The Influence of Culture on Two Print Artists: Hokusai and Dürer
by
Emmeline Kuo
Clarkson University
The Influence of Culture on Two Print Artists: Hokusai and Dürer
A Thesis Proposal by
Emmeline Kuo
Department of Humanities and Social Sciences
Mentor: Professor Rick Welsh
November 24th, 2009
Abstract
Although the process of printing has fallen out of favor among modern artists, it was a popular
creation method used in the past. The technique was used in both Europe and Asia. K. Hokusai and
Albrecht Dürer are the most notable print artists from their respective cultures, Japan and Germany.
Their backgrounds and techniques differ widely yet both reflect themselves and their surroundings in
their work. In addition to being influenced by their cultures, they were prominent artists who in turn,
shaped their cultures.
Specific works from each artist will be examined through secondary sources. Each work
represents a different facet of the artists. Hokusai will be studies through The actors Ebizō IV and
Hangorō III, Spirit of Okiku, Courtiers Crossing a Bridge, and a series of landscape prints that culminates
with The Wave from a series, Thirty-Six Views of Mt. Fuji. Dürer will be investigated through Rhinoceros,
Four Horsemen of the Apocalypse, Witch Riding Backwards on a Goat, and his master engravings –
Melancholia I, Knight, Death and Devil, and St. Jerome in his Study.
Purpose Statement
Hokusai and Dürer worked in cultures that influenced them through composition and technique.
However, they were not passive participants and consequently, helped shape their cultures as well.
Hokusai helped establish the Japanese artistic identity, making it distinct from other Asian countries.
Similarly, Dürer is credited with bringing the Renaissance to Germany, making him an influential
member of the German Renaissance artistic movement.
Both artists achieved widespread popularity within their lifetimes because of their prints. In
Japan, woodblock prints allowed for wide distribution and multiple prints in a short amount of time.
Prints spread Hokusai’s work throughout the population because they were affordable and small
enough to be transported easily. Likewise, Dürer is noted more for his prints and carvings than his
paintings. He mastered the art of carving and etching when few others were interested.
Very few comparisons of Asian and Western artists exist, much less direct comparisons of print
artists. There have been multiple volumes written on one or the other, but rarely have Asian artworks
been juxtaposed with Western artworks. Additionally, while many artists’ lives have been researched,
the impact of their culture on their work is minimal. Knowledge about an underlying culture enhances
the visual understanding of art. By investigating specific pieces from each artist’s oeuvre, a deeper
appreciation of the artist, the art, and the culture can be explored and understood.
Statement of Qualification
I am interested in cultures and their role in shaping people. I plan on exploring the
manifestation of cultural influence for these two great artists. The legacy left by each artist proves to be
profound yet different for their respective societies. As a student in the humanities, I am involved in
these interactions between people and societies. Additionally, growing up in bi-cultural household,
Asian and American, exposes me to many of the differences between Asian and Western cultures. I
continually discover manifestations of my multi-cultural upbringing giving me first-hand knowledge
about certain values and beliefs. For example, Asian values of stability and financial security directly
influenced my decision to become a business major. When beginning my college search, I considered
only engineering and business despite being extremely interested in art. I had taken art classes all
through high school and was encouraged to pursue art school by my teacher. However, the idea of
being an artist was never considered seriously.
Review of the Literature
I have access to a wide range of volumes about both Hokusai and Dürer. To start, the Art of Edo
Japan by Christine Guth examined the different cultural centers of Japan from the 1600’s to the 1800’s.
Art during this time period was centered in the four major cities – Kyoto, Edo, Osaka, and Nagasaki. The
artistic style produced in each location is unique and distinct from the others. Hokusai lived and worked
in Edo, only traveling occasionally. As a result, his technique and composition falls within norms of Edo.
This source highlights some of the essential ‘Edo’ techniques and identifies them in Hokusai’s work.
Matthi Forrer has written several volumes regarding Hokusai’s life and work. In Hokusai, Forrer includes
text from Edmond de Goncourt who has researched Hokusai extensively shortly after his lifetime. This
album provides reproductions of many pieces and discusses differences between printings. Forrer
emphasizes the relationship between Hokusai and different publishers. The four main western
influences on Hokusai’s work are also revealed: heavy borders, clouds, horizontal titles and signatures,
parallel lines for shading. This volume also separates Hokusai’s life into 6 distinct stages which allows a
comparison of his life and the environment on his creations. Additionally Hokusai by Gian Carlo Calza
includes a series of articles written by Hokusai’s contemporaries, offering a unique perspective on the
artist. Several articles in the Calza collection address the often overlooked Western influence on
Hokusai’s work including the techniques mentioned earlier and an individualistic philosophy behind the
images. Another article reproduces many of Hokusai’s letters to publishers and colleagues, offering an
intimate view of the artist.
There have been thousands of volumes written about Dürer and his life. Additionally, Dürer
compiled an autobiography at the end of his life, anticipating its importance. Jane Campbell Hutchison’s
Albrecht Dürer: A Biography follows Dürer through his life and corresponding involvement in the art
world. It chronicles his rise to being the initiator of the German Renaissance and the contact s that
helped shape him. Also, an examination of his family appears at the beginning of the volume which
offers a glimpse of his beginnings. His father traveled extensively and encouraged Dürer to do the same.
Thus, despite the abnormality of travel and prolonged absence, Dürer spent significant time away from
Germany. This worldly perspective helped Dürer bring the Renaissance back to Germany. Another
perspective is given in Dürer and his Culture compiled by Eichberger and Zika. They organize several
articles about Dürer and his art through the political, social, and cultural contexts. The book is split into
four parts: The artist and environment, image and audience, communal culture and representation, and
Dürer and the canon. In the first section, the articles concentrate on certain themes in Dürer’s art
including his nature drawings and Germanic patriotism. In the image and audience portion, the role of
visual images and Dürer’s role in creating the ‘witch’ persona are explored. The last section examines
how the historical perception of Dürer has changed. In discussing Dürer’s influence on the world,
Bartrum’s Albrecht Dürer and his Legacy examine how society has dealt with Dürer’s images since his
death. This book includes extensive information on how Dürer continues to shape the German culture
today. His images have been used in a variety of functions for a variety of reasons. It also includes
multiple sections about works and artists that were inspired by Dürer’s images.
Additionally, a visit to the Boston Museum of Fine Arts revealed an exhibit about print artists,
specifically Japanese ukiyoe. These displays gave me a first-hand look at the actual prints instead of
reproductions that are often enlarged or shrunk. I found the prints to be smaller than I expected which
emphasized their usage. Ukiyoe prints were produced for the mass public, requiring a small, easily
transportable size. More information about the specific pieces can be obtained easily from libraries in
the area or interlibrary loan.
Research Methods
In order to determine the cultural clues located in each artist’s work, I will examine a select
number of pieces from each artist. For Hokusai, they will consist of the actor prints, The actors Ebizō IV
and Hangorō III; a depiction of the supernatural, Spirit of Okiku; an illustration of daily life, Courtiers
Crossing a Bridge; and a series of landscape prints that culminates with The Wave from a series, ThirtySix Views of Mt. Fuji. These selections help demonstrate Hokusai’s versatility as an artist and because
they reflect different ukiyoe movements throughout Hokusai’s lifetime. Each piece reveals a facet of the
great artist and the cultural climate he lived in. For example, Hokusai created actor prints at the
beginning of his artistic career. These are very similar to other actor prints being created and the
subject they depict is characteristic of ukiyoe and Edo. However, Spirit of Okiku begins to reveal
characteristics of the artist. Courtiers Crossing a Bridge differs from the normal creations of the time
and portrays western influences. Finally, the most recognized print of all, The Wave, was not a
spontaneous creation. It evolved over decades of both Hokusai’s life and the lives of other artists. A
section of the paper will deal with Hokusai’s influence abroad, concentrating mainly on Japonism in
France.
The selections for Dürer include Rhinoceros, characterizing the advent of natural species
collections; Four Horsemen of the Apocalypse, a print from a series on St. John; Witch Riding Backwards
on a Goat, symbolizing women, their roles, and the creation of the witch persona; and his master
engravings – Melancholia I, Knight, Death and Devil, and St. Jerome in his Study, representing a wide
range of themes. Rhinoceros exhibits the prominence of ‘natural collections’. Germans were becoming
avid collectors of exotic and natural species during Dürer’s time and patrons often commissioned
drawings of their pieces to display next to the actual artifact. Four Horsemen of the Apocalypse is one of
Dürer’s most noted work. It was part of a series on St. John. Dürer played a large role in shaping the
imagery associated with witches through Witch Riding Backwards on a Goat. Finally, the master
engravings are some of Dürer’s most recognized pieces. Each reflects a different characteristic of the
artist. For example, Melancholia I portrayed melancholia as a Additionally, Dürer’s works have had
various influences on the German culture, evidenced by their continuous circulation since his death.
Secondary sources will be the basis for the evaluations of specific pieces. Both Hokusai and
Dürer have created expressive pictures that grab a viewer’s attention. As a result, many critiques have
recorded their reactions and thoughts about certain prints. Most of the sources listed above include
information on the development and execution of different pieces.
A possible outline has been included to detail the format of the paper. The entire paper should
be completed by the end of the Spring Semester.
Outline:
I.
II.
Introduction
A. Thesis: Hokusai and Dürer worked in cultures whose influence is manifested in
their art through composition and technique. In addition to being influenced by
their cultures, they were prominent artists who in turn, shaped their cultures.
B. Printing Background
C. Hokusai Background
D. Dürer Background
Hokusai
A. Japanese Society
B. Works
1. “The Actors Ebizo IV and Hangoro III”
2. “Spirit of Okiku”
3. “Courtiers Crossing the Bridge”
4. Series leading to “The Wave”
C. Influence on Japan
Japonisme
III.
Dürer
IV.
V.
A. German Society
B. Works
1. ”Rhinoceros”
2. “Four Horsemen of the Apocalypse”
3. Master Engravings of “Melancholia I”, “Knight, Death, and Devil”,
and “St. Jerome in his Study”
4. “Witch Riding Backwards on a Goat”
C. Influence on Germany
Propaganda
Comparison
Conclusion
Future Work and Time Line
My approach to thesis differs slightly from what usually occurs. The preliminary research has
already been conducted, leaving next semester as the writing period. January and February will be
dedicated to writing the main sections on Hokusai and Dürer. The comparison section will be written in
March, basically completing the paper. This allows the month of April for revisions and edits. If during
the writing process, more information is needed, there is time to find further research.