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Bluesky · Hashtag

#japaneseartist

59

posts · 30d

5

users

2

posts / day

11.8

posts / user

-6% vs last week

#japaneseartist is an active hashtag on Bluesky. In the last 30 days, 5 people shared 59 posts with it — around 2 a day. Activity is down 6% versus the previous week, peaking on Jul 24 with 4 posts.

#japaneseartist posts per day (last 30 days)

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Posts with #japaneseartist

Charlee Lachatte

@charleelachatte.bsky.social

Credit: Atsuko Suwa 諏訪温子 (Japan, 1957-). Contemporary interpretation of #Nihonga (traditional #Japanese #painting). #catsinart #animalsinart #japaneseartist #日本画 #猫 #cat #catsky #feline #gato #gatto #art #artsky #katze #kat #katt #gingercat #japanesepainter

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Michael

@mdstamper.bsky.social

“Soliloquy” (独り言) by 森本啓太 / Keita Morimoto (Japanese) - Acrylic and oil on linen over panel / 2022 - Ueshima Museum (Tokyo, Japan) #WomenInArt #art #artText #KeitaMorimoto #森本啓太 #Morimoto #BlueskyArt #UeshimaMuseum #ContemporaryArt #PortraitofaWoman #Artwork #JapaneseArt #JapaneseArtist #植島美術館

A young Japanese woman stands alone at night, turned slightly in three-quarter view but meeting us with a steady, direct gaze. Her skin is light-to-medium in streetlight, with soft shadowing along her cheeks and under the eyes. She has a straight, chin-length dark bob with bangs that frames her face like a quiet curtain. She wears a light-colored oversized cardigan coat painted in warm, mottled strokes that suggest knit or textured fabric. She is the clearest anchor in the scene, yet the edges of her silhouette gently soften, as if the air itself is damp with light. Behind her, the city dissolves into luminous orbs with traffic signals and headlights rendered as floating out-of-focus bokeh in greens, teals, and amber. A roadway and curb line cut diagonally through the lower half, guiding our eyes past her shoulder into an urban night that feels familiar and strangely distant at once.

Japanese artist Keita Morimoto (森本啓太) is known for treating light not as a smooth glaze but as something particulate and unstable which he captures through brushwork that can appear deliberately rough up close while holding together as convincing realism from a distance. Here, the lights become a haloing field that both isolates and protects the figure, making her feel suspended between observation and privacy. The Ueshima Museum notes his use of processed photographs as a basis for the image, and that he has referenced “magic realism” as a useful lens for this work’s gentle uncanniness depicting an ordinary street scene, tilted into a psychological space where the night seems to hum.

The title is glossed as 独り言 or a “soliloquy,” self-talk that is half-thought, half-breath. It suggests that her silence is not emptiness but interior narration, held in the glow of the city.

Born in Osaka, Japan and later moving to Canada as a teenager, Morimoto has consistently used modern urban illumination as a way to picture human presence and how we appear or disappear inside contemporary light.

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Michael

@mdstamper.bsky.social

“Portrait” by 草間彌生 / Yayoi Kusama (Japanese) - Acrylic on canvas / 2015 - “Self-Portrait” exhibition, Guggenheim Museum Bilbao (Spain) #WomenInArt #art #artText #BlueskyArt #YayoiKusama #草間彌生 #Kusama #WomensArt #WomanArtist #WomenArtists #GuggenheimBilbao #SelfPortrait #JapaneseArtist #AsianArtist

In “Portrait,” Yayoi Kusama (草間彌生) turns the traditional self-portrait into a cosmic emblem. Instead of modeling flesh and light, she uses her lifelong language of “infinity nets” and dots which are motifs that grew from her childhood hallucinations and became her way of both expressing and managing overwhelming sensations.

She depicts herself as a stylized bust-length figure set against a vibrating field of yellow and black. She has a rigid bob of hair shaped almost like a helmet, rendered as a flat yellow form covered in neat grids of tiny black dots. Her face is like an oval mask of the same yellow, its “skin” entirely replaced by dots of many sizes, from pinpoints to large, inky circles. Dark almond eyes, heavy brows, and black lips anchor the otherwise pattern-saturated face as it looks straight out toward us. A narrow yellow neck, also dotted, rises from a semicircular collar and broad dress that cascade into scalloped bands, lace-like edges, and beaded rows. Behind her, branching nets and radiating cone forms create a halo that seems to pulse and spiral, merging body and background into a single, immersive field of pattern.

The yellow and black palette echoes her famous pumpkins and room installations, while the repeating cones recall soft, organic forms she once covered furniture and clothing with. Her direct gaze suggests a fixed identity, yet the body dissolves into decoration, enacting Kusama’s idea of “self-obliteration,” where the self melts into the surrounding universe.

Shown in a gallery focused on self-portraits, this work situates the artist as both subject and environment as a woman who has spent decades transforming private visions into shared, exuberant worlds, inviting us to step inside the very patterns that define her life and art.

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Michael

@mdstamper.bsky.social

over 1 year ago

蛍 (Firefly) by 上村松園 Uemura Shōen (Japanese) - Ink & color on silk / 1913 - Yamatane Museum of Art (Tokyo, Japan) #womeninart #womanartist #JapaneseArt #bijin-ga #美人画 #美人 #美女 #UemuraShoen #art #femaleartist #womenpaintingwomen #JapaneseArtist #山種美術館 #YamataneMuseumofArt #上村松園 #nihonga #womensart #日本画

A young Japanese woman dressed in a 浴衣 (yukata or robe worn after a bath), hangs up a mosquito net, all while a single firefly zips by -- an image that captures a single moment in time. There are other examples of a beauty shown with a mosquito net, such as Utamaro's more voluptuous forms, but here the painter has turned toward a more sophisticated image on the theme.

Lily patterns were not common on yukata bathrobes during the Tenmei era (1781–1789), and thus their use here might reflect a contemporary Art Nouveau touch in Shôen’s choice of motif. The narrow obi tied to the side is a style worn before retiring for the night, yet another example of the Shōen's careful and detailed observation.

Uemura Tsune was born on April 23, 1875. Uemura (上村) is her family name and Tsune was her given name. Shōen (松園) was an artistic name she adopted later. Her father died two months before she was born and her mother Nakako never remarried while running a tea leaf shop.

Shōen did not learn art from an artistic father nor did she have the advantage of an arts education at home. Instead she was self taught drawing while sitting in the corners of her mother’s shop. In a highly unusual move, enrolled the 12 year old in art school and then had her begin taking private lessons. At 15, in 1890, she entered a bijin-ga painting called "Beauties in the Four Seasons" into a national competition. Receiving a first commendation by the judges and having the work purchased by British prince Arthur launched Shōen's career.

By 1900, Shōen was not only doing well in national competitions, she was actually out placing her former teacher Suzuki Shonen. But, things got complicated in 1902 when Shōen, still single, gave birth to a son named Nobutaro. Fourteen years later, the father - her teacher Suzuki Shonen - finally acknowledged the child.

Shōen continued on her successful career while becoming a legendary art teacher in Japan and inspiration for women throughout the Japan and art world.

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Michael

@mdstamper.bsky.social

鏡の前 (Girl Before a Mirror) by 平野白峰 / Hirano Hakuhō (Japanese) - Woodblock print (ink and color on paper) / c. 1930s - Smithsonian National Museum of Asian Art (Washington, D.C.) #WomenInArt #art #artText #artwork #平野白峰 #HiranoHakuho #smithsonian #JapaneseArt #JapaneseArtist #mirror #新版画 #shin-hanga

A Japanese woman kneels before a tall lacquered dressing stand with a mirror box, shown mostly from behind. Her glossy black hair is gathered in a low bun, adorned with a hairpin. She wears a patterned red kimono with a green collar and a wide red-and-white obi belt. In the mirror, her face is partially visible: a fragment of her brow, eye, and cheek emerges faintly, enough to confirm her presence without giving away her full expression. Her hands delicately hold a small comb, poised as if to adjust her hair. Light falls from the right, highlighting the nape of her neck and the edge of her mirrored face while leaving parts of her kimono in softer shadow.

Created in 1932 (Shōwa 7), this impression is part of the Robert O. Muller Collection at the Smithsonian. Hirano Hakuhō (平野白峰, 1879–1957), a largely self-taught Kyoto-born artist, contributed only a handful of bijin-ga to the shin-hanga movement, often published by Watanabe Shōzaburō. While many of his designs depict women turned away from the viewer, “Girl Before a Mirror” complicates that formula by revealing a partial reflection. This choice balances concealment with disclosure, drawing us into a moment suspended between privacy and display.

Critics of shin-hanga have praised such works for their ability to merge technical precision with lyricism: beauty is not fully shown but suggested through gesture, fabric, and atmosphere. This print is specifically admired for its restraint and quiet tension. Hakuhō’s subtle composition ensures the sitter remains both present and unknowable for an intimate portrait that denies certainty, inviting us to linger in the space between secrecy and revelation.

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Michael

@mdstamper.bsky.social

over 1 year ago

Ｆ夫人像 (Portrait of Mrs. F) by 安井曾太郎 / Sotaro Yasui (Japanese) - Oil on canvas / 1939 - Artizon Museum (Tokyo, Japan) #womeninart #art #oilpainting #安井曾太郎 #SotaroYasui #Yasui #artwork #洋画 #JapaneseArt #womensart #portraitofawoman #portraitofalady #JapaneseArtist #アーティゾン美術館 #fineart #artoftheday #安井様式

This portrait of a sophisticated modern Japanese woman with short wavy black hair wearing a light gray striped two-piece skirt suit, billowing black lace scarf, and a pink hat with red ribbon while seated with her legs crossed (exposing her knee and part of her leg) and looking slightly away from us is by Japanese artist Sotaro Yasui (安井曾太郎) who became famous as a portrait painter with his 1934 works “Portrait of Mr. Tamamushi” in the collection of Tohoku University and “Portrait of Chin-Jung” in the National Museum of Modern Art, Tokyo. Thereafter, commissions for portraits like this one never ceased.

The stylish woman depicted here is Fukushima Keiko (福島慶子), an essayist and the wife of the art collector Fukushima Shigetaro (福島繁太郎). The Fukushimas spent the 1920s mainly in Paris and London, acquiring many works by contemporary artists such as Henri Matisse, Georges Rouault, and Pablo Picasso, and brought them back to Japan.

While in Paris, they had asked French artist André Derain to paint a portrait of Keiko, but her ill health prevented its execution. Regretting that lost opportunity, they selected Yasui to paint her portrait after returning to Japan. Keiko began to visit Yasui’s atelier in Mejiro, Tokyo, and model for him. Yasui was usually mild-mannered, but, when painting, he directed a fierce, even terrifying gaze at his models. Keiko wrote that it was exhausting.

Also, Keiko deliberately wore a suit with narrow stripes that would be difficult to paint, testing Yasui’s abilities with a “costume that would be Yasui’s downfall.” However, Yasui found that challenge aroused his ambition creating an unspoken game between artist and model, which can be felt in this painting. The Fukushimas were quite satisfied with the portrait and became close friends with Yasui.

From the latter half of the 1930s, Yasui began using vivid gorgeous colors that became known as the “Yasui style” (安井様式) and remain popular to this day.

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Michael

@mdstamper.bsky.social

over 1 year ago

晩春 (Late Spring) by 竹久夢二 Yumeji Takehisa (Japanese) - Pen, pencil, and watercolor on paper / 1926 - 夢二郷土美術館 Yumeji Art Museum (Okayama, Japan) #womeninart #art #JapaneseArt #夢二郷土美術館 #YumejiArtMuseum #竹久夢二 #YumejiTakehisa #掛軸 #美人画 #JapaneseArtist #TaishoRomanticism #大正ロマン #JapaneseRomanticism #1920s

Taishō Roman (大正ロマン or 大正浪漫) was the cultural and intellectual movement of Japanese Romanticism during the Taishō era (1912-1926), influenced by European Romanticism and the belle époque. Takehisa Yumeji (竹久夢二 ), the painter who epitomizes Taisho Romanticism, was born in Okayama Prefecture in 1884. He received no formal art training but, entirely self-taught, developed his own painting style.

The 美人画 (bijinga, portraits of beautiful women) by Takehisa portrayed women in such a distinctive manner that it became known as "Yumeji beauty style" (夢二式美人). His works show a sympathy toward women in general, who at the time were socially and politically oppressed.

Yumeji developed this poetic and minimalist yet romantic style after meeting his first wife Tamaki, but it has also been attributed to the strong relationships he had with his mother and older sister. His gentle interpretations of feminine qualities like a fragile s-shaped curve or large, moist melancholy eyes (modeled after Tamaki's), led to a lasting influence on the art world's depiction of Japanese women that continues to this day.

His works also show the influence of Art Nouveau, which was popular in the late 1890s, as well as the "Edo style" and "exotic style" of art that influenced Japanese cultural figures during the late Meiji and early Taisho eras.

In "Late Spring," A young beautiful Japanese woman is kneeling on the floor, dressed in a kimono of navy blue and gold latticework pattern with a red and pink obi (sash). Her melancholic expression is accentuated by her large dark eyes. Her hair is styled in an updo, typical of Japanese hairstyles in the era. Next to her is a blue book and a tabby cat looking away attentively while sitting up on a pale pink cushion. The artist's delicate brushstrokes and harmonious soft color blending create a sense of tranquility that has been interrupted by something off canvas drawing the attention of the woman and the cat.

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Michael

@mdstamper.bsky.social

over 1 year ago

黄衣の少女 (Girl in a Yellow Dress) by 和田英作 (Wada Eisaku / Japanese) - Oil on canvas / 1931 - Yamatane Museum of Art (Tokyo, Japan) #womeninart #art #womensart #artwork #和田英作 #portraitofawoman #JapaneseArt #山種美術館 #JapaneseArtist #WadaEisaku #EisakuWada #oiloncanvas #洋画 #fineart #ArtText #artoftheday

This 1931 painting of a young Japanese woman with wheat-colored skin and long black hair pulled back is by western-style painter Wada Eisaku (和田英作). In front of patterned fire red background, she casually sits in large chair wearing a sleeveless sunshine yellow dress with a dignified, almost thoughtful gaze that avoids eye contact.

Wada was a yōga (洋画) painter of the Meiji through Shôwa periods, and director of the Tokyo bijutsu gakkô (Tokyo Art School which is now the Tokyo University of the Arts).

Born in Kagoshima prefecture in 1874, Wada was the oldest of seven children. His father was a Christian minister and ran the family strictly. In 1878, the Wadas moved to Tokyo. His parents, sensing Eisaku's budding artistic talent, enrolled him in an academy which eventually became the Tokyo National University of Fine Arts and Music.

He studied art in Germany and France for 5 to 6 years, but by the age of 29, in 1903, he was working as a teacher at the Tokyo Art School. Wada became head of the school at the age of 58. In 1943, he was awarded the Japanese Order of Culture. He passed away in 1959 at the age of 84.

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Paper Ninjas

@paperninjas.bsky.social

over 1 year ago

Hier eine Aufnahme in Originalgeschwindigkeit, wie ich das Gemälde »Sax Ninja« male. #acrylicpainting #contemporaryart #galleryart #japanart #japaneseart #japaneseartist #stickerart #streetart #studioart #ukiyoe #日本画

Video thumbnail

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Michael

@mdstamper.bsky.social

about 1 year ago

槿花 (Roses of Sharon) by 西山翠嶂 / Nishiyama Suisho (Japanese) - Pigment on silk; hanging scroll / 1923 - Kyoto City KYOCERA Museum of Art (Japan) #WomenInArt #art #artwork #西山翠嶂 #NishiyamaSuisho #womensart #軸 #hangingscroll #京都市京セラ美術館 #JapaneseArt #JapaneseArtist #KYOCERAMuseumofArt #bskyart #ArtText

A young Japanese woman is surrounded by long leafy green plants highlighted by blooming magenta Rose of Sharon flowers as she casually sits. She has ample black hair parted down the middle with buns on the back plus thick, dark eyebrows, narrow almond-shaped sleepy eyes, and thin pink lips. She wears a plain, narrow-sleeved muted yellow cotton kimono with a matching plain kimono sash. There is a sense of a deep adoration for her refreshing yet fleeting beauty, as if she were the personification of the flower spirit of the Rose of Sharon that bloom in the morning and fade in the evening.

Born in Kyoto City, Nishiyama Suisho (西山翠嶂) flourished through the Meiji, Taisho and Showa eras. His real given name was Usaburo while Suisho was a pseudonym. He studied under Takeuchi Seiho, and even married Seiho's daughter. Nishiyama also studied at the Kyoto City School of Arts and Crafts (Kyoto-Shiritsu Bijutsu Kogei Gakko).

He earned a reputation as one of the "three geniuses" to study under Takeuchi. Nishiyama presided over his Seiko Sha (private school of painting) and turned out many leading artists including Domoto Insho, Nakamura Daizaburo, Uemura Shoko and others. He took pride in the realistic style that he learned from his teacher and his various styles of work, and remained a prominent figure in the Kyoto art scene until he passed at the age of 80.

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Michael

@mdstamper.bsky.social

Ｔ嬢の像 (Portrait of Miss T) by 小磯良平 / Ryohei Koiso (Japanese) - Oil on canvas / 1926 - Hyogo Prefectural Museum of Art (Kobe, Japan) #WomenInArt #art #artText #artwork #RyoheiKoiso #小磯良平 #Koiso #HyogoPrefecturalMuseumOfArt #BlueskyArt #portraitpainting #JapaneseArt #kimono #兵庫県立美術館 #洋画 #JapaneseArtist

A young Japanese woman sits slightly turned in a broad upholstered armchair, seen from a gently elevated angle. She wears a cool, pale kimono sprinkled with small blue floral motifs, tied with a soft peach obi that wraps firmly around her waist. A folded, pink-violet cloth rests on her lap like a handkerchief, adding small flare. Her light skin and dark hair, combed back smoothly and gathered low, catch a quiet side light that softens the curve of her cheek and nose and lays gentle shadows around her eyes and under her chin. Her fingers interlace loosely in front of her, relaxed yet composed, while her gaze slips slightly away, thoughtful rather than posed. Behind her, two walls meet at a right angle in bands of light and shadow, and above her shoulder a blue-grey plate with a figure accents the wall, echoing the painting’s cool, airy palette and the still, interior calm of the scene.

Painted in 1926, when Japanese artist Ryohei Koiso (小磯良平) was still a student at the Tokyo School of Fine Arts, this large canvas portrays his distant cousin and childhood friend, Toshiko Ochiai (落合敏子), later Toshiko Kawano, who posed in the reception room of the family home in Kobe. Critics quickly recognized the work as a breakthrough with its crisp, rhythmic brushwork and fresh, almost breezy color that captures the “youthful” vitality of both sitter and painter, and the painting received the special prize at the 7th Imperial Art Exhibition which was an unusual honour for a student.

His Western-style oil technique and the armchair interior counter the intimacy of a kimono-clad woman, to embody Taishō-era modernity without sacrificing tenderness. Knowing Miss T’s name sharpens that intimacy as Toshiko is not anonymous, but a specific young woman, poised at the edge of adulthood. Her composed hands, slightly averted gaze and the cool architecture of the room suggest a quiet, inward moment, as if between the expectations of tradition and the possibilities of a changing urban world.

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Michael

@mdstamper.bsky.social

about 1 year ago

望郷 (Nostalgia) by 東郷青児 / Seiji Togo (Japanese) - Oil on canvas / 1959 - Sompo Museum of Art (Tokyo, Japan) #WomenInArt #art #SeijiTogo #東郷青児 #TogoSeiji #womensart #ArtText #SOMPO美術館 #sompo #oilpainting #japaneseart #japaneseartist #青児美人 #美人 #beauty #artwork #ModernArt #artoftheday #portraitofawoman

In ”Nostalgia” (望郷) by Japanese artist Seiji Togo (東郷青児), we see a woman standing motionless in front of the remains of what appears to be an ancient Greek temple. At the 5th Japan International Art Exhibition, it received the “Audience Award,” chosen by votes cast by visitors to the exhibition.

The “simple pleasing beauty” of the woman and the almost lyrical flow of the picture — a style which became commonly known as “Seiji Beauties” (青児美人) inferring “paintings of beauties in the Seiji style” — has been described by some as too “commonplace” or “regular.” Regardless of whether people appreciate this style of art or not, his painting is hailed as a masterpiece of the Togo style that remains impactful to this day.

The distant ancient ruins seen in the background of the picture were added to Togo’s repertoire from the mid-1930s, when the general public began to become more familiar with his growing body of work. The idea of “nostalgia” was one of Togo’s consistent themes since his 20s, when he spent seven years living in France.

“Nostalgia” was first exhibited for the public one year after the Tokyo Tower was completed. It is likely that the sentimental emotions expressed in this painting by Togo found resonance in the minds of viewers who were living in the midst of a period of high economic growth when the Tokyo landscape was undergoing dramatic changes.

Born in Kagoshima Prefecture, Togo was active in Tokyo as part of the Nika Society, an organization founded to promote contemporary art in Japan. During his 7-year stay in France from the age of 24, Togo embraced Spanish artist Pablo Picasso’s belief in the importance of an artist committing oneself to one’s own unique style. He researched traditional techniques of Western painting, decorative art techniques, and design. Following his return to Japan, Togo became famous for a new vision for the modern Japanese feminine “ideal” thanks to his diverse and popular body of work including murals and illustrations.

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