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Kawanishi Hide (川西英)

Description:
Equestrian riders in the circus
Signature:
Signed in the block: Hide (英)
Seals:
Artist seal: Hide (ひで) below block signature at the upper left
Publisher:
Self-published
Date:
1933
Format:
(H x W)
Sôsaku hanga woodblock print
32.0 x 47.0 cm
Impression:
Excellent, probably self-printed
Condition:
Excellent color, unbacked; small creases in margins from printing process
Price (USD/¥):
$775 / Contact us to pay in yen (¥)
RESERVED

Order/Inquiry: Ref #KWN11

Comments:
Background

Kawanishi Hide (川西英), 1894-1965, was born and worked in Kobe, an international port city that inspired much of his subject matter. He was employed as a postmaster, but his ancestors were merchants, particularly traders in several alcoholic spirits, sake (酒 or nihonshu 日本酒), mirin (味醂), and shôchû (焼酎), which they transported to Tokyo in their fleet of ships. Kawanishi's family opposed his becoming involved in painting and printmaking. A self-taught artist, Kawanishi started painting in oils, but turned to woodblock printmaking after seeing a print by Yamamoto Kanae (A small bay in Brittany) displayed in a shop window in Osaka. He was not interested in ukiyo-e, although Nagasaki-e naturally fascinated him, with its exotic ships and foreign traders. Gradually abandoning oils, Kawanishi fell under the influence of the Art Deco poster style of the 1920s and first exhibited prints in 1923 with the Nihon Sôsaku Hanga Kyôkai (Japan Creative Print Association 日本創作版画協会 founded 1918). Other influences were Onchi Kôshirô, Yamamoto, and European artists such as Lautrec, Gaugin, Van Gogh, Leger, and Matisse.

Kawanishi used poster colors and sumi (Japanese carbon black, i.e., soot, water, and glue), cutting his blocks with a curved chisel to obtain soft edges. He used katsura or ho wood, and printed on hodomura paper. He produced a large number of single-sheet designs (possibly as many as 1,000), as well as printed albums and books, and sets or series. The latter included Shôwa bijin fûzoku jûnitai (Twelve customs of beauties from the Shôwa era), 1929; Kobe jûnigagetsu fûkei (Scenes of Kobe during the twelve months), 1931; and Hanga Kobe hyakkei (Prints of one hundred views of Kobe), 1935. Kawanishi was awarded the Hyôgo Prefecture Culture Prize (1949) and the Kobe Shinbun Peace Prize (1962). His son Kawanishi Yûzaburô (1923-2014) worked in his father's style, but with more international subjects.

Design

This design appears to have been self-printed by Kawanishi and should not be confused with the version that appeared a year later in the book Hanga ehon sakasu (Picture book of circus prints: 版画絵本サーカス) published by Hanga Sô, Ginza, Tokyo (operated by Hirai Hiroshi). For an explanation about the later books issued by that publisher (and not self-printed by Kawanishi) from 1/1933 to 9/1936, see KWN10.

Kawanishi's renderings of equestrian riders, clowns, acrobats, trapeze artists, lion tamers, seal trainers, and elephant trainers capture the spectacle of the circus in a colorful and playful manner. Kawanishi's fascination with the circus world and his woodcuts detailing the various entertainments, although built upon a different aesthetic, remind us of the American artist Alexander Calder's (1898-1976) line drawings and lithographs on the same themes. Both artists expressed a childlike joy and excitement about the marvels to be witnessed in a circus.

References:

  • Kawanishi Hide, Gashû "Kôbe hyakkei" Kawanishi Hide ga aishita fûkei (Collected pictures, "100 Scenes of Kobe," favorite scenes of Kawanishi Hide: 画集『神戸百景』川西英が愛した風景), 2008.
  • Kobe City Koiso Memorial Museum of Art: (Kawanishi Hide, the retrospective. 120th anniversary of his birth (Kobe shiritsu Koiso kinen bijutsukan (神戸市立小磯記念美術館), Kawanishi hide kaiko ten --- Seitan ichihyakunijû nen (川西回顧展 生誕120年). Kobe: 2014.