{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Retrospective of later works of Japanese artist Katsushika Hokusai' data-url='/boclips/videos/5c54d46fd8eafeecae1f2977' data-video-url='/boclips/videos/5c54d46fd8eafeecae1f2977' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nRetrospective of later works of Japanese artist Katsushika Hokusai\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eLEADIN:A new exhibition looking at the later works of Katsushika Hokusai opens in London.The Japanese artist is considered one of the most important artists in the world, and he continued producing work until his death at the age of...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eLEADIN:A new exhibition looking at the later works of Katsushika Hokusai opens in London.The Japanese artist is considered one of the most important artists in the world, and he continued producing work until his death at the age of 90.STORYLINE:The Great Wave, painted by Japanese artist Katsushika Hokusai in 1831, is one of the most famous images in art... endlessly reproduced and popular around the world.Less well-known are other works by the prolific Japanese artist, so a major new show at the British Museum in London hopes to change all that.The exhibition Beyond the Great Wave examines the later career of Hokusai, who continued painting until his death in 1849.Angus Lockyer is a lecturer in the history of Japan at SOAS University of London : \"Many of these things have never left Japan before and they will probably never leave Japan and you certainly won't be able to see them together. This is a very concentrated looks at one of the world's greatest artists, one of the world's top three artists - you've got Rembrandt, you've got Hokusai, you've got Picasso after that you're in division one I'm afraid\" he says. Hokusai didn't paint the Great Wave until he was 71, but the painting was an instant hit in the artist's lifetime - as it remains today.But is there more to Hokusai than this one painting ? Lockyer is in no doubt.\"Is Hokusai a one hit wonder? No he's not. We know him for one hit, that says more about us than it does about him. It says about our attention span, it says about the amount of space we have for non-Western artists in our stories about art, we're not very imaginative when it comes to thinking about what art could be,\" he says.The exhibition features paintings, drawings, woodblock prints and sketches, including landscapes, flora and fauna and mythological beasts.However, Mount Fuji was Hokusai's favourite subject. The Great Wave was part of a set of 36 views of a mountain which held a deep personal significance to the artist.The clever use of perspective in the Great Wave was heavily influenced by European artistic styles, so it's perhaps unsurprising that his own work produced such a splash with European impressionist painters.Art critic Estelle Lovatt explains:  \"So he lives on through the work of contemporary artists but if we think back to the beginning of modern art with the impressionists, Monet was a great fan, so was Van Gogh, you know they looked at him because they wanted this sense of movement also don't forget we're talking about a period of time when the camera had been invented in 1839, we're talking about a period in time when towards the end of impressionism the cinema, early movies and film was being created so people wanted an experience that looked as if it was moving and that's exactly what the Wave does, you feel as if you are there about to get drowned.\"Even at the height of his fame, Hokusai was never content to rest on his laurels and continued to study and perfect his art.Timothy Clark, head of the Japanese section at the British Museum says his later works have an even greater value than his earlier works: \"Hokusai's fundamental ambition as an artist was to live as long as possible because he had a very profound belief that the older he got the better he would become as an artist and we with this exhibition kind of agree with him. He famously said that he wanted to be 80, 90, 100, 110 and when I'm 110, he said, every line and every dot I paint will be as if alive. So it is for him an increasingly deep and spiritual journey mobilising all the forces of his religious beliefs and his belief of Mount Fuji as a source of immortality and wanting to prolong, prolong, prolong so he could keep drawing and get better and better as an artist.\"This portrait and self-portrait give some impression of what sort of man the artist was... even into his eighties the artist has chosen to represent himself with a mischievous smile and pose.Hokusai based his exploration of the outside world with a subjective identification with his surroundings - in contrast to a more objective and scientifically technical approach.He believed the perceived world was seamlessly connected with powerful unseen forces - ghosts and vengeful spirits.Estelle Lovatt explains how Hokusai worked as an artist.She says: \"So when he worked with his pictorial references he used to like to walk and wander, so he'd be sat at the bottom of Mount Fuji and look at the grand scale of it. And he would work on a variety of mediums, be it wood block cuts where he would work with wooden blocks and chisels and chisel out, you know it's really hardy work. And when he did his paintings he would work almost like a calligraphy artist and the flick of his wrist and how much ink he loaded onto his brush and how he dragged his brush, you know he was in total control all the time.\"It is a rare and special opportunity to see many of these paintings, particularly collected together.The pigments and inks are particularly susceptible to the light and the once pink sky of the Great Wave has now faded.As a result the paintings are shown in low lighting and many will be rotated throughout the exhibition's run from 25 May - 13 August, 2017.London, UK - 23 May, 20171. Close of the Great Wave (1831)2. Close detail of wave3. Close pan left of ships fighting the wave4. Various set up shots of Angus walking to the exhibition in the British Museum5. SOUNDBITE: (English) Angus Lockyer, lecturer in history of Japan, SOAS University of London\"Many of these things have never left Japan before and they will probably never leave Japan and you certainly won't be able to see them together. This is a very concentrated looks at one of the world's greatest artists, one of the world's top three artists - you've got Rembrandt, you've got Hokusai, you've got Picasso after that you're in division one I'm afraid.\"6. Zoom to the Great Wave7. SOUNDBITE: (English) Angus Lockyer, lecturer in history of Japan, SOAS University of London\"Is Hokusai a one hit wonder? No he's not. We know him for one hit, that says more about us than it does about him. It says about our attention span, it says about the amount of space we have for non-Western artists in our stories about art, we're not very imaginative when it comes to thinking about what art could be.\"8. Close of Suspension Bridge between Hizen and Etchu provinces (1834)9. Close detail of figures pan right10. Close tilt down of Laughing Demoness (1833)11. Zoom to Oiwa-San (1833)12. Mid of Tiger in Rain (1849)13. Close of same14. Blend from pencil sketch of Cockerel, Hen and Chick with Spiderwort to finished version (1832)15. Various set up shots of Estelle Lovatt looking at the Great Wave16. SOUNDBITE: (English) Estelle Lovatt, art critic\"So he lives on through the work of contemporary artists but if we think back to the beginning of modern art with the impressionists, Monet was a great fan, so was Van Gogh, you know they looked at him because they wanted this sense of movement also don't forget we're talking about a period of time when the camera had been invented in 1839, we're talking about a period in time when towards the end of impressionism the cinema, early movies and film was being created so people wanted an experience that looked as if it was moving and that's exactly what the Wave does, you feel as if you are there about to get drowned.\"17. Close of sketch 18. Close of oarsmen 19. Close of Kajikazawa in Kai Province (1832)20. Tilt up of Azalea and lesser Cuckoo (1834 approx) writing in top left reads: (Japanese) \"A single cuckoo by day splits the mountain bamboo with its initial cry upon hearing about Du Yu\"21. Close of Clear Day with a Southern Breeze (Pink Fuji) (late 1831)22. Various set up shots with Timothy Clark looking at Pink Fuji23. SOUNDBITE: (English) Timothy Clark, head of Japanese section, the British Museum\"Hokusai's fundamental ambition as an artist was to live as long as possible because he had a very profound belief that the older he got the better he would become as an artist and we with this exhibition kind of agree with him. He famously said that he wanted to be 80, 90, 100, 110 and when I'm 110, he said, every line and every dot I paint will be as if alive. So it is for him an increasingly deep and spiritual journey mobilising all the forces of his religious beliefs and his belief of Mount Fuji as a source of immortality and wanting to prolong, prolong, prolong so he could keep drawing and get better and better as an artist.\"24. Various of Hokusai in Old Age attributed to one of his pupils25. Close of self portrait aged eight-three (1842)26. Pull focus of quote reading: (English/Japanese) \"If heaven will extend my life by ten more years... If heaven will afford me five more years of life, then I'll manage to become a true artist.\"27. Close of Mount Fuji from Hokusai's sequence of 3628. Close of Famous Places on the Tokaido highway at a glance (1818) by Hokusai29. Close of letter with instructions for mixing pigment from (1840s-50s) sent by Hokusai's daughter to a pupil with a recipe for red pigment30. SOUNDBITE: (English) Estelle Lovatt, art critic\"So when he worked with his pictorial references he used to like to walk and wander, so he'd be sat at the bottom of Mount Fuji and look at the grand scale of it. And he would work on a variety of mediums, be it wood block cuts where he would work with wooden blocks and chisels and chisel out, you know it's really hardy work. And when he did his paintings he would work almost like a calligraphy artist and the flick of his wrist and how much ink he loaded onto his brush and how he dragged his brush, you know he was in total control all the time.\"31. 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