History of art . the density and materiality of things,even then their line was so fat and supple, with sinu-osities and swellings that responded so well to the moving modeling ofthe external organ-isms, that it sculp-tured the form onthe plane of thepaper. To graspJapanese art at thesummit of its powerwe must look to thework of Korin. Allthe masters of Nip-pon, from Sesshiuand Sesson to Ho-kusai, live in thatwork, in posse or asa it comes just atthe hour when Japanshuts its gates todescend into itselfagain and when, in afew years, the teach-ing of the primitives ripens in the
History of art . the density and materiality of things,even then their line was so fat and supple, with sinu-osities and swellings that responded so well to the moving modeling ofthe external organ-isms, that it sculp-tured the form onthe plane of thepaper. To graspJapanese art at thesummit of its powerwe must look to thework of Korin. Allthe masters of Nip-pon, from Sesshiuand Sesson to Ho-kusai, live in thatwork, in posse or asa it comes just atthe hour when Japanshuts its gates todescend into itselfagain and when, in afew years, the teach-ing of the primitives ripens in the meditative atmos-phere of moral unity and of peace. The school of Tosa and the school of Kano unitedtheir conquests to form a definitive bone structure as abasis for Japanese sensibility. Mitsuoki (1616-91)exhausted everything precious and rare that the acad-emism of Tosa could offer to the aristocratic soul ofthe nation. Tanyu (1601-74) employed his verve andhis vigor to free Kano from its last servitude to the. Masayoshi (1761-1824). Page of analbum. {H. Vever Collection.)
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
