id:			160792
accession number:	1999.117
share license status:	Copyrighted
url:			https://clevelandart.org/art/1999.117
updated:		2022-01-04 17:25:34.345000

Space in the Landscape: Shadow, 1995. Keiji Shinohara (Japanese). Color woodcut and mica dust; sheet: 120.7 x 60 cm (47 1/2 x 23 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1999.117

title:				Space in the Landscape: Shadow
title in original language:	
series:				
series in original language:	
creation date:			1995
creation date earliest:		1995
creation date latest:		1995
current location:		
creditline:			Mr. and Mrs. William H. Marlatt Fund
copyright:			

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culture:	Japan, 20th century
technique:	color woodcut and mica dust
department:	Prints
collection:	PR - Woodcut
type:		Print
find spot:	
catalogue raisonne: 

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CREATORS

* Keiji Shinohara (Japanese)  - artist

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measurements: Sheet: 120.7 x 60 cm (47 1/2 x 23 5/8 in.)
state of the work:	
edition of the work: 	2

support materials:

	description:	Japanese Wove paper
	watermarks:	

inscriptions:

	inscription:	signed with brush ink lower right corner, verso: dated, titled, and signed in graphite.  Outline of a tree sketched in graphite on verso.
	translation:	
	remark:		

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CURRENT EXHIBITIONS

	title:		East Meets West:  Tradition and Innovation in Modern Japanese Prints
	opening date:   2000-03-19T00:00:00
	<i>East Meets West:  Tradition and Innovation in Modern Japanese Prints</i>. The Cleveland Museum of Art (organizer) (March 19-May 28, 2000).

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LEGACY EXHIBITIONS

* Cleveland, Ohio:  The Cleveland Museum of Art; March 19 - May 28, 2000.  "East Meets West:  Tradition and Innovation in Modern Japanese Prints."<br>Cleveland, Ohio:  The Cleveland Museum of Art; December 12, 2004- April 10, 2005. "Visions of Japan: Prints and Paintings from Cleveland Collections".

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PROVENANCE

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fun fact: 


digital description: 


wall description: 
In addition to making his own color woodcuts, Shinohara's role as master carver and printer have led him to collaborate on prints with contemporary artists such as Mel Bochner, Chuck Close, Sean Scully, John Newman, and Robert Cottingham. Unlike many søsaku-hanga artists, who had some academic training in art and then explored traditional printmaking methods, Shinohara reversed this approach, first mastering the technical aspects of woodblock carving and printing and then using this knowledge to develop his own artistic style.
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