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Meet the artist whose majestic breaking wave sent ripples across the world. Hokusai (1760–1849) is not only one of the giants of Japanese art and a legend of the Edo period, but also a founding father of Western modernism, whose prolific gamut of prints, illustrations, paintings, and beyond forms one of the most comprehensive oeuvres of ukiyo-e art and a benchmark of Japonisme. His influence spread through Impressionism, Art Nouveau, and beyond, enrapturing the likes of Claude Monet, Berthe Morisot, Edgar Degas, Mary Cassatt, and Vincent van Gogh.
Hokusai was always a man on the move. He changed domicile more than 90 times during his lifetime and changed his own name through over 30 pseudonyms. In his art, he adopted the same restlessness, covering the complete spectrum of Japanese ukiyo-e, “pictures of the floating world”, from single-sheet prints of landscapes and actors to erotic books. In addition, he created album prints, illustrations for verse anthologies and historical novels, and surimono, which were privately issued prints for special occasions.
Hokusai’s print series Thirty-Six Views of Mount Fuji, published between c. 1830 and 1834 is the artist’s most renowned work and, with its soaring peak through different seasons and from different vantage points, marked the towering summit of the Japanese landscape print. The series Under the Wave off Kanagawa, also known simply as The Great Wave, is one of the most recognized images of Japanese art in the world.
This TASCHEN introduction spans the length and breadth of Hokusai’s career with key pieces from his far-reaching portfolio. Through these meticulous, majestic works and series, we trace the variety of Hokusai’s subjects, from erotic books to historical novels, and the evolution of his vivid formalism and decisive delineation of space through colour and line that would go on to liberate Western art from the constraints of its one-point perspective and unleash the modernist momentum.
About the series:
Each book in TASCHEN's Basic Art series features:
- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 illustrations with explanatory captions
150 full-colour illustrations
Katsushika Hokusai is without a doubt the most famous Japanese artist known in the Western world since the middle of the nineteenth century.
Reflecting the artistic expression of an isolated civilisation, the works of Hokusai, one of the first Japanese artists to emerge in Europe, greatly influenced Impressionist and Post-Impressionist painters, such as Vincent van Gogh.
Considered a Ukiyo-e master even during his lifetime, Hokusai fascinates us with the variety and the significance of his work which spanned almost ninety years and is presented here in all its breadth and diversity.
About the author
Friend of Émile Zola, Gustave Flaubert and Alphonse Daudet, Edmond de Goncourt was a French writer belonging to the naturalist movement. Eyewitness to the events of the worldly and artistic life of the second half of the nineteenth century, his major work remains the Journal written with his brother, Jules. Beginning in 1850, they collaborated on history books, most notably treating painting, such as Eighteenth Century Art. Impassioned by the delicate beauty of the Japanese woodblock prints, Edmond de Goncourt became, through his monographs on Utamaro and Hokusai, one of the first to reveal the magnificence of this art to the Western world.
A wonderfully illustrated exploration of one of Hokusai's key motifs: Mount Fuji.
Hokusai's Thirty-six Views of Mount Fuji and the three volumes of his subsequent One Hundred Views of Mount Fuji show his fascination with a single motif: Mount Fuji. Hokusai's near-obsession with Fuji was part of his hankering after artistic immortality – in Buddhist and Daoist tradition, Fuji was thought to hold the secret to eternal life, as one popular interpretation of its name suggests: 'Fu-shi' ('not death'). Thirty-six Views of Mount Fuji was produced from c. 1830 to 1832 when Hokusai was in his seventies and at the height of his career. Among the prints are three of the artist's most famous: The Great Wave off Kanagawa, Fine Wind, Clear Morning and Thunderstorm Beneath the Summit. By the time he created his second great tribute to Mount Fuji, three volumes comprising One Hundred Views of Mount Fuji, he was using the artist names Gakyo rojin ('Old Man Crazy to Paint'), and Manji ('Ten Thousand Things', or 'Everything'). Contrasting the mountain's steadfastness and solidity with the ravages of the surrounding elements, Hokusai depicts Fuji through different seasons, weather conditions and settings, and in so doing communicates an important message: while life changes, Fuji stands still.
Including all the illustrations from these two masterpieces, this book also features many of Hokusai’s earlier renditions of the
About the Author:
Katsushika Hokusai (1760–1849) was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Kyoko Wada is an art writer, critic and historian of Japanese culture.
In the Footsteps of a Master. Hokusai’s complete Views of Mount Fuji
This XXL edition transports readers to 19th-century Japan with Katsushika Hokusai’s seminal Thirty-six Views of Mount Fuji, an artifact of art history and masterpiece of woodblock practice. This sweeping reproduction of the complete 46 plates and 114 color variations, gathered from museums and collections worldwide, is bound in Japanese style.
Mount Fuji has long been a centerpiece of Japanese cultural imagination, and nothing captures this with more virtuosity than the landmark woodblock print series Thirty-six Views of Mount Fuji by Katsushika Hokusai (1760–1849). The renowned printmaker documents 19th-century Japan with exceptional artistry and adoration, celebrating its countryside, cities, people, and serene natural beauty. Produced at the peak of Hokusai’s artistic ambition, the series is a quintessential work of ukiyo-e that earned the artist world-wide recognition as a leading master of his craft.
The prints illustrate Hokusai’s own obsession with Mount Fuji as well as the flourishing domestic tourism of the late Edo period. Just as the mountain was a cherished view for travelers heading to the capital Edo (now Tokyo) along the Tōkaidō road, Mount Fuji is the infallible backdrop to each of the series’ unique scenes. Hokusai captures the distinctive landscape and provincial charm of each setting with a vivid palette and exquisite detail. Including the iconic Under the Great Wave off Kanagawa (also The Great Wave), this widely celebrated series is a treasure of international art history.
Among only a few complete reprints of the series, this XXL edition pays homage to Hokusai’s striking colors and compositions with unprecedented care and magnitude. Bound in the Japanese tradition with uncut paper, Thirty-six Views of Mount Fuji presents the original 36 plates plus the additional 10 later added by the artist. The perfect companion piece to TASCHEN’s One Hundred Views of Edo and The Sixty-Nine Stations along the Kisokaidō, this publication paints an enchanting picture of pre-industrial Japan and is itself a stunning monument to the art of woodblock printing.
The editor and author:
Andreas Marks studied East Asian art history at the University of Bonn and obtained his PhD in Japanese studies from Leiden University with a thesis on 19th-century actor prints. From 2008 to 2013 he was director and chief curator of the Clark Center for Japanese Art in Hanford, California, and since 2013 has been the Mary Griggs Burke Curator of Japanese and Korean Art, head of the Department of Japanese and Korean Art, and director of the Clark Center for Japanese Art at the Minneapolis Institute of Art. He is the author of The Sixty-Nine Stations along the Kisokaido (2017), Japanese Woodblock Prints (2019), and Thirty-six Views of Mount Fuji (2021).
Now available again, this delightful selection of prints depicting nineteenth-century Japan’s natural beauty is a colorful introduction to the country’s most beloved artist.
The Japanese artist Hokusai spent the second half of his life sketching and painting with tremendous energy nearly everything he saw, and this book focuses on one of his most productive periods, when the artist was in his seventies. This book presents fifty works of the artist’s astonishing oeuvre. It includes selections from his renowned series of woodblock prints, Thirty-Six Views of Mount Fuji, including “In the Hollow of a Wave,” “Shower below the Summit,” and “South Wind at Clear Dawn.” Also presented are images of flowers, waterfalls, bridges, birds, and fish, demonstrating the uniquely precise yet passionate quality of Hokusai’s art. An expert on the artist’s work, Matthi Forrer provides illuminating commentary on Hokusai’s life and technique, offering insight into his enduring popularity throughout the world.
Religion, Renaissance, and Reformation — these three ideologies shaped the world of 16th-century portraitist Hans Holbein the Younger (1497/98–1543), a pivotal figure of the Northern Renaissance, whose skills took him to Switzerland, Belgium, Italy, and England, and garnered patrons and subjects as prestigious as Henry VIII, Thomas More, Anne of Cleves, and Reformation advocate Thomas Cromwell. This book brings together key Holbein paintings to explore his illustrious and international career as well as the courtly drama and radical religious change that informed his work. With rich illustration, we survey the masterful draftsmanship and almost supernatural ability to control details, from the textures of luxurious clothing to the ornament of a room, that secured Holbein’s place as one of the greatest portraitists in Western art history.
His probing eye was matched with a draftsman. Along the way, we see how he combined meticulous mimesis with an inspired amalgam of regional painterly traits, from Flemish-style realism to late medieval German composition and Italian formal grandeur.
During his time in England, Holbein became official court painter to Henry VIII, producing both reformist propaganda and royalist paintings to bolster Henry’s status as monarch and as the new Supreme Head of the Church following the English Reformation. His portrait of Henry from 1537 is regarded not only as a portraiture pinnacle but also as an iconic record of this transformative monarch and the Tudor dynasty. Through this turbulent period, Holbein also produced anticlerical woodcuts and sketched and painted Lutheran merchants, visiting ambassadors, and Henry’s notorious succession of wives.
About the series:
Each book in TASCHEN's Basic Art series features:
- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 illustrations with explanatory captions
One of the greatest artists of sixteenth-century Europe, Hans Holbein the younger earned high acclaim for his work both in the city of Basel and in England for Henry VIII and other patrons. This book is the first to explore the full range of the artist’s English body of work as well as the relation of this work to the visual and material culture of Tudor England. Providing a detailed account of the paintings, drawings, and woodcuts that Holbein produced in England, the book demonstrates convincingly that that country was not as remote from a common European culture as is often assumed. Rather, it was an unmistakable part of that culture.
Susan Foister discusses not only Holbein's well-known portraits but also his decorative paintings and murals, now lost, his designs for goldsmiths, and the works that can be associated with the English Reformation. In addition, she considers Holbein's religious and secular images, his techniques and practices, his status as an official court painter, and a variety of other intriguing topics.
Edward Hopper is as quintessentially American as Jackson Pollock or Andy Warhol. Like them, his imagery has reached far beyond the realm of art to impact on our culture in the broadest terms, so that we see early twentieth-century America through his work, as much as within it. The painter Charles Burchfield attributed Hopper’s success to his “bold individualism,” declaring that “in him we have regained that sturdy American independence which Thomas Eakins gave us.” Hopper’s art was profoundly of its time, both in its expression of the subtle melancholies of modern life and in its deeply cinematic qualities--perhaps Hopper’s greatest gift was his treatment of light--to which directors from Alfred Hitchcock to Wim Wenders have paid homage.
This volume presents a definitive Hopper monograph. Published for a massive retrospective at the Museo Thyssen-Bornemisza in Madrid, and the Grand Palais in Paris, it approaches Hopper’s relatively small oeuvre in two sections. The first covers the artist’s formative years from approximately 1900 to 1924, examining a selection of sketches, paintings, drawings, illustrations, prints and watercolors, which are considered alongside works by painters that influenced Hopper, such as Winslow Homer, Robert Henri, John Sloan, Edgar Degas and Walter Sickert. The second section considers the years from 1925 onwards, addressing his mature output through chronological but thematic groupings. Comprehensive in its scope, with a wealth of color reproductions, Hopper is the last word on the artist.
Painter of urban loneliness. Significant American 20th-century art
Edward Hopper (1882-1967) is considered as one of the first important American painters in 20th century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas he painted the loneliness of urban people. Many of Hopper’s pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes. Hopper’s paintings are marked by striking juxtapositions of color, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper’s renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.
About the Series:
Every book in TASCHEN's Basic Art Series features:
* a detailed chronological summary of the artist's life and work, covering the cultural and historical importance of the artist
* approximately 100 color illustrations with explanatory captions
* a concise biography
Urban loneliness. One of the greatest realists of American art
Edward Hopper (1882–1967) is considered as one of the first important American painters in 20th-century art. After decades of patient work, Hopper enjoyed a success and popularity that since the 1950s has continually grown. In canvas after canvas, he painted the loneliness of urban people. Many of Hopper s pictures represent views of streets and roads, rooftops, and abandoned houses, depicted in a brilliant light that strangely belies the melancholy mood of the scenes.
Hopper s paintings are marked by striking juxtapositions of colour, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. On the other hand, Hopper s renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.
About the series:
Each book in TASCHEN's Basic Art series features:
- a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance
- a concise biography
- approximately 100 illustrations with explanatory captions
Edward Hopper (1882–1967) is considered the first significant American painter in 20th-century art. Living in a secluded country house with his wife, Josephine, he depicted the loneliness of big-city people in canvas after canvas. Probably the most famous of them, Nighthawks, done in1942, shows a couple seated quietly as if turned inwards upon themselves, in the harsh artificial light of an all-night restaurant. Many of Hopper’s pictures represent views of streets and roads, rooftops, abandoned houses, depicted brilliant light that strangely belies the melancholy mood of the scenes. Hopper’s paintings are marked by striking juxtapositions of colour, and by the clear contours with which the figures are demarcated from their surroundings. His extremely precise focus on the theme of modern men and women in the natural and man-made environment sometimes lends his pictures a mood of eerie disquiet. In House by the Railroad, a harsh interplay of light and shadow makes the abandoned building seem veritably threatening. On the other hand, Hopper’s renderings of rocky landscapes in warm brown hues, or his depictions of the seacoast, exude an unusual tranquillity that reveals another, more optimistic side of his character.
Edward Hopper (1882 - 1967) is recognized as one of the most well-known American artists of the 20th century. His distinctive style, combining subtle observations of the world with his imagination, has not only influenced other artists but also photographers, filmmakers, and popular culture. Although Hopper is primarily known for his oil paintings, including such iconic works as "Nighthawks" (1942) and "Early Sunday Morning" (1930), this important publication is the first comprehensive exploration of his drawings and working methods.
In 1967, Hopper's widow, Josephine Nivison Hopper, bequeathed her husband's artistic estate to the Whitney Museum of American Art, including a fascinating collection of more than 2,000 drawings spanning his entire career. This group of works has never been the subject of in-depth study and many have never been reproduced before. Hopper kept these drawings for personal reference as he revisited various themes throughout his career. Carter E. Foster carefully examines how Hopper used his drawings to develop his paintings, arguing that the artist's work can only be fully understood after in-depth study of these preparatory sketches.
Foster also argues that Hopper was, in many ways, a traditional draftsman who methodically developed schematic ideas into detailed studies to refine content. However, the steps toward this refinement are unique to Hopper and reveal how he turned the mundane into poetic images with universal appeal.
The best scary movies of all time. This exciting new visual history examines the genre in thematic, historical, and aesthetic terms
Horror is both the most perennially popular and geographically diverse of all film genres; arguably, every country that makes movies makes horror movies of one kind or another. Depicting deep-rooted, even archetypal fears, while at the same time exploiting socially and culturally specific anxieties, cinematic horror is at once timeless and utterly of its time and place. This exciting new visual history, which includes unique images from the David Del Valle archive, examines the genre in thematic, historical, and aesthetic terms, breaking it down into the following fundamental categories: Slashers & Serial Killers; Cannibals, Freaks & Hillbillys; Revenge of Nature & Environmental Horror; Sci-fi Horror; The Living Dead; Ghosts & Haunted Houses; Possession, Demons & Evil Tricksters; Voodoo, Cults & Satanists; Vampires & Werewolves; and The Monstrous-Feminine. Among the many films featured are classics such as Psycho, Texas Chainsaw Massacre, Alien, The Exorcist, Dracula, and The Wicker Man.
