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Cayo Santa María is an island off Cuba's north central coast in the Jardines del Rey archipelago. The island is linked to the mainland near Caibarién by a 48 km causeway constructed between 1989 and 1999.
Little is known of the artist Yoshiji (よしぢ) who published via Sato Shotaro (publisher for Yoshikawa Kanpou （吉川観方）, Miki Suizan （三木翠山）、Nomura Yoshimitsu (野村芳光); all well-established artists).
Hasui Kawase (川瀬 巴水 Kawase Hasui, May 18, 1883 – November 7, 1957) was a prominent Japanese painter of the late 19th and early 20th centuries, and one of the chief printmakers in the shin-hanga movement. Shin-hanga (新版画, lit. 'new prints', 'new woodcut (block) prints') was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the sōsaku-hanga (creative prints) movement which advocated the principles of 'self-drawn' (jiga), 'self-carved' (jikoku) and 'self-printed' (jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art.<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meishō), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachōga).
Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is confusingly often known as Toyokuni IV.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Arai was born in 1873 and died in 1945. He worked with romantic scenes along beaches and rivers. Arai is known for Shin Hanga woodblock prints.<br/><br/> Shin-hanga (新版画, lit. 'new prints', 'new woodcut (block) prints') was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). It maintained the traditional ukiyo-e collaborative system (hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the sōsaku-hanga (creative prints) movement which advocated the principles of 'self-drawn' (jiga), 'self-carved' (jikoku) and 'self-printed' (jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art.<br/><br/> The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes (fukeiga), famous places (meishō), beautiful women (bijinga), kabuki actors (yakusha-e), and birds and flowers (kachōga).
The Sixty-nine Stations of the Kiso Kaidō (木曾街道六十九次 Kiso Kaidō Rokujūkyū-tsugi) or Sixty-nine Stations of the Kiso Road, is a series of ukiyo-e works created by Utagawa Hiroshige (1797-1858) and Keisai Eisen (1790-1848).<br/><br/> There are 71 total prints in the series (one for each of the 69 post stations and Nihonbashi; Nakatsugawa-juku has two prints). The common name for the Kiso Kaidō is 'Nakasendō' or 'Central Mountain Highway', so this series is salso commonly referred to as the Sixty-nine Stations of the Nakasendō.<br/><br/> The Nakasendō was one of the Five Routes constructed under Tokugawa Ieyasu, a series of roads linking the historical capitol of Edo with the rest of Japan. The Nakasendō connected Edo with the then-capital of Kyoto. It was an alternate route to the Tōkaidō and travelled through the central part of Honshū, thus giving rise to its name, which means 'Central Mountain Road'. Along this road, there were sixty-nine different post stations (<i>-shuku</i> or <i>-juku</i>), which provided stables, food, and lodging for travelers.<br/><br/> Eisen produced the first 11 prints of the series, from Nihonbashi to Honjō-shuku, stretching from Tokyo to Saitama Prefecture. After that, Hiroshige took over production of the series.
Shunbaisai Hokuei (Japanese: 春梅斎 北英; d. 1837), also known as Shunkō III, was a designer of ukiyo-e style Japanese woodblock prints in Osaka, and was active from about 1824 to 1837. He was a student of Shunkōsai Hokushū. Hokuei’s prints most often portray the kabuki actor Arashi Rikan II.<br/><br/> Shunbaisai Hokuei should not be confused with Tōkōen Hokuei (桃幸園 北英), an early 19th-century Edo (Tokyo) printmaker who is also commonly referred to as 'Hokuei'.
Utagawa Kunisada (1786 – January 12, 1865) (Japanese: 歌川 国貞, also known as Utagawa Toyokuni III 三代歌川豊国 ) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.<br/><br/> Utagawa Kunisada II (歌川国定)(1823–1880) was a Japanese ukiyo-e printmaker, one of three to take the name 'Utagawa Kunisada'.<br/><br/> A pupil of Utagawa Kunisada I, he signed much of his early work 'Baidō Kunimasa III'. He took the name Kunisada after marrying his master's eldest daughter in 1846. He changed his name once more following his master's death, to Toyokuni III. However, since there were three artists called Toyokuni before him, Kunisada II is now often known as Toyokuni IV.<br/><br/> Kunisada II is renowned for his prints. His favourite subjects were pleasure-houses and tea ceremonies. These themes are sometimes found together in some of his prints, as geishas usually acted as chaperones at tea-houses.
Toyohara Kunichika (Japanese: 豊原 国周; 30 June 1835 – 1 July 1900) was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of ukiyo-e actor-prints, which are woodblock prints of kabuki actors and scenes from popular plays of the time.<br/><br/> A drinker and womanizer, Kunichika also portrayed women deemed beautiful (bijinga), contemporary social life, and a few landscapes and historical scenes. He worked successfully in the Edo period, and carried those traditions into the Meiji period. To his contemporaries and now to some modern art historians, this has been seen as a significant achievement during a transitional period of great social and political change in Japan's history.
Hiroshige II (歌川広重 2代目, 1826 – October 21, 1869) was a designer of ukiyo-e and Japanese woodblock prints. He was born Suzuki Chinpei (鈴木鎮平). He became a student and the adopted son of Hiroshige, then was given the artistic identity of, 'Shigenobu'.<br/><br/> When the senior Hiroshige died in 1858, Shigenobu married his master’s daughter, Otatsu. At that time he adopted the art-name 'Hiroshige'. About 1865, the marriage was dissolved. Hiroshige II then moved to Yokohama and resumed using the name Shigenobu. He also signed some of his work as Ryūshō.<br/><br/> Another pupil of the first Hiroshige, Shigemasa, then married the master's daughter, Otatsu, and also began using the name Hiroshige; this artist now is known as Hiroshige III
Suzuki Harunobu (鈴木 春信, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Tsuchiya Koitsu was born under the name 'Koichi' to Hammamatsu in the Japanese countryside. He went to Tokyo at the age of 15 years to be apprenticed to a wood engraver called Matsuzaki, who worked for Kiyochika Kobayashi (1847-1915), an artist famous for his genre scenes and military prints.<br/><br/> But instead of staying with the engraver, Koitsu integrated the workshop Kiyochika and remained there 19 years, during which he learned drawing and graphic composition. His first prints were subject to the Sino-Japanese War of 1894-1895, much in vogue at the time.<br/><br/> The prints of Koitsu are mainly landscapes in the tradition of Kiyochika and Kawase Hasui based on a beautiful interpretation of light to express emotions, a mood, or an atmosphere.
Yangshuo is rightly famous for its dramatic scenery. It lies on the west bank of the Li River (Lijiang) and is just 60 kilometres downstream from Guilin. Over recent years it has become a popular destination with tourists whilst also retaining its small river town feel.<br/><br/> The name Guilin means ‘Cassia Woods’ and is named after the osmanthus (cassia) blossoms that bloom throughout the autumn period.<br/><br/> Guilin is the scene of China’s most famous landscapes, inspiring thousands of paintings over many centuries. The ‘finest mountains and rivers under heaven’ are so inspiring that poets, artists and tourists have made this China’s number one natural attraction.