Posted by Julius (22.214.171.124) on December 08, 2018 at 16:47:06:
In Reply to: Re: Kiyochika Kobayashi print posted by Hans Olof Johansson on December 08, 2018 at 10:37:29:
Wow, the plot thickens :)
The differentiating wood grain patterns begs even more questions (and I understand completely if they don't get answered).
1) Was the artist himself ever involved in what sort of effect that would be preferable to achieve with the woodgrain pattern? Or was this something that was done solely by the publisher?
2) On the same note; would the artist have been involved in the making of the the new "sky blocks". I would think that the artist would be concerned with stars changing place and/or size, but maybe the artists influence over the print was limited after it had been sold to the publisher?
3) In the excellent article you posted Fiorello writes:
"Woodgrain patterns such as this one are also considered by collectors and curators to be indicators of early impressions. When large editions were published, the softer woods used to print the colors often wore out before completion of the editions, and the grain patterns would slowly disappear."
How come then that wood grain patterns are clearly visible in my print, the Metropolitan Museum of Art print and the Minneapolis print (but differentiating between them?). Would this mean that the publisher changed from one set of "sky blocks" with woodgrain patterns to another one (with a different woodgrain pattern), rather than just let the pattern get worn down and "invisible"? Or was it due to some accident? Maybe it's impossible to know...
Anyways, thank you so much (both Plasmo, Gordon and Hans Olof) for answering my questions and providing even more details about the print. I find it utterly fascinating and it definitely adds to the beauty of the print!
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