DOI issue:
No. 368 (November 1923)
DOI article:Domestic architecture at the Royal Academy
DOI article:Salaman, Malcolm C.: Mr. Urushibara's wood-block colour-prints
DOI Page / Citation link: https://doi.org/10.11588/diglit.21398#0278
MR. URUSHIBARA'S WOOD-BLOCK COLOUR-PRINTS
BUNGALOW AT RHOSCOLYN
ARCHITECT, J. H* GIBBONS
(Royal Academy, 1923)
Hart & Sons, Ltd., purple bricks have been
used, with sand-faced tiles for the roofs.
The white window-frames are fitted with
steel casements. The site of this house has
a considerable fall from front to back,
allowing for the introduction of a billiard
room into the basement. 000
The small bungalow at Rhoscolyn, by
Mr. J. Harold Gibbons, is simple and
unassuming, but is a pleasant example of
this type of residence. We regret that it has
not been possible to reproduce this drawing
and those of Mr. Allan and Mr. Lidbetter
to a larger scale in order to show to
greater advantage the admirable detail,
and, incidentally, to do justice to three
pleasing drawings. 0000
MR. URUSHIBARA’S WOOD-BLOCK
COLOUR-PRINTS 000
WHEN Mr. Yoshijiro Urushibara came
some years ago from his native Tokyo
to London he brought with him not only
an extraordinarily practical knowledge of
the Japanese craftsman’s technique on the
wood-block, but a very adaptable artistic
spirit, quick with intuitions for the
pictorial vision of the Western World.
Examples of his remarkable interpretative
skill in terms of the colour woodcut came
to the notice of Mr. Frank Brangwyn, and
that master was prompt to recognise its
artistic value. Consequently in the last
six years Mr. Urushibara has translated
to the wood-block some fifty of Mr.
Brangwyn’s drawings, representing design
258
and colouring no less faithfully than did
the wonderful woodcutters and colour-
printers of Old Japan represent the art of
the contemporary painters of the Ukiyoye
School. But, unlike the practice in Old
Japan, Mr. Urushibara combines the
functions of both woodcutter and colour-
printer, while, with artistic mastery of line
and tone, he gives full effect to the
pictorial vitality of Mr. Brangwyn’s con-
ception. The collaboration of the great
English painter and his Japanese inter-
preter is well exemplified in the three
examples reproduced, each the product of
several printings from a series of six to
ten blocks. That Mr. Urushibara is not
only a masterly interpreter but a sensitive
artist, expressing a pictorial vision of his
own, is seen in the engaging Ponte S.
Paternina, Venice, the subtly contrasted
tones of which result from six blocks
printed twelve or fifteen times. 0
Malcolm C. Salaman.
"PONTE S. PATERNINA, VENICE ”
WOODCUT BY Y. URUSHIBARA
BUNGALOW AT RHOSCOLYN
ARCHITECT, J. H* GIBBONS
(Royal Academy, 1923)
Hart & Sons, Ltd., purple bricks have been
used, with sand-faced tiles for the roofs.
The white window-frames are fitted with
steel casements. The site of this house has
a considerable fall from front to back,
allowing for the introduction of a billiard
room into the basement. 000
The small bungalow at Rhoscolyn, by
Mr. J. Harold Gibbons, is simple and
unassuming, but is a pleasant example of
this type of residence. We regret that it has
not been possible to reproduce this drawing
and those of Mr. Allan and Mr. Lidbetter
to a larger scale in order to show to
greater advantage the admirable detail,
and, incidentally, to do justice to three
pleasing drawings. 0000
MR. URUSHIBARA’S WOOD-BLOCK
COLOUR-PRINTS 000
WHEN Mr. Yoshijiro Urushibara came
some years ago from his native Tokyo
to London he brought with him not only
an extraordinarily practical knowledge of
the Japanese craftsman’s technique on the
wood-block, but a very adaptable artistic
spirit, quick with intuitions for the
pictorial vision of the Western World.
Examples of his remarkable interpretative
skill in terms of the colour woodcut came
to the notice of Mr. Frank Brangwyn, and
that master was prompt to recognise its
artistic value. Consequently in the last
six years Mr. Urushibara has translated
to the wood-block some fifty of Mr.
Brangwyn’s drawings, representing design
258
and colouring no less faithfully than did
the wonderful woodcutters and colour-
printers of Old Japan represent the art of
the contemporary painters of the Ukiyoye
School. But, unlike the practice in Old
Japan, Mr. Urushibara combines the
functions of both woodcutter and colour-
printer, while, with artistic mastery of line
and tone, he gives full effect to the
pictorial vitality of Mr. Brangwyn’s con-
ception. The collaboration of the great
English painter and his Japanese inter-
preter is well exemplified in the three
examples reproduced, each the product of
several printings from a series of six to
ten blocks. That Mr. Urushibara is not
only a masterly interpreter but a sensitive
artist, expressing a pictorial vision of his
own, is seen in the engaging Ponte S.
Paternina, Venice, the subtly contrasted
tones of which result from six blocks
printed twelve or fifteen times. 0
Malcolm C. Salaman.
"PONTE S. PATERNINA, VENICE ”
WOODCUT BY Y. URUSHIBARA