Exhibition:

Living for the Moment: Japanese Prints from theBarbara S. Bowman Collection

On View:

October 11, 2015–May 1, 2016

Location:

Pavilion for Japanese Art, Level 3, and Ahmanson
Building, Level 2

Image captions on page 5)(Los Angeles—October 5, 2015) The Los Angeles County Museum of Art (LACMA)
presents Living for the Moment: Japanese Prints from the Barbara S. Bowman Collection.
The exhibition features over 100 prints of transformative promised gifts of Japanese
works to LACMA, representing the work of 32 artists. Included are examples of rare early
prints of the ukiyo-e genre (pictures of the floating world); works from the golden age ofukiyo-e at the end of the eighteenth century by Suzuki Harunobu, Kitagawa Utamaro, andKatsukawa Shunshō; and nineteenth century prints by great masters such as Utagawa
Hiroshige, Katsushika Hokusai, Utagawa Kuniyoshi, and others.
Barbara S. Bowman (née Safan) was born in Los Angeles in 1925 and attended theUniversity of Southern California (USC) for a degree in fine art. Barbara became
captivated by Japanese woodblock prints early on after receiving two prints as a gift fromher mother. She and her husband Morton visited Japan for the first time in 1962, and by1978 she began actively collecting Japanese woodblock prints. Never intending to havean encyclopedic collection, Barbara sought out scenic designs in superb condition withstellar impressions, as she held the printing process in high esteem. The power of line andthe importance of color were and remain defining factors of the collection. Assembled
over 35 years, the Barbara S. Bowman Collection includes some of the finest
impressions available.

“Living for the Moment represents a momentous gift to the Japanese Art Department ofLACMA, in that we can now present the history of Japanese prints with high-quality worksof art,” remarks Hollis Goodall, Curator of Japanese Art at LACMA.
About the Exhibition
Living for the Moment is presented in two locations at LACMA. Commercially printed
ukiyo-e, mostly produced in Edo (modern Tokyo), will be displayed chronologically and byartistic group in the Ahmanson Building, level 2. Privately published surimono andtheatrical prints of Osaka are installed in the Pavilion for Japanese Art, level 3.
Ukiyo-e and the Art of the Print in Japan
Ukiyo-e developed as an independent genre in painting and book illustration by the late
1600s. The idea of the “floating world” (ukiyo), initially based on a Buddhist phrase
referring to the transience of life, was adopted by popular writers to evoke fleeting
moments of beauty and pleasure that provided distraction from the cares of a regimented
society. Book illustrations on these topics gained such popularity that artists began
creating single-sheet woodblock prints to sell. Edo became the center for the productionof ukiyo-e prints.
In response to government restrictions placed on floating world subject matter in the early
1800s, artists explored new topics such as travel and heroes of ancient lore. Prints werealso a perfect medium for artistic experimentation. After a breakthrough by Suzuki
Harunobu in 1765, which allowed the production of multiblock color prints, artists
explored realism, nature, perspective, framing, and light with a level of intensity thatspread their influence not only across Japan but also, after the country opened to foreign
trade in 1868, to Europe. There, the Impressionists, struck by the Japanese printmakers’
use of color, atmosphere, and composition, created a watershed style embarking upon
Modernism.
The artist Utagawa Hiroshige (1797–1858) was from a samurai family with an
inherited position as a fire man in Edo Castle. In 1823 he passed on this job to a
relative and became a full-time artist, having been trained by the Utagawa school
master, Toyohiro (1773–1828). Hiroshige excelled at evoking the humanexperience of the landscape, with its varying seasons, times of day, and weather
events. His sensitivity toward shifting light is best seen in early impressions of prints
where he supervised color choice, as exemplified by his finest print in the Bowman
collection entitled, Minowa, Kanasugi, and Mikawashima (1857). In this print, abroad strip of pink marks the horizon. The still-dark middle ground indicates light atdaybreak which has not reached the nearby plains, and roofs in the distance alreadyreflect the growing daylight. In his late years, Hiroshige developed a unique viewpoint,
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looking beyond an object set close at hand to a landscape which receded into deep
distance. His framing of subjects directly influenced the Impressionists and PostImpressionists in Europe, and later Frank Lloyd Wright in the United States.
Surimono: Privately Published Japanese Prints
The majority of ukiyo-e prints were produced by publishers for general sale. Government
censors enforced laws restricting the subject matter of prints and their price, by limiting
the number of blocks and quality of pigments. These laws were not applied to privategroups, who made prints called surimono (printed things) for distribution to a specifiedclientele. These groups mostly consisted of poets of kyōka (mad verse), which was basedon courtly poetry but played with the rules of language and content. Fan clubs formusicians and actors also occasionally commissioned surimono.
The heyday of surimono lasted from the late 1700s through the first third of the 1800s,
with the majority produced after 1800. These prints were most frequently distributed at
the New Year to kyōka group members and would often bear poems related to thatseason. Printed on thick, luxurious paper, surimono often featured richly hued dyes too
expensive for general use and metals such as brass, tin, and copper. Viewing these prints
closely, one may also detect exquisite embossed details and areas that mimic theappearance of lacquer.
Surimono artists, led by Katsushika Hokusai (1760–1849), his followers, andcontemporaries, drew designs based on the poetry to be printed on the surimono, either
portraying, embellishing, or playfully skewing the content with their illustrations. The
design was there for the enhancement of the poetry, rather than vice versa.
Hokusai’s Salt Shells (Shiogai) from 1821, for example, is a still life that depicts a boxof open salt cakes, a pipe case and tobacco pouch attached to a netsuke container, anda small pine tree planted in a bowl. The work is from a series of 36 surimono that
included verse by many followers of the noted contemporary poet Yomo no Magao. The
series title and poem refer to the New Year game of matching bifurcated shells, eachcontaining a segment of the same poem.
Exhibition Catalogue
Living for the Moment is accompanied by a fully illustrated 184-page catalogue byexhibition curator Hollis Goodall, and includes an essay by Joan B. Mirviss. Living for theMoment is available for $65.00 at the LACMA Store online and in store at the museum.

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Related Programming
Docent Tours
Saturdays, October 24, 2015–April 30, 2016 | 1 pm
Ahmanson Gallery 202
Volunteer docents lead in-focus tours of the exhibition.
Artist Demonstration: Japanese Woodblock Printing
Sunday, November 15, 2015 | 1:30 pm
Plaza Art Studio | Free, reservations required.
Artist Keiji Shinohara gives a demonstration of the traditional techniques of Japanese
woodblock printmaking.
Lecture: The 28th-Annual Michele and Peter Berton Memorial Lecture onJapanese Art
Sunday, December 6, 2015 | 3:30 pm
Brown Auditorium | Free, no reservation required.
Andreas Marks, Head of the Japanese and Korean Art Department and Director of theClark Center at the Minneapolis Institute of Art, presents the lecture “More Than Justa Moment of Success: Utagawa Kunisada, Japan's Most Prolific Print Designer.”
Credit: This exhibition was organized by the Los Angeles County Museum of Art.
All exhibitions at LACMA are underwritten by the LACMA Exhibition Fund. Major annual
support is provided by Kitzia and Richard Goodman, with generous annual funding from Janet
Chann and Michael Irwin in memory of George Chann, Louise and Brad Edgerton, Edgerton
Foundation, Emily and Teddy Greenspan, Jenna and Jason Grosfeld, Lenore and Richard
Wayne, and the Kenneth T. and Eileen L. Norris Foundation.
About LACMA
Since its inception in 1965, the Los Angeles County Museum of Art (LACMA) has been devoted tocollecting works of art that span both history and geography, in addition to representing Los
Angeles's uniquely diverse population. Today LACMA is the largest art museum in the western
United States, with a collection that includes nearly 130,000 objects dating from antiquity to thepresent, encompassing the geographic world and nearly the entire history of art. Among themuseum’s strengths are its holdings of Asian art, Latin American art, ranging from pre-Columbian
masterpieces to works by leading modern and contemporary artists; and Islamic art, of which
LACMA hosts one of the most significant collections in the world. A museum of international stature
as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions,public programs, and research facilities that attract over a million visitors annually, in addition toserving millions through digital initiatives, such as online collections, scholarly catalogues, andinteractive engagement at lacma.org. Situated in Hancock Park on over 20 acres in the heart of Los
Angeles, LACMA is located between the ocean and downtown.

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Location: 5905 Wilshire Boulevard, Los Angeles, CA, 90036. lacma.org
Image captions:(Left) Utagawa Kunisada (Toyokuni III) (Japan, 1786–1865), Otsuma and Hachirobei: The Unagidani
Scene of Urami no Samesaya (The vengeful sharkskin scabbard), New Edition, Part One, circa early
1830s, promised gift of Barbara S. Bowman, photo © 2015 Museum Associates/LACMA(Center, left) Suzuki Harunobu (Japan, c. 1765–1770), Lucky Dream for the New Year: Mt. Fuji, Falcon,and Eggplants, circa 1768–1769, promised gift of Barbara S. Bowman, photo © 2015 MuseumAssociates/LACMA(Center, right) Utagawa Hiroshige (Japan, 1797–1858), Minowa, Kanasugi, and Mikawashima, 1857,promised gift of Barbara S. Bowman, photo © 2015 Museum Associates/LACMA(Right) Katsushika Hokusai (Japan, 1760–1849), Salt Shells (Shio-gai); from the series: A Genroku
Contest of Thirty-Six Poets as a Shell-Matching Game (Genroku kasen kaiawase), 1821, Los Angeles
County Museum of Art, Promised Gift of Barbara S. Bowman, photo © 2015 MuseumAssociates/LACMA
Press Contact: press@lacma.org 323 857-6522@lacmaPage 5