An ethereal beauty runs through the Harvard Art Museums’ new exhibit of Japanese paintings drawn from one of the largest and most significant gifts of art ever promised to the University. The more than 120 works that occupy all four of the museums’ third-floor temporary exhibition galleries have been carefully curated from the Feinberg Collection, a trove of more than 300 decorative scrolls, folding screens, fans, woodblock-printed books, sliding doors, and other works. The collection assembled by Robert ’61 and Betsy Feinberg highlights the range and richness of early modern Japanese painting during the Edo period, 1615‒1868.“They have collected so carefully and with such dedication over the years that they have formed a comprehensive collection. It really allows us to look at the whole gamut of Edo painting, which is incredibly diverse,” said Rachel Saunders, Abby Aldrich Rockefeller Curator of Asian Art at the museums, one of the curators of the new show. “It’s a comprehensive history of Japanese art through objects.”The Feinbergs’ love affair with Japanese works began almost 50 years ago on a trip to New York’s Metropolitan Museum of Art, where the young couple purchased a poster for $2. “Our imagination was captured by its image of a painted 17th-century Nanban screen — a robust, naïve view of a Portuguese sailing ship moored in Nagasaki harbor, manned by strange-looking men with prominent noses and curly moustaches, dressed in outlandish pantaloons and flamboyant hats,” they told the arts magazine Orientations earlier this year. “Edo Japan had never seen anything like them, and neither had we!”,Visitors to the exhibit will encounter a pair of large, multipaneled screens with almost identical imagery. Nanban art reflects the Japanese response to contact with Europeans, primarily from Portugal and Spain. The screens in Harvard’s show are striking in their detail and composition, said Saunders, and in what they reveal about how the Japanese viewed these outsiders.“There’s a real sense of the West being exoticized,” she said.That greater engagement with the wider world was a hallmark of the shogunate, or military dictatorship, that ruled Japan during the Edo period. The era’s peace and prosperity led to a greater openness and ushered in significant social, political, and cultural change, including a vibrant urban culture in which merchants and craftsmen were eager to acquire the visual and material comforts traditionally reserved for the wealthy elite.,The Feinberg Collection’s depth of material reflects those trends and shines a light on the varied schools, or lineages, of painting during the period — distinct classifications that embraced different media, subject matter, and even notions of who could be considered an artist. Among the many ideas reflected in the different schools are the embrace of regional landscapes, the foregrounding of human subjects and scenes of everyday life, the influence of Western-style painting, the emulation — and rejection — of classical motifs, and the rise of amateur scholar-painters or literati who employed pared-down materials. Taken together they help illustrate the visual complexity of Japan’s evolving pictorial culture, a key goal of the show, said its curators.“This exhibit is an opportunity to showcase an artistic tradition that can be likened to early modern European painting as a whole in terms of the breadth of artistry it features,” said Yukio Lippit, Jeffrey T. Chambers and Andrea Okamura Professor of History of Art and Architecture, who co-curated the exhibit. “There are so many schools, so many disparate visual modes, so many lineages of artists active in early modern Japan over 250 years.”,One example of that diversity is the art of the floating world, a school inspired by the period’s rapid urbanization as thousands of residents from the country moved to the shogunate capital, Edo, transforming what was a traditional fishing village in the 1600s to the most populous city in the world by 1800. In part a reaction to the shogunate’s orthodoxy and status-driven structure, in the floating world tradition, said Lippit, the people begin to see themselves.“It’s the world of commoner painting in which the contemporaneity and buzz of the city, the fashions, the hairstyles, and the demimonde — the pleasure quarters and the kabuki theater, those areas supposedly off-limits for the warrior status group — are depicted,” said Lippit. “Here you see the floating world of the imagination in contrast to the fixed world of social obligation and feudal hierarchy.”,A small hanging scroll, “Early Evening at a Yoshiwara Inn” by the artist Hishikawa Moronobu, “is a real gem of a painting,” and perfectly captures that essence, said Lippit. The painting depicts an intimate moment between a couple at an inn separated by folding screens from others nearby who are preparing a meal. “It’s meant to be generic; it’s meant to suggest a narrative without actually explicitly providing the story,” said Lippit. “In a work like this, the viewer is meant to project certain kinds of narratives of their own onto the scene.”,Regardless of category, the show’s overall theme is beauty, one that often evokes a sense of something beyond words. Viewers are drawn to that ineffable quality with the large hanging scroll “Grasses and Moon” by Tani Bunchō, which opens the show and which curators liken to a giant window.“It’s a very evocative way to start. We wanted that window, that essence there,” said Saunders of the horizontal work that honors the ancient Japanese tradition of viewing the harvest moon. “It’s what’s called a true-view painting — in Japanese, it’s shinkeizu. And the idea is not to represent an optical reality; it’s to represent the essence of something. And that is true of a lot of Japanese ink painting. You are not looking at an optical reality. It’s capturing something more.”,Other works in the show are odes to both Japan’s natural beauty and the functional nature of many of the works from the period, such as the large folding screens that doubled as temporary walls or the hanging scrolls that could be unfurled to ornament a room for a specific event or season, then rolled back up and stored neatly in small, handmade wooden boxes. “Fish and Turtles” by Maruyama Ōkyo, a small, two-paneled screen, would have been placed on the floor for tea ceremonies and likely displayed in the summer months, said Saunders.“You might bring out a painting for a particular season, a seasonal observance, or a particular guest was coming, or if you had a ritual going on. It’s about your taste; it’s about your guest’s taste; it’s about understanding your guests’ tastes; it’s about being in tune with the seasons,” she said.What sets the small tea screen apart is how the artists incorporated two layers of silk, painting the aquatic life and one side and the water on the other, said Saunders. “When the light comes through this translucent stretched silk there’s a moiré effect, so it looks as if the fish are moving,” she said. “It’s a really special piece.”,Timed to coincide with the run-up to the 2020 Summer Olympics in Tokyo, when many eyes will be on the Japanese capital, the curators hope the show will connect visitors with a seminal moment in the nation’s art and history and inspire them to “ask questions and to think differently.”“We are habituated to the ways we think and the ways we interact with the world,” said Saunders, “and when you encounter something like these Nanban screens, it reminds you to move your feet occasionally and to take another look and to practice some empathy for a very different way of looking.”On March 19, the Harvard Art Museums will host a symposium, “The Feinberg Collection: Six Works,” in which scholars from Harvard and beyond will engage key works from the collection. The free event will take place in the museums’ Menschel Hall from 1 p.m. to 5 p.m. Reunited with a ‘transcendent’ figure Curating a classic ‘Genji’ exhibit at the Met Conservators and curators are researching and restoring a portrait of King Philip III of Spain that is one of a series of identical works Unraveling a fine arts mystery Art historian Melissa McCormick brings Japanese masterpiece to life The Daily Gazette Sign up for daily emails to get the latest Harvard news. Related Walter C. Sedgwick can’t remember a time without ‘Prince Shōtoku at Age Two’ in his life
Inside, the historic home includes decorative rendered gables and parapet, porch and window hoods, ornamental metalwork, geometric leadlight windows and terracotta roof tiles in a Marseilles pattern. It is listed for sale by expressions of interest.In Petrie Terrace, circa 1886 a duplex terrace home called Warriston is heritage-listed. Located at 2/27 St James St, the double storey terrace features a reception room with large dividing doors, perfect for a possible business opportunity.There is also a formal dining area with one of two original wood burning fireplaces, VJ boards, coloured glass windows, 3.6m high ceilings and broad verandas. The detached kitchen has modern appliances. 2/27 St James Street, Petrie TerraceThere are four bedrooms including a master bedroom that adjoins a spacious dressing room, a bathroom, a separate powder room and an internal laundry.It is listed for sale with Byrony O’Neill Estate Agents – Toowong.More from newsParks and wildlife the new lust-haves post coronavirus10 hours agoNoosa’s best beachfront penthouse is about to hit the market10 hours agoAnd in Bowen Hills, a heritage-listed, Victorian-style house known as King’s Lynn is the oldest surviving residence on Jeays St.Built circa 1886, it retains many of its original features including polished timber floors, original brickwork, high ceilings, timber fretwork details and the original fireplace. It sits on a 304sq m block and the Brisbane City Council Heritage Register notes it was built “prior to the introduction of light industry and is now the oldest surviving residence in Jeays Street”. This property is the oldest surviving residence on Jeays StIt is further noted that the property is a“remnant of the residential nature of this part of Bowen Hills in the 19th century, prior to the intrusion of light industry in the 20th century’’.It is on the market for offers over $990,000 and listed with Re/Max City. Video Player is loading.Play VideoPlayNext playlist itemMuteCurrent Time 0:00/Duration 1:58Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -1:58 Playback Rate1xChaptersChaptersDescriptionsdescriptions off, selectedCaptionscaptions settings, opens captions settings dialogcaptions off, selectedQuality Levels720p720pHD576p576p360p360p216p216pAutoA, selectedAudio Tracken (Main), selectedFullscreenThis is a modal window.Beginning of dialog window. Escape will cancel and close the window.TextColorWhiteBlackRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentBackgroundColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyOpaqueSemi-TransparentTransparentWindowColorBlackWhiteRedGreenBlueYellowMagentaCyanTransparencyTransparentSemi-TransparentOpaqueFont Size50%75%100%125%150%175%200%300%400%Text Edge StyleNoneRaisedDepressedUniformDropshadowFont FamilyProportional Sans-SerifMonospace Sans-SerifProportional SerifMonospace SerifCasualScriptSmall CapsReset restore all settings to the default valuesDoneClose Modal DialogEnd of dialog window.This is a modal window. This modal can be closed by pressing the Escape key or activating the close button.Close Modal DialogThis is a modal window. This modal can be closed by pressing the Escape key or activating the close button.PlayMuteCurrent Time 0:00/Duration 0:00Loaded: 0%Stream Type LIVESeek to live, currently playing liveLIVERemaining Time -0:00 Playback Rate1xFullscreenWhy location is everything in real estate01:59With many new homes springing up across Brisbane’s suburbs, it can be easy to forget that our relatively young city is still home to some historic gems,In New Farm, a Spanish mission-style home designed in 1928 by E.P. Trewern is on the market for the first time in two decades.Known asThe Ripples, the four-bedroom, landmark house, sits on 739sq m of riverfront land which was once part of Sir Samuel Griffith’s Merthyr estate. 17 Griffith St, New FarmListed with Matt Lancashire and Nicholas Given of Ray White New Farm, the house at 17 Griffith St is one of only 13 properties along the riverfront pocket to have a private pontoon with direct river access.
Coach Chip KellySince taking over in 2009 for Mike Bellotti, who served as coach for 14 years, Kelly has only built upon the success of his predecessor, winning 31 of his first 36 games, including two Pac-12 championships.Kelly’s potent spread offense has made the Ducks near-impossible to stop at times. Last season, they ranked first nationally in scoring offense and eighth in the season prior.Perhaps most important to USC, Kelly is 2-0 against the Trojans, with wins against both Kiffin and former USC coach Pete Carroll.“You hope anytime that you play somebody that you learn from it and get better,” Kiffin said about last season’s loss to the Ducks. “And we’ll continue to do what we’ve done in general this year, which is play more guys and rotate guys in and make sure that we’re getting lined up.” Running back De’Anthony Thomas De’Anthony Thomas, a one-time USC commit who spurned the Trojans last February to sign a letter of intent to play for Oregon, has made an immediate impact in just his first year with the program.Appearing in 10 games, the former Crenshaw High standout has rushed for 366 yards and five touchdowns in addition to leading the Ducks in receiving with 27 catches for 423 yards and seven touchdowns, though standing at just 5-foot-9 and 160 pounds.“The only guy that I’ve probably seen like that was Reggie [Bush],” USC coach Lane Kiffin said following Tuesday’s practice when asked about Thomas’ explosiveness. “The way that he can start and stop and then how fast he can cut is really special. That’s why he may be the best player in the country.” Once again, No. 4 Oregon boasts a high-powered offensive attack. The Ducks’ offense ranks third nationally in scoring, averaging 46.7 points per game, and ninth in total offense at 498.3 yards per contest heading into Saturday’s nationally-televised, primetime matchup against No. 18 USC. Here’s a look at three players and a coach who make the Ducks’ offense fly.Quack attack · Darron Thomas, a dual-threat quarterback, is the leader under center for Oregon’s quick-strike offense this season. – Daily Trojan file photoRunning back LaMichael JamesThough he began the year as a Heisman Trophy candidate, James rushed for just 54 yards and one touchdown on 18 carries in Oregon’s season opener against No. 1 LSU at Cowboys Stadium in Arlington, Tex., a 40-27 loss that dropped the Ducks to No. 14 in the USA Today coaches poll.But since then, James has been electric.Through eight games — including wins over then-No. 18 Arizona State and then-No. 4 Stanford — the Texas native has rushed for 1,207 yards and 12 touchdowns, averaging 7.9 yards per carry and vaulting himself back into consideration for the Heisman Trophy. A recent Sports Illustrated projection ranked James No. 6 in the Heisman race.The 5-foot-9 running back has proven problematic for USC before. In a 53-22 win over the Trojans last season at the Coliseum, he amassed 239 yards and three touchdowns on the ground on 36 carries. Similarly, in a 47-20 win over USC at Autzen Stadium in 2009, James, then a freshman, ran for 183 yards and a touchdown. Quarterback Darron ThomasThough many of the Ducks’ SportsCenter highlights tend to center around either James or De’Anthony Thomas, junior quarterback Darron Thomas, is the trigger man for the Ducks’ offensive attack.Taking over under center in 2010 after Jeremiah Masoli was dismissed from the team after being cited for misdemeanor traffic and drug offenses, including possession of marijuana, Darron Thomas completed 61.5 percent of his passes for 30 touchdowns, playing an instrumental role in the Ducks’ undefeated regular season and appearance in the BCS national title game.This season, Darron Thomas has been just as impressive, with a touchdown-to-interception ratio of 22:5 in addition to two rushing touchdowns.