Õpilaste kunstiteoste juhend
Autoriõigused See teos on avalik. Suzuki Kiitsu surmas aastal 1858; autoriõigused kestavad 70 aastat pärast kunstniku surma, mistõttu need lõppesid aastal 1928.
Kontekstis
Irises — Suzuki Kiitsu
Originaali mõõdud on 93 × 33 cm (kõrgus × laius); teos on joonistatud siin võrdluseks keskmise kõrgusega täiskasvanuga.
Ülemine rida: aastad. Alumine rida: kunstniku vanus iga perioodi alguses ja lõpus — 0 sünni hetkel, 62 surumisel.
Maalatud siis, kui kunstnik oli 54 aastane. Kunstnik elas 62 aastani. 5 meie kataloogis olevatest selle kunstniku 9 dateeritud teosest on loodud varem.
Varjatud: Suzuki Kiitsu eluajal (1796–1858) ▲ see teos, 1850 iga dateeritud maal, aastakümne kaupa
Esimesed teosed: kuni 1832 Peamised töötusaastad: 1832–1850 Hilisemad teosed: alates aastast 1850
Need kolm osa jagavad selles kataloogis kuupäevaga märgitud teosed esimeseks neljanüüdiks, keskmiseks pooleks ja viimaseks neljanüüdiks. Need ei kujuta endast kunstniku tervikut: vähem produktiivne periood võib tähendada hoopis puudut teose kataloogist, mitte pelgalt vaikset aega. Aastad, mis on kooditud kunstniku elulugu
Vali üks eelnev teos: too kaks asja, mis sellega ühendavad, ja üks asi, mis sellest erineb.
Veel sarnaseid teoseid, mida selle kõrvale asetada: wahooart.com/et/art/similar/suzuki-kiitsu-irises-D3226L-en/
Pildist mõõdetud
Peavärv
Putty #d2bf91
Katalogistatud palett
Need värvid on osa kunstniku terviklikust paletist Leia teisi maaleid värvi järgi
Kolm kümmet juhtivat riiki
Leia kaardilt kolm kõige pimedamat riiki. Kas seda maali hoiustav muuseum asub mõnes neist? Kirjuta üles üks põhjus, miks kauguse poolest inimesed seda vaadata võivad.
Koos kattavad need teosed 100,0% kogu sellest tähelepanust, mida selle kunstniku maalid möödunud zwölf kuud on saanud. Kataloogis on 18 seda kunstnikku kuuluvat teost, millest 7 on vähemalt üks kord vaadatud. Seda teost ei ole antud perioodil veel vaadatud — see lõpetab nimekirja ilma reitinguta. Sama arv, kuu-kuu põhjal
Tugid mõõdavad tähelepanu, mitte kvaliteeti. Valige tippkohtadel olevad teosed ja see üks: nimetage üks asi, mis võib muuta maali kuulsaks lisaks sellele, kui hästi on see maalitud.
Teose info
Irises — Suzuki Kiitsu
In a marsh of brilliant blue irises in full bloom in summer, a pair of swallows frolic on the verdant bank in the right scroll, while a kingfisher sits perched on a stump on the left (Fig. 1). This brilliantly colored diptych on silk was created by the celebrated Edo-based painter Suzuki Kiitsu at the end of his career, when the artist was experimenting with a new modern style that combined the traditional graphic—almost decorative—expression of Rinpa painting with a turn toward Western realism. The effect is somewhat surreal and mesmerizing, similar to the visual impact of Irises and Moth from the Mary Griggs Burke Collection, which was created around the same time (Fig. 2, 2015.300.95). For viewers accustomed to the artist’s earlier works created with thickly applied mineral pigments, the first impression may be disconcerting, but it is a reminder that Kiitsu was active right up until the end of the Edo period, and he can be seen as pioneer of a hybrid style of painting that will later be associated with Nihonga, or modern “Japanese-style painting.”Kiitsu, son of a cloth dyer, was the principal pupil of the Rinpa revivalist Sakai Hoitsu (1761–1828), and worked closely with his master from the mid-1810s. Kiitsu assisted the master in the compilation of the Kōrin hyakuzu (One-Hundred Paintings by Kōrin), which served as textbook of the Rinpa idiom of painting and graphic design. Kiitsu left behind a large corpus of paintings, most of which are in style close to Hōitsu, keeping in mind that they probably collaborated on works at the end of the master’s life, and that he sometimes created works on Hōitsu’s behalf.. Kiitsu’s later works, as here, have a distinctive modern flavor.
Kunstnik ja muuseum
Sündinud koht: Tokyo, Japan
Suzuki Kiitsu (1796-1858) stands as a compelling figure within the Japanese art world, a painter whose legacy has undergone a remarkable resurgence in recent decades. Born in Tokyo during the late Edo period, his life’s work is inextricably linked to the Rinpa school of painting – a movement renowned for its emphasis on meticulous detail, illusionistic space, and a refined aesthetic rooted in Chinese landscape traditions. Initially considered a somewhat peripheral member of this influential group, Kiitsu's talent has been increasingly recognized, culminating in significant exhibitions in Tokyo, Hyogo, and Kyoto between 2016 and 2017, firmly establishing his place as a master of the Edo Rinpa style. His most celebrated achievements lie in his breathtaking folding screens – byōbu – which he often reimagined from the works of his predecessors, demonstrating both deep respect for tradition and a distinctive creative voice.
Kiitsu’s artistic journey began under the tutelage of Sakai Hoitsu (1761–1828), a pivotal figure in the Rinpa school and considered by many to be its most important successor. This formative period instilled within Kiitsu a profound understanding of Rinpa's core principles: the meticulous rendering of textures, the use of layered colors to create depth and luminosity, and an appreciation for the beauty of nature. However, unlike Hoitsu, who was known for his grand, sweeping landscapes, Kiitsu’s style leaned towards a more intimate and refined approach. He absorbed the techniques of other masters within the school, including Tawaraya Sōtatsu (c. 1570 – c. 1640), renowned for his dynamic compositions, and Ogata Kōrin (1658–1716), celebrated for his vibrant depictions of flowers and birds. Notably, Kiitsu’s training wasn't solely through formal instruction; he actively sought to learn from and emulate the works of these established artists, developing a distinctive style that blended their influences while retaining his own artistic identity. This dedication to studying and interpreting the work of others is a hallmark of the Rinpa school and profoundly shaped Kiitsu’s creative process.
Kiitsu's true mastery lies in his creation of byōbu folding screens – elaborate, multi-panel artworks designed to be displayed in aristocratic interiors. These screens were not merely decorative objects; they represented a sophisticated form of art that combined painting, lacquerwork, and gold leaf. Kiitsu’s byōbu are particularly renowned for their illusionistic depth and the subtle interplay of color and texture. His “Morning Glories” (1801) and “Mountain Stream in Summer and Autumn” (circa 1832-1836) stand as prime examples, showcasing his ability to create a sense of three-dimensional space on a two-dimensional surface. The "Mountain Stream" pair, measuring an impressive 165.8 by 363.2 centimeters, depicts a serene landscape with flowing streams, cypress groves, lilies, and a cherry tree laden with autumn leaves. The screens are described as possessing “somehow strangely unreal” qualities, evoking a feeling of hyperrealism through the meticulous rendering of details and the masterful use of color. The rhythmic feel of the motifs and the brilliance of the blues and greens against the gold ground, particularly evident in works inspired by Ogata Kōrin’s *Irises*, further demonstrate Kiitsu's technical skill and his ability to capture the essence of nature with remarkable precision.
Despite not being formally recognized as Hoitsu’s direct successor, Suzuki Kiitsu exerted considerable influence on subsequent generations of Edo Rinpa artists. He acted as a mentor, training many young painters who went on to establish their own distinct styles within the school. This informal apprenticeship system led to the development of what is sometimes referred to as the “Kiitsu School of Edo Rinpa,” characterized by its refined aesthetic and meticulous attention to detail. Kiitsu’s emphasis on studying and reinterpreting the works of his predecessors, combined with his own creative vision, created a unique artistic lineage that continued long after his death in 1858. His work continues to be studied and admired for its technical brilliance, its evocative depiction of nature, and its enduring contribution to Japanese art history.
Among Kiitsu’s most celebrated works are the “Wind God and Thunder God” (紙本金地著色風神雷神図), a pair of silk sliding doors depicting the deities Raijin and Fujin, and his stunning “Morning Glories.” The "Wind God and Thunder God" stands out due to its innovative use of eight sliding doors, departing from the traditional two-screen format. These works are now housed in prestigious collections such as the Nezu Museum in Tokyo, where they are occasionally exhibited, offering visitors a rare opportunity to appreciate the artistry of this often-overlooked master. Suzuki Kiitsu’s legacy extends beyond his individual creations; he represents a pivotal moment in the evolution of the Rinpa school, demonstrating its capacity for innovation and artistic growth while upholding its core principles of beauty, precision, and reverence for nature.
wahooart.com/et/art/download/suzuki-kiitsu-irises-D3226L-en/
Vaata lähedalt
Irises — Suzuki Kiitsu
Vasta oma sõnadega. Siin ei ole vale vastuseid — on vaid vastuseid, mida saad selgitada.
Kirjutage sellest teosest lühike lõik, kasutades selle juhendi varasemate osade fakte ja eelmist annetud vastuseid.
Teose "Irises" värvitoon on Balanced. Intensiivsus kirjeldab värvide tugevust ja ergitust.
Teoses "Irises" on Statement kontrast koos Strong Color Unity harmooniasusega.
Teose "Irises" kõige silmapaistvam värv on Putty (#d2bf91). Dominantne värv on kasulik teose sobitamisel interjööriga.