highlights international perspective

Noël Nouët, (French, 1885-1969)

Scenes of Tokyo,Twenty-four Views: Kioi District
(Tokyo Fukkei Zen Nijuyon Mai: Kioicho)

Color woodblock print with zinc keyblock. The date and artist's name within the composition along the bottom edge, Tokyo 1937 Noël Nouët. The title on the right margin, Kioicho. With publication information on the bottom margin (reading Western-style, from left to right), Suri yoko-i (printer Yokoi), To ike-da (carver Ikeda), in katakana, Nuetto saku, (made by Nouët), and publisher, Hanmoto Doi (publisher Doi). With publisher's watermark, Do, in upper left corner. Published by Doi Teiichi, ca. 1937.

39 by 26 cm

In the mid-1930's, Nouët began converting his designs into woodblock prints, producing a series, Scenes of Tokyo: Twenty-four Views (Tokyo fukkei zen nijûyon mai), published by Doi Teiichi. Nouët's compositions are reminiscent of the work of Hiroshige (a comparison he invited) and Kawase Hasui (1883-1957), another artist often burdened with the Hiroshige landscape legacy, but Nouët's prints are distinctive in their execution. Most prints produced in this period with the involvement of Japanese publishers were usually based on watercolors or paintings. Nouët's prints, however, were clearly derived directly from his Western-style pen and ink drawings. His reliance on the black line for more than just outlines, such as shading and sketchy details, would have been unreasonably laborious (if not impossible) for the block carver to replicate. Instead, the black lines on these prints were achieved with zinc metal plates (a technique known to have been used by Hiroshi Yoshida, 1876-1950), while the color is undoubtedly printed with woodblocks.

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site last updated
September 22, 2020

Scholten Japanese Art
145 West 58th Street, suite 6D
New York, New York 10019
ph: (212) 585-0474
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