Through about 200 works, the exhibition recounts and compares the production of the Master with that of some of the artists who have followed his footsteps, giving rise to new lines, shapes and color balance within the classical strings of the kawaie.
Katsushika Hokusai owes his universal fame to Kanagawa's "great wave", part of the thirty-sixs view of Mount Fuji, and the influence that his reproductions had on the Parisian artists of the late nineteenth century, including Manet, Toulouse Lautrec Gogh and Monet, protagonists of the Japonisme movement.
The work of Hokusai (1760-1849), the undisputed master of Ukiyo-e, active between the end of the eighteenth century and the first half of the nineteenth century, is vast and versatile, and was widely spread over time thanks to its numerous followers.
Hokusai has explored subjects of every kind: from landscape to nature, animals and flowers, from the portrait of kabuki actors to the feminine beauty and warriors, to the images of ghosts and spirits and beings and semilogger animals.
He was an experimenter that varied in formats and techniques: from ink-and-paint to vertical and horizontal rolls, to polycyclic silographs of any size for the big market, to the finest surimi, used as greeting cards, invitations, event calendars, and meetings literary, tea ceremonies, theater booklets.
Among his students are Hokuba, Hokkei (1790-1850), Hokumei (1786-1868) who mark the next generation of artists, along with Keisai Eisen (1790-1848), a non-direct student of Hokusai, but who is was influenced, which led to the development of prints of female beauty and landscape of the years 1810-1830.
Just to Eisen, presented in Italy for the first time in this exhibition, belongs to the beautiful and impressive figure of courtyards represented in the silography that Van Gogh paints behind Père Tanguy and also used on the cover of Paris Le Japon Illustré in 1887.
Closing days: November 20, December 25, January 1.Closing days: November 20, December 25, January 1.