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ASTROBOY KAIDAN by Bob Kessel
Oct 27th, 2010 by admin

KAIDAN, or in english KWAIDAN

KAIDAN are Japanese ghost stories. A genre of art that all Japanese artists have made.

Here is one by HOKUSAI-

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Utagawa Kuniyoshi kaidan print

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A great japanese movie perfect for halloween is “KWAIDAN” by Kobayashi. I highly recommend it.

kwaidan-kobayashi

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and here is a Bob Kessel kaidan print- What ever happened to ATOMU?

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ASTRO BOY KAIDAN print by Bob Kessel based on Astroboy.

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Bob Kessel has created a print combining ANIME ( Astroboy ) and KAIDAN (Japanese ghost story) a genre of Japanese wood block prints. This kind of chicanery is what you come to expect from Bob Kessel, like his picture combining HELLO KITTY with EDVARD MUNCH’S “THE SCREAM”.
The print titled, “ASTRO BOY KAIDAN” is available as a signed and numbered limited edition print. Contact Bob Kessel for pricing and availability.

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astroboy-close-up
Close up from ASTRO BOY KAIDAN print. Some may recognize Doctor Elefun.

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Astro Boy (鉄腕アトム Tetsuwan Atomu, lit. “Mighty Atom”) is a Japanese manga series and television program first broadcast in Japan from 1963 to 1966. The story follows the adventures of a fictional robot named Astro Boy and a selection of other characters along the way.

Astro Boy is the first Japanese television series that embodied the aesthetic that later became known as anime. It originated as a manga comic series started in 1951 by Osamu Tezuka, who is known as the “god of manga”. For a time Astro Boy enjoyed a level of popularity in Japan equivalent to Disney’s Mickey Mouse.

EROTIC ART by Bob Kessel
Jul 9th, 2010 by admin

Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. Translated literally, the Japanese word shunga means picture of spring; “spring” is a common euphemism for sex. In the Edo period it was enjoyed by rich and poor, men and women, and despite being out of favour with the shogunate, carried very little stigma.

Almost all ukiyo-e artists made shunga at some point in their careers, including Hokusai, Utamaro, Harunobu, Eisen, Saeshi, Shigenobu, Issho and Moronobu, and it did not detract from their prestige as artists.

The pictures are available as limited edition original fine art prints, signed and numbered by the artist.
Contact Bob Kessel for prices and availability.

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shunga-woman-on-top-bob-kessel

SHUNGA WOMAN ON TOP erotic art by Bob Kessel

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SHUNGA MAN ON TOP erotic art by Bob Kessel

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SHUNGA STARS erotic art by Bob Kessel

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shunga-stripes-bob-kessel

SHUNGA STRIPES erotic art by Bob Kessel

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SHUNGA SHOJI erotic art by Bob Kessel

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SHUNGA MAID erotic art by Bob Kessel

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shunga-lovers-bob-kessel1

SHUNGA LOVERS erotic art by Bob Kessel

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shunga-pink-kimono-bob-kessel1

SHUNGA PINK KIMONO erotic art by Bob Kessel

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shunga-ride-em-bob-kessel

SHUNGA RIDE ‘EM erotic art by Bob Kessel

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shunga-couple-bob-kessel1

SHUNGA COUPLE erotic art by Bob Kessel

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shunga-big-legs-bob-kessel

SHUNGA BIG LEGS erotic art by Bob Kessel

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shunga-screen-bob-kessel

SHUNGA SCREEN erotic art by Bob Kessel

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DIAMOND UKIYO-E TRAVELER by Bob Kessel
Oct 20th, 2009 by admin

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UKIYO-E TRAVELER by Bob Kessel

“UKIYO-E TRAVELER” by Bob Kessel, is based on the Japanese woodblock prints of Hokusai and Hiroshige and many other Japanese woodblock print artists. It can be purchased as a signed and numbered limited edition original fine art print. Contact Bob Kessel for prices and availability.

SHUNGA: JAPANESE EROTIC ART by Bob Kessel
Oct 14th, 2009 by admin

Bob Kessel has created a new art series titled, “SHUNGA” based on Japanese woodblock prints.

Shunga (春画) is a Japanese term for erotic art. Most shunga are a type of ukiyo-e, usually executed in woodblock print format. Translated literally, the Japanese word shunga means picture of spring; “spring” is a common euphemism for sex. In the Edo period it was enjoyed by rich and poor, men and women, and despite being out of favour with the shogunate, carried very little stigma.

Almost all ukiyo-e artists made shunga at some point in their careers, including Hokusai, Utamaro, Harunobu, Eisen, Saeshi, Shigenobu, Issho and Moronobu, and it did not detract from their prestige as artists.

The pictures are available as limited edition original fine art prints, signed and numbered by the artist.
Contact Bob Kessel for prices and availability.

Email:  b.kessel@snet.net • Phone: (860)334-9438

STARS & STRIPES

shunga-stars-bob-kessel

SHUNGA STARS by Bob Kessel

shunga-stripes-bob-kessel

SHUNGA STRIPES by Bob Kessel

BIJIN = BEAUTIFUL WOMEN
Oct 10th, 2009 by admin

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2 square BIJIN BLOSSOMS print by Bob Kessel

BIJINGA (美人画) is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography. The term can also be used for modern media, provided they conform to a somewhat classic representation of a woman, usually depicted wearing a kimono.

Nearly all ukiyo-e artists, including Hokusai and Hiroshige, produced BIJINGA, it being one of the central themes of the genre. However, a few, including Utamaro, Suzuki Harunobu, Toyohara Chikanobu, and Torii Kiyonaga are widely regarded as the greatest innovators and masters of the form.

Bob Kessel has created a new art series titled, “BIJINGA” based on the Ukiyo-e  genre wood block prints.
The pictures are available as limited edition original fine art prints, signed and numbered by the artist.
Contact Bob Kessel for prices and availability.

bijin-atomu-bob-kessel

BIJIN ATOMU

by Bob Kessel

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BIJIN FAN

by Bob Kessel

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BIJIN PEKOCHAN

by Bob Kessel

bijin-ribbon-bob-kessel

BIJIN RIBBON

by Bob Kessel

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BIJIN BEHIND FAN

by Bob Kessel

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BIJIN BLINDS

by Bob Kessel

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BIJIN WITH FAN

by Bob Kessel

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BIJIN HONEY

by Bob Kessel

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BIJIN 3 TREES

by Bob Kessel

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BIJIN HOME

by Bob Kessel

HOKUSAI by Bob Kessel
May 28th, 2009 by admin

ukiyo-e-trees-fuji-bob-kessel

FUJI TREES by Bob Kessel

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Bob Kessel’s art series “100 VIEWS” features pictures based on the works of Katsushika Hokusai. These pictures are available as signed and numbered limited edition fine art prints. Contact Bob Kessel for pricing and availability.

Katsushika Hokusai (葛飾北斎,  1760–1849 was a Japanese artist, ukiyo-e painter and printmaker of the Edo period. Born in Edo (now Tokyo), Hokusai is best-known as author of the woodblock print series Thirty-six Views of Mount Fuji (富嶽三十六景, c. 1831) which includes the iconic and internationally recognized print, The Great Wave off Kanagawa, created during the 1820s. Hokusai created the “Thirty-Six Views” both as a response to a domestic travel boom and as part of a personal obsession with Mount Fuji. It was this series, specifically The Great Wave print and Fuji in Clear Weather, that secured Hokusai’s fame both within Japan and overseas. As historian Richard Lane concludes, “Indeed, if there is one work that made Hokusai’s name, both in Japan and abroad, it must be this monumental print-series…” While Hokusai’s work prior to this series is certainly important, it was not until this series that he gained broad recognition and left a lasting impact on the art world. It was also The Great Wave print that initially received, and continues to receive, acclaim and popularity in the Western world.

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By 1800, Hokusai was further developing his use of ukiyo-e for purposes other than portraiture. He had also adopted the name he would most widely be known by, Katsushika Hokusai, the former name referring to the part of Edo where he was born and the latter meaning, ‘north studio’. That year, he published two collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo. He also began to attract students of his own, eventually teaching 50 pupils over the course of his life.

He became increasingly famous over the next decade, both due to his artwork and his talent for self-promotion. During a Tokyo festival in 1804, he created a portrait of the Buddhist priest Daruma said to be 600 feet (180 m) long using a broom and buckets full of ink. Another story places him in the court of the Shogun Iyenari, invited there to compete with another artist who practiced more traditional brush stroke painting. Hokusai’s painting, created in front of the Shogun, consisted of painting a blue curve on paper, then chasing a chicken across it whose feet had been dipped in red paint. He described the painting to the Shogun as a landscape showing the Tatsuta River with red maple leaves floating in it, winning the competition.

In 1820, Hokusai changed his name yet again, this time to “Iitsu,” a change which marked the start of a period in which he secured fame as an artist throughout Japan (though, given Japan’s isolation from the outside world during his lifetime, his fame overseas came after his death). It was during the 1820s that Hokusai reached the peak of his career. His most famous work, 36 Views of Mount Fuji, including the famous Great Wave off Kanagawa, dated from this period. It proved so popular that Hokusai later added ten more prints to the series. Among the other popular series of prints he published during this time are A Tour of the Waterfalls of the Provinces and Unusual Views of Celebrated Bridges in the Provinces. He also began producing a number of detailed individual images of flowers and birds, including the extraordinarily detailed Poppies and Flock of Chickens.

The next period, beginning in 1834, saw Hokusai working under the name “Gakyō Rōjin Manji” (The Old Man Mad About Art). It was at this time that Hokusai produced One Hundred Views of Mount Fuji, another significant landscape series.

In the postscript to this work, Hokusai writes:

“From around the age of six,
I had the habit of sketching from life.
I became an artist,
and from fifty on began producing works that won some reputation,
but nothing I did before the age of seventy was worthy of attention.
At seventy-three, I began to grasp the structures of birds and beasts,
insects and fish, and of the way plants grow.
If I go on trying,
I will surely understand them still better by the time I am eighty-six,
so that by ninety I will have penetrated to their essential nature.
At one hundred, I may well have a positively divine understanding of them,
while at one hundred and thirty, forty, or more I will have reached the
stage where every dot and every stroke I paint will be alive.
May Heaven, that grants long life,
give me the chance to prove that this is no lie.”

In 1839, disaster struck as a fire destroyed Hokusai’s studio and much of his work. By this time, his career was beginning to wane as younger artists such as Andō Hiroshige became increasingly popular. But Hokusai never stopped painting, and completed Ducks in a Stream at the age of 87.

Constantly seeking to produce better work, he apparently exclaimed on his deathbed,

“If only Heaven will give me just another ten years…
Just another five more years,
then I could become a real painter.”

He died on May 10, 1849, and was buried at the Seikyō-ji in Tokyo (Taito Ward).

A short four years after Hokusai’s death, an American fleet led by Matthew C. Perry sailed into Tokyo Bay and forced Japan to open its arms to the west. Hokusai’s career spanned the last age of Japanese history before its interaction with the west would change the course of the nation.

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HOKUSAI self-portrait

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