Ohara KOSON (1877–1945) taught at the Tokyo Art Acad­e­my after com­plet­ing his stud­ies. Dur­ing his cre­ative time he devot­ed him­self to the Japan­ese col­or wood­cut. Koson is one of the artists of the s hin-hanga (new prints). Shin-hanga, a Japan­ese wood­cut art move­ment in which mod­ern west­ern influ­ences are incor­po­rat­ed into tra­di­tion­al Japan­ese motifs, emerged at the begin­ning of the 20th cen­tu­ry. Birds, flow­ers and nature motifs make up the major­i­ty of Koson’s motifs. From 1910 to 1912 the artist pub­lished flower pic­tures made using the tra­di­tion­al tech­nique of col­or wood­cut. The con­trasts of the two-dimen­sion­al col­or tones give the pic­tures their three-dimen­sion­al effect. After 1912 Koson devot­ed him­self to paint­ing. His paint­ings appeared under his stage name Shō­son. From the mid-1920s, Koson turned back to the col­or woodcut.

Ohara KOSON (1877–1945) taught at the Tokyo Art Acad­e­my after com­plet­ing his stud­ies. Dur­ing his cre­ative time he devot­ed him­self to the Japan­ese col­or wood­cut. Koson is one of the artists of the s hin-hanga (new prints). Shin-hanga, a Japan­ese wood­cut art move­ment in which mod­ern west­ern influ­ences are incor­po­rat­ed into tra­di­tion­al Japan­ese motifs, emerged at the begin­ning of the 20th cen­tu­ry. Birds, flow­ers and nature motifs make up the major­i­ty of Koson’s motifs. From 1910 to 1912 the artist pub­lished flower pic­tures made using the tra­di­tion­al tech­nique of col­or wood­cut. The con­trasts of the two-dimen­sion­al col­or tones give the pic­tures their three-dimen­sion­al effect. After 1912 Koson devot­ed him­self to paint­ing. His paint­ings appeared under his stage name Shō­son. From the mid-1920s, Koson turned back to the col­or woodcut.


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