku, Farbholzschnitt, um 1850, Staatsgalerie Stuttgart, Graphische Sammlung


Hardly any craze had a more lasting impact on the artists of the late nineteenth century than »Japonisme«. In imagery from Edo (present-day Tokyo), they encountered the vibrant world of theatre, the entertainment districts and fashion. It was primarily in the medium of the colour woodblock print that these »scenes from the flowing world« (ukiyo-e) – as the pictures were called – made their way to Europe, where they sparked the enthusiasm of artists and collectors alike.

Concurrently with the exhibition »Flora Awakening: Masterworks from the Collection of Arthur and Hedy Hahnloser-Bühler«, the Staatsgalerie’s Department of Prints, Drawings and Photographs will mount a presentation of Japanese colour woodblock prints from its own holdings. The juxtaposition with works by such European artists as Pierre Bonnard, Édouard Vuillard, Paul Gauguin or Henri de Toulouse-Lautrec – precisely those artists represented in the Hahnloser collection – will provide insights into how the beauty and expressive force of the colourful Japanese prints, with their curved lines, simultaneous perspective and exuberant ornamentation, inspired them in their search for new forms of expression.

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Reinhold Nägele, Ostseestrand, 1921, Staatsgalerie Stuttgart, Graphische Sammlung © VG Bild-Kunst, Bonn 2017
Utagawa Kunisada (Toyokuni III), Ohana, die Frau von Yogosaku, um 1850, Staatsgalerie Stuttgart, Graphische Sammlung
Katsushika Hokusai, Aufgehende Sonne über dem Leitschiff zum Beginn des Festes – Morgendämmerung im Frühjahr über der Halbinsel Boso, um 1806, aus der Serie: Beide Ufer des Sumidagawa auf einen Blick, Staatsgalerie Stuttgart, Graphische Sammlung
Henri de Toulouse-Lautrec, Femme au tub, 1896, aus der Serie: Elles, Staatsgalerie Stuttgart, Graphische Sammlung


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