International studio . in his restricted leisure, learnt etching. aquatint, soft-ground, dry-point, etc. Ourillustration, Trafalgar Square, Winter, represents Mr. Takekoshi- first attempt at aquatint andincidentally it i- the only one of his plates inwhich one can discern even a slight trace ofJapanese influence. Equal success followed hisinitial effort in soft-ground etching and othermethods. •\\ strikes one m-t in nearly all theplate- Mr. Takekoshi 1m- executed, writesMr. Frank Emanuel, to whom we are indebtedfor the information lure given, is the abso-lutely European eyes with which he
International studio . in his restricted leisure, learnt etching. aquatint, soft-ground, dry-point, etc. Ourillustration, Trafalgar Square, Winter, represents Mr. Takekoshi- first attempt at aquatint andincidentally it i- the only one of his plates inwhich one can discern even a slight trace ofJapanese influence. Equal success followed hisinitial effort in soft-ground etching and othermethods. •\\ strikes one m-t in nearly all theplate- Mr. Takekoshi 1m- executed, writesMr. Frank Emanuel, to whom we are indebtedfor the information lure given, is the abso-lutely European eyes with which he appearsI., -i, his subjects. One might suppose fromtlii— that tin- young generation of Japaneseartists (Mr. Takekoshi is twenty-eight years old),owing to ihe atmosphere of Western ideas inwhich Japan is now bathed, no longer inheritsthe Japanese or Oriental vision, but is bornwith the Occidental way oi seeing things. , whose elder brother is a Professorof the Government School of Art in Tokyo,. S. PIETRO, ASSISI152 ETCHING BY K. TAKEKOSHI
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Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
