Alison Saar

Alison Saar, “Snakeman”, 1994, Woodcut and Lithograph Printed in Color on Oriental Paper, Image and sheet: 27 7/8 x 37 1/8 in.

Alison Saar is an American sculptor, painter and installation artist. She was born in Los Angeles, California, and grew up in Laurel Canyon, California. Her parents were Betye Saar, a well-known African-American artist, and Richard Saar, an art conservationist. . She received a BA from Scripps College (Claremont, CA) in 1978, having studied African and Caribbean art with Dr. Samella Lewis. Saar’s thesis was on African-American folk art. She received an MFA from Otis Art Institute, now known as Otis College of Art and Design in Los Angeles, California in 1981.

Her sculptures and installations explore themes of African cultural diaspora and spirituality, and her studies of Latin American, Caribbean and African art and religion have informed her work. Saar’s fascination with vernacular folk art and ability to build an oasis of beauty from cast-off objects are evident in her sculptures and paintings.

Dave Bull

Dave Bull, “Mes Solitudes – Rivière en Automne”, 2008, Woodblock Print, Dimensions Unknown, Private Collection

David Bull is a Canadian woodblock printer living and working in Tokyo.

Kawase Hasui

Kawase Hasui “Night Rain at Omiya”, 1930

Born in May of 1883, Hasui Kawase was one of modern Japan’s most important and prolific printmakers. He was a prominent founder of the shin-hanga, or new prints, movement whose artists executed traditional subjects in a style influenced by Western art.

At the age of twenty six, Hasui ceased working at his family’s rope and thread wholesaling business and studied Western style painting under Yōga-style artist Okada Saburōsuke for two years. Hasui then approached Nihonga artist Kiyokata Kaburagi, the leading master of the bijin-ga genre, to teach him; it was Kiyokata who gave him the name ‘Hasui’, which translates as ‘water gushing from a spring’.

At the studio of Kiyokata, Hasui studied traditional Japanese painting and ukiyo-e, a genre of art which flourished from the seventeenth though the nineteenth centuries.. He worked almost exclusively on landscape and townscape prints based on sketches and watercolors he made during travels around Japan. Hasui’s work depicted not only those famous places typical of early ukiyo-e masters, but also featured locales which were obscure in urbanizing Japan. Unlike other artists, he did include the captions and titles that were standard in traditional ukiyo-e prints. Among Hasui’s most original and best known works were his snow scenes rendered with naturalistic light, shade and texture.

During a career which spanned over forty years, Hasui designed approximately six hundred-twenty prints and worked closely with publisher Shōzaburō Watanabe, an advocate of the shin-hanga movement. Through the efforts of American art patron Robert Miller, his work became widely known in the West. In late 1953, the government Committee for the Preservation of Intangible Cultural Treasures commissioned Hasui to make a collection of traditionally-made prints. The production of these works were carefully documented and, in 1956, he was named a Japanese Living National Treasure.

Hasui Kawase died on November 27, 1957 at the age of seventy-four. He left a large collection of his woodblock prints and watercolors, many of which are linked to the woodblock prints, oil paintings, traditional hanging scrolls, and several folding screens. In 1979, Author Narazaki Munishige published Hasui’s biography and compiled the first comprehensive, annotated listing of all his known works

Clare Leighton

Clare Leighton “Cutting” 1931, Wood Engraving, Victoria and Albert Museum, London

Clare Leighton’s “Cutting” is an image from her Canadian Lumber Camp series. In this wood-engraving, the strength of the working men is conveyed through the curves of the black silhouettes, with a minimal use of white line, seen against the snowy backdrop. The landscape and figures are successfully bound together.

A particularly striking feature of this series is Clare Leighton’s depiction of the magical light of snow in the forest. This is achieved through her use of the multiple tool, which enables the gouging of several lines with a single stroke, that she began using in 1930.