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The image is of a page from the "Harvard Alumni Bulletin," specifically page 83. The text on the page discusses the history and significance of Japanese prints, particularly the Ukiyo-e style, which emerged during the Tokugawa period (1615-1867).

Key points from the text include:

1. Historical Context: The Ukiyo-e style flourished during a time of peace and prosperity in Japan, following the end of civil wars and the establishment of the Tokugawa shogunate.

2. Artistic Expression: The desire for artistic expression spread among the merchant class, leading to the development of Ukiyo-e prints, which depicted the "floating world" of everyday pleasures and entertainments.

3. Subject Matter: These prints often portrayed scenes from popular theater, courtesans, landscapes, and daily activities, reflecting the interests and tastes of the common people.

4. Technical Skill: Ukiyo-e prints combined technical skill with aesthetic discrimination, often produced by skilled artists and sold cheaply, making them accessible to a wide audience.

5. Evolution: The art form evolved from simple black outlines to more complex, colorful prints, with notable contributions from artists like Iwasa Matabei and Hishikawa Moronobu.

6. Cultural Impact: Ukiyo-e prints played a significant role in Japanese culture and art, influencing both local and international perceptions of Japanese aesthetics.

The text highlights the cultural and artistic importance of Ukiyo-e prints, their accessibility, and their role in reflecting the everyday life and interests of the Japanese people during the Tokugawa period.

The image is a page from the Harvard Alumni Bulletin, specifically page 129. The text on the page discusses the history and significance of Japanese woodblock prints, particularly the Ukiyo-e, which were highly popular during the Tokugawa period (1615-1867).

Key points from the text include:

1. Initial Indifference and Later Recognition: Initially, Japanese prints were not highly regarded by collectors in America and Europe. However, as interest grew, collectors began to appreciate and acquire these prints, leading to the realization of their aesthetic beauty.

2. The Tokugawa Period: This was a time of relative peace and prosperity in Japan, with the Shoguns (military rulers) promoting a culture that included the arts. The Tokugawa period saw the flourishing of Ukiyo-e, which was accessible and affordable for the common people.

3. Ukiyo-e Characteristics: Ukiyo-e, meaning "pictures of the floating world," depicted scenes of everyday life, including actors, courtesans, landscapes, and scenes from the theater. These prints were not only popular but also technically refined, showcasing skill and aesthetic discrimination.

4. Origins and Evolution: The Ukiyo-e school of painting emerged around the same time as the first color prints were being developed. The school drew its subject matter from the secular world, rather than religious or ancient themes, focusing on the daily lives of common people.

5. Artistic Development: The text highlights the contributions of artists such as Itō Jakuchū and Harunobu, who significantly advanced the art form. Harunobu, in particular, is noted for his intricate woodcut prints that combined beauty and charm, with detailed and expressive compositions.

6. Cultural Impact: Initially, these prints were used for fashion plates and advertisements. Over time, they evolved to depict a wide array of subjects, including famous actors, courtesans, and popular scenes from the bustling city of Edo (now Tokyo).

The text also mentions the technical skill involved in creating these prints and their enduring influence on art and culture.

The image is a page from the Harvard Alumni Bulletin, specifically page 129, focusing on the history and significance of Japanese prints, particularly the Ukiyo-e style. Here are the key points summarized:

1. Introduction to Japanese Prints:

   • Japanese prints, or Nishiki-ye, became popular during the Tokugawa period (1615-1867).
   • These prints were highly valued by collectors in America and Europe, leading to significant collections in Japan.

2. Cultural Context:

   • The Tokugawa era saw Japan experiencing relative peace and prosperity under the Shoguns, with merchants and artisans enjoying a degree of freedom and creativity.
   • This era also saw a rise in popular culture, including the popular theatre and the Ukiyo-e style of prints.

3. Ukiyo-e Prints:

   • Ukiyo-e translates to "pictures of the floating world," reflecting the transient nature of life and the pleasures of everyday existence.
   • Initially, Ukiyo-e prints depicted scenes from everyday life, including actors, courtesans, and scenic views.
   • The art form was influenced by the desire for artistic expression among the lower classes and the need to provide entertainment and aesthetic enjoyment.

4. Development and Artistic Evolution:

   • The Ukiyo-e school of painting was founded by Iwasa Matabei in the 17th century.
   • The development of this style was marked by a shift from religious and classical themes to more secular and everyday subjects.
   • Notable artists such as Moronobu, Harunobu, and Kitagawa Utamaro contributed significantly to the evolution of Ukiyo-e, enhancing its aesthetic appeal through refined colors, line work, and composition.

5. Significance and Legacy:

   • The Ukiyo-e prints were initially popular for their use in advertisements, fashion plates, and scenic views.
   • Despite their initial utilitarian purpose, many prints were crafted with high skill and aesthetic discrimination, making them valuable works of art.
   • The prints were often sold in small numbers, leading to a high demand for works of art that captured the essence of the period.

The text provides insight into the cultural and artistic evolution of Japanese prints, highlighting their role in capturing and celebrating the vibrant and transient aspects of life during the Tokugawa era.

HARVARD ALUMNI BULLETIN 129

prints had been acquired by connoisseurs of America and Europe did Japanese collectors rouse from their indifference and begin to realize the aesthetic beauties of their prints and to collect them; the result of their delay is that there are but two important collections of prints in Japan—the Mihara and the Matsukata.

The Japanese print, or Nishiki-ye as it is called by the Japanese, was the peculiar product of the social and economic conditions of the Tokugawa period (1615-1867). At that time the whole country, remembering its bitter civil wars as little more than vague but thrilling legends, had long enjoyed the fruits of prosperity under the peaceful reign of the Shoguns. The well-to-do merchants and artisans, denied communication with the outside world and separated by sharp social distinctions from the activities and privileges of the aristocratic class, were forced to evolve their own diversions. The desire to find some sort of artistic expression was widespread among the lower classes, and from this need arose the popular theatre as well as the vogue of the color print.

“About this time there came into being a new school of painting known as the Ukiyo-ye School, which drew its subject matter from secular rather than religious or ancient themes. Painting, because of its cost, had been reserved for the aristocrats of the court, but from this new school of painting developed the color print which was to fulfill the need of the common people. The literal meaning of Ukiyo is ‘the miserable world,’ but it came to mean more explicitly ‘the passing world of every day affairs,’ or, in a more poetic interpretation, simply ‘the floating world.’ These Ukiyo-ye prints set before us, with a keen sense of the details, the joys of living and the daily activities of the lower classes. Subjects were thus used which had formerly been deemed unworthy of representation. Plebeian in content and in patronage, these prints in content and in subject matter ignored the limitations of classical and religious painting, but retained in a high degree the technical skill and aesthetic discrimination of the ancient and traditional schools.

“Many of the prints were made by the hundreds and sold for a mere song. At that time they served no higher purpose than do the rotogravure sections of our Sunday newspapers. They were fashion plates, the medium of advertisement of the day. Some of the finer prints by the more famous artists produced in small numbers could never have been very cheap, however. There was a widespread popular demand for scenic views—of Fuji, of famous waterfalls, of the busy highways. Portraits of famous actors of the vulgar theatre were most popular with the matinee crowds—and many prints were made of the courtesans of the Yoshiwara, who occupied a prominent place in the teeming life of Yedo, the Tokyo of today. Although often mean and sordid in subject, by the force of the design, the refinement of color, and the quality of execution the whole was brought into such perfection that these prints are raised far above the level of the subject into the ranks of art.

“The founder of the Ukiyo-ye school of painting, Iwasa Matabei, who flourished in the first half of the 17th century, made no color prints. The Ukiyo-ye school of painters continued as such until the second half of the century, when the designer Hishikawa Moronobu produced the first prints in black outline. The Fogg Museum is fortunate in possessing five examples of his craft. From the time of Moronobu, the Japanese print underwent a gradual process of development which culminated in the decade 1760-70, when one of the great masters of the Japanese print, Harunobu, produced an extraordinary sequence of wood cuts of rare beauty and charm, which combine rhythm of line, harmony of color, and effective composition with the acme of technical skill. These prints, of which fifty are represented by fine impressions in the Duel collection, were first embellished by hand with touches of a red lead pigment termed tan; later these

The image displays a page from the "Harvard Alumni Bulletin," specifically page 129, continuing onto page 83. The text discusses the historical development and cultural significance of Japanese prints, focusing on two main periods and styles: the Ukiyo-e school and the earlier period of the Momoyama and early Edo eras.

Here are the key points detailed in the text:

1. Japanese Prints and Collectors:

   • Collectors from America and Europe initially sought Japanese prints for their aesthetic appeal.
   • Over time, these prints have gained recognition for their historical importance, especially those from the periods of the Minare and the Matsukata.

2. Cultural Context:

   • The term "Japanese print" or "Nishiki-ye" refers to the colorful products of a specific social and economic period in Japan, notably the Tokugawa period (1615-1867).
   • During this era, Japan experienced relative peace and prosperity, leading to the rise of a wealthy merchant class who enjoyed cultural activities.
   • The rigid social hierarchy of the time prevented the merchant class from engaging in aristocratic activities, leading them to develop their own cultural expressions.

3. Popular Theatre and Prints:

   • The common people turned to the popular theatre, which influenced the demand for art reflecting their tastes.
   • This led to the creation of Ukiyo-e prints, which depicted scenes of everyday life, theatre, and other popular themes.

4. Ukiyo-e School:

   • The Ukiyo-e school emerged as a new form of painting that diverged from traditional aristocratic art.
   • This school focused on the lives of ordinary people, interpreting daily affairs and activities with a fresh perspective.
   • These prints were initially seen as too vulgar for refined tastes, as they depicted subjects previously deemed unworthy of representation.

5. Evolution and Popularity:

   • Ukiyo-e prints became widely popular for their realistic and detailed portrayal of life.
   • Many prints were sold cheaply and used for various purposes, including advertising and decorating.
   • Despite their initial low status, these prints are now highly valued for their artistic merit and historical significance.

6. Earlier Artistic Periods:

   • The text mentions the work of Tawaraya Sotatsu and the gradual development of Japanese prints, leading to the golden age in the late 17th to early 18th century.
   • The Ukiyo-e school continued into the 18th century, culminating in the works of artists like Hishikawa Moronobu.
   • Moronobu's black outline prints set the foundation for later full-color prints.

7. Technical Aspects:

   • The technical skill and aesthetic discrimination of the artists from ancient and traditional schools were crucial in the development of these prints.
   • The use of color, design, and refined execution in prints from the Ukiyo-e school demonstrated a high level of craftsmanship.

In summary, the text provides an overview of the historical context and cultural impact of Japanese prints, highlighting their evolution from simple popular art to highly valued cultural artifacts.

The image is a page from the Harvard Alumni Bulletin, specifically page 129, discussing Japanese prints, particularly those from the Ukiyo-e school.

Key points covered in the text include:

1. Introduction to Japanese Prints:

   • Japanese prints, known as Nishiki-e or Ukiyo-e, became popular among collectors in America and Europe in the 19th century.
   • Two major collections of these prints are the Miho and Matsukata collections.

2. Historical Context:

   • The Japanese print, or Ukiyo-e, originated during the Tokugawa period (1615-1867), a time of peace and prosperity in Japan.
   • The prints were created by merchants and artisans, who were separated from aristocratic classes and were inspired to express their artistic desires through prints.

3. Ukiyo-e School:

   • The Ukiyo-e school emerged as a new style of painting and printmaking that depicted scenes from everyday life, often featuring actors, courtesans, and landscapes.
   • The term Ukiyo-e translates to "pictures of the floating world," referring to the transient nature of life and its pleasures.

4. Technical and Aesthetic Aspects:

   • Many prints were initially made for mere entertainment and were sold as songs or advertisements in newspapers.
   • The prints were initially not highly valued but gained appreciation for their technical skill and aesthetic qualities.
   • The prints were often made in high numbers and were used for various purposes, including fashion plates and advertisements.

5. Famous Artists and Works:

   • The founder of the Ukiyo-e school of painting, Iwasa Matabei, laid the groundwork for this art form.
   • The school of painters continued until the second half of the 17th century, with artists like Hishikawa Moronobu producing the first prints in black outline.
   • The Fogg Museum holds a collection of rare prints by Moronobu, showcasing the technical skill involved in creating these prints.
   • The prints were often embellished with touches of a red lead pigment termed "tan."

The text highlights the historical significance, artistic evolution, and technical aspects of Ukiyo-e prints, illustrating their rise from simple advertisements to highly valued artworks.

This image shows a printed page from the "Harvard Alumni Bulletin." The page number at the top right corner is 129, and the text discusses Japanese prints or "Ukiyo-e." The article explains how these prints were appreciated during different historical periods and by various cultures. It describes how the prints, which had been neglected in Japan, gained recognition in America and Europe, leading collectors to recognize their aesthetic value.

The article goes on to mention significant elements and artists in the Ukiyo-e movement, such as the Mihara and the Matsukata collections, and refers to "Nishiki-e" as multicolored Japanese prints. It highlights the social and economic conditions of the Tokugawa period and the rising merchant class as influences on the art form. The text also discusses the themes depicted in these prints, such as famous views, portraits of warriors, and scenes from the Yoshiwara pleasure quarters, and talks about their popularity and technical quality.

Towards the end of the excerpt, there is mention of Masanobu Okumura's contributions to the art form, including his development of color prints. The final paragraphs detail the evolution of Japanese printmaking and note some examples from the Fogg Museum that illustrate the development and technical skill involved in this art form.

The image shows a page from the Harvard Alumni Bulletin, specifically page 129. The page contains a dense block of text discussing the history and significance of Japanese prints, particularly focusing on the Ukiyo-e style. The text is formatted in a classic, serif font and is organized into paragraphs. The content delves into the cultural and artistic context of Japanese prints, mentioning historical periods such as the Tokugawa era (1615–1867), the role of the Shogunate, and the evolution of printmaking techniques. Key topics include the social and economic conditions that influenced the development of Japanese prints, the transition from traditional to popular themes, and the technical innovations that elevated prints to an art form. The text also references notable artists and schools, such as the Ukiyo-e school, and discusses the influence of prints on Western art collectors. The page number "83" is visible at the top right corner, and the page is part of a larger publication, as indicated by the header "HARVARD ALUMNI BULLETIN." The overall appearance suggests a historical or academic context, likely from an older publication.

The image is a page from the Harvard Alumni Bulletin, dated 1929, with a focus on Japanese prints. The text discusses the historical context and significance of Japanese prints, highlighting their aesthetic qualities and the social dynamics of their creation and collection. It mentions the influence of the Tokugawa period (1615-1867) on the development of the Japanese print, noting how the prints served as a medium of advertisement in newspapers and were used for scenic views and portraits of famous actors and courtesans. The text also touches on the evolution of print styles, including the emergence of the Ukyo-e School in the 17th century, which introduced color prints and influenced the later works of artists like Harunobu, who combined beauty, harmony, color, and technical skill in his prints. The prints are described as rare and highly valued, with examples housed in the Fogg Museum.

The image shows a page from the Harvard Alumni Bulletin, with the page number 83 on the top right corner. The page is filled with text that appears to be an article or editorial discussing Japanese prints. The text is organized into paragraphs and spans the entire width of the page. The article seems to delve into the history, aesthetics, and cultural significance of Japanese prints, possibly highlighting their influence on Western art and collectors. The text is written in a formal and academic tone, suggesting that it is aimed at an educated audience, likely alumni of Harvard University. The page is in black and white, typical of printed publications from the early to mid-20th century. The margins are narrow, and the text is densely packed, indicating a focus on delivering comprehensive information within a limited space. There are no images or illustrations accompanying the text, which is common in scholarly articles of this era. The overall appearance is that of a serious and informative piece, likely intended to educate and engage readers with an interest in art history and cultural studies.