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Utamaro Revealed - Gina Collia-Suzuki
Utamaro Revealed
Gina Collia-Suzuki
ISBN: 9780955979606
Nezu Press
Reviewed By Cherie Mangum
Official Apex Reviews Rating:
Utamaro Revealed takes the reader on a detailed journey through the life and artistry of Kitagawa Utamaro, one of the most well-known and widely renowned figures in the history of Japanese art. Primarily known for his regaling portraits of alluring, attractive women, Utamaro also created thousands of woodblock prints, featuring everything from historical icons to popular societal figures to skillfully crafted depictions of domestic life.
Within the pages of her tome, Gina Collia-Suzuki – an artist in her own right – has produced a comprehensive, all-inclusive resource regarding Utamaro’s chosen subjects and themes. Her exhaustive research into his artistry was spurred by her growing admiration for his considerable skills and talents, beginning with her realization of just how much technical expertise he displayed in honing them to relative perfection.
In addition to featuring Utamaro’s numerous creations, Collia-Suzuki also provides the reader with greater insight into his background and upbringing, shedding light on the formative influences that helped to mold his talent from an early age. Additionally, she exposes revealing truths about specific events in his life that contributed to the lore surrounding it, which serves the ultimate purpose of giving life to the man behind the myth.
By compiling the vast and sundry facets of Utamaro’s life into a single volume, Collia-Suzuki has made it possible for art lovers the world over to develop a similar appreciation for the artist’s oeuvre of lifelong work – and, hopefully, in so doing she inspires budding artists to aspire to the same level of unparalleled excellence in their own endeavors.
Official Apex Reviews Interview: Gina Collia-Suzuki (The Wonderful Demise Of Benjamin Arnold Guppy, Utamaro Revealed)
Apex Reviews: Gina, thanks for joining us for this interview. We're looking forward to learning more about your books and other efforts.
Dare we ask...is The Wonderful Demise based on your own experiences with unbearable - and nearly psychotic - neighbors?
Gina Collia-Suzuki: Yes, it’s based on my experiences of living with a couple of particularly nasty elderly neighbours for several years. Much of what’s in the book actually happened, although there are embellishments here and there of course; I didn’t actually kill anyone. Having said that, the events described in the book represent only a tiny fraction of those that actually occurred in real life. I could have gone on and written a twelve volume series if I’d wanted to cover everything.
AR: What is it that makes Benjamin so hateful to everyone - including his wife?
GCS: Benjamin is a failure, with a wife who reminds him of that fact every moment of every day. Rather than look to himself to improve things, he blames everyone around him. His lack of something is always due to someone else having whatever it is that he is without, and he feels entitled to remedy that situation by taking what isn’t his. Also, he isn’t simply hateful because he hates everyone... he enjoys observing the pain he inflicts. His only real happiness, albeit a perverse version of that state of being, comes from the unhappiness of others.
AR: Benjamin engages in a variety of strange behaviors, including everything from howling like a dog to clucking like a chicken. Is he - even in the slightest bit - mentally ill?
GCS: No, not at all. Feigning mental illness is certainly a device he uses to cover his tracks, but he is completely in control of his own actions and is aware that what he’s doing is wrong. He has no regard whatsoever for the moral boundaries that most of us live within, but that’s a matter of choice rather than a failure to recognise their existence.
AR: Were there really only 4 attendees at Benjamin's funeral?
GCS: In the book, yes. And he was lucky to have that many show up. The ‘real’ Benjamin Guppy lives on, but I doubt he will be as fortunate as his fictional counterpart.
AR: In Utamaro Revealed, you provide readers with a detailed, extensive history of the artist's life. How exhaustive was the research that you performed in putting the book together?
GCS: The research took more than two decades. I consulted sources in several languages and compiled more than seven volumes of notes, all of which are about three inches thick. It’s always been a labour of love, and the research is ongoing, so I’m still going on with it.
AR: Please provide us with more details regarding the Ukiyo-e School, of which Utamaro was a leading iconic figure.
GCS: ‘Ukiyo-e’ translates as ‘pictures of the floating world,’ and artists of the school were primarily concerned with depicting the transitory pleasures of everyday life, such as images of the courtesans of the Yoshiwara licensed pleasure quarter of Edo (now Tokyo), Kabuki actors on and off stage, famous beauties of the time, and the townsfolk of Edo engaging in various leisure pursuits. The first Ukiyo-e prints were produced in black and white in the seventeenth century, but by the time Utamaro rose to a position of significance, prints were produced in many colours, with sophisticated printing techniques.
AR: Please share with our readers why Utamaro was censured at the end of his life, and why the action was significant.
GCS: Utamaro produced a small number of prints of famous warriors in 1804. His offence was to name the historical subjects depicted, which was prohibited at the time. The nature of the offence, when considered alongside the harshness of the punishment, gives us some idea of the confined state in which artists worked at the time. Often, people will ask why Utamaro, and other Ukiyo-e artists, did not produce prints which depicted the hardships of the time; the simple reason is that the authorities forbade it, and failure to adhere to the restrictions put in place could result in the artist suffering harsh penalties.
AR: As the book indicates, Utamaro was primarily known for his portraits of beautiful women. Why was he so drawn to them as his favorite subject of choice?
GCS: Each artist chooses his niche, whether due to an interest in a specific subject or an ability to depict it, or both. Utamaro was incredibly adept at depicting the female form, and in capturing the moods of the female sex. In addition to this, he lived in close proximity to the licensed pleasure quarters of Edo (modern day Tokyo), so female subjects would have been in ample supply. The desire to carve his mark in the art world and his natural ability most likely combined to direct him towards depicting images of women, and his subsequent success in that area would have inspired him to remain on that course. That said, he produced many images of couples, gods, legendary heroes, etc.
AR: What exactly is a "woodblock print?"
GCS: Woodblock printing is a method of printing which involves carving several blocks, in relief, to represent the various elements of the overall design. The number of blocks depends upon the number of colours, as each colour must be printed separately. The artist’s original design would be drawn onto thin paper (washi) and then pasted to the block which was to be cut - the original design would therefore be destroyed during this process. Once the block has been carved, paper is placed onto it, and when even pressure is applied the ink transfers to the paper, producing a print... or one element of the complete design at least.
AR: Please share more with our readers about your publisher, Nezu Press.
GCS: Nezu Press is a small independent publisher, made up of individuals who are incredibly passionate about books. It’s been a wonderful experience, working with people who are so enthusiastic about producing books with high quality content and so devoted to helping writers promote their work.
AR: Also, please share more with us about your endeavors as an artist in your own right.
GCS: I was trained as an artist, specialising in ceramics and glass, but gave up working three-dimensionally a number of years ago to focus on working in oils and acrylics. At the moment, most of my work is in miniature. Generally a painting will be no more than two inches tall. I enjoy working on such a small scale.
AR: What's next for you?
GCS: I’m finishing off another book on Japanese woodblock prints right now, and a historic novel. Also, I have just begun writing the sequel to The Wonderful Demise of Benjamin Arnold Guppy. I’ve got a couple of other projects on the go too, so there’s a lot going on. I’m having a marvelous time.
AR: How can people learn more about you and your writing efforts?
GCS: I have a web site at http://www.ginacolliasuzuki.com and there’s information about both ‘Utamaro Revealed’ and ‘The Wonderful Demise of Benjamin Arnold Guppy there.’ I also keep a Japanese print blog at http://www.blog.utamarorevealed.com, and one about ‘The Wonderful Demise’ at http://dieneighbour.blogspot.com, where I post additional information about my own experiences with nuisance neighbours. I also post character interviews on the latter blog... I’ve just finished writing up a four-part interview with Pat Guppy.
AR: How can they contact you directly?
GCS: There are contact details on the web site and on each of my blogs. I’m always happy to talk about Japanese art, history and culture, and nightmare neighbours. I appreciate all feedback.
AR: Any final thoughts you'd like to share with our readers?
GCS: I hope that those who read ‘Utamaro Revealed’ will find the subjects and themes behind the artist’s work as fascinating as I do, and that when viewing his works they will be captivated not just by their beauty, but also by the men, women, gods, heroes, etc., that they depict.
For those who have (or have had) the misfortune to live alongside mean neighbours, I hope that Benjamin Guppy’s tale will give them cause to laugh. Living with such people is often the cause for so much pain... sufferers need all the laughter they can get!
AR: Thanks again, Gina, and best of continued success to you in all your endeavors!
Gina Collia-Suzuki
ISBN: 9780955979606
Nezu Press
Reviewed By Cherie Mangum
Official Apex Reviews Rating:
Utamaro Revealed takes the reader on a detailed journey through the life and artistry of Kitagawa Utamaro, one of the most well-known and widely renowned figures in the history of Japanese art. Primarily known for his regaling portraits of alluring, attractive women, Utamaro also created thousands of woodblock prints, featuring everything from historical icons to popular societal figures to skillfully crafted depictions of domestic life.
Within the pages of her tome, Gina Collia-Suzuki – an artist in her own right – has produced a comprehensive, all-inclusive resource regarding Utamaro’s chosen subjects and themes. Her exhaustive research into his artistry was spurred by her growing admiration for his considerable skills and talents, beginning with her realization of just how much technical expertise he displayed in honing them to relative perfection.
In addition to featuring Utamaro’s numerous creations, Collia-Suzuki also provides the reader with greater insight into his background and upbringing, shedding light on the formative influences that helped to mold his talent from an early age. Additionally, she exposes revealing truths about specific events in his life that contributed to the lore surrounding it, which serves the ultimate purpose of giving life to the man behind the myth.
By compiling the vast and sundry facets of Utamaro’s life into a single volume, Collia-Suzuki has made it possible for art lovers the world over to develop a similar appreciation for the artist’s oeuvre of lifelong work – and, hopefully, in so doing she inspires budding artists to aspire to the same level of unparalleled excellence in their own endeavors.
Official Apex Reviews Interview: Gina Collia-Suzuki (The Wonderful Demise Of Benjamin Arnold Guppy, Utamaro Revealed)
Apex Reviews: Gina, thanks for joining us for this interview. We're looking forward to learning more about your books and other efforts.
Dare we ask...is The Wonderful Demise based on your own experiences with unbearable - and nearly psychotic - neighbors?
Gina Collia-Suzuki: Yes, it’s based on my experiences of living with a couple of particularly nasty elderly neighbours for several years. Much of what’s in the book actually happened, although there are embellishments here and there of course; I didn’t actually kill anyone. Having said that, the events described in the book represent only a tiny fraction of those that actually occurred in real life. I could have gone on and written a twelve volume series if I’d wanted to cover everything.
AR: What is it that makes Benjamin so hateful to everyone - including his wife?
GCS: Benjamin is a failure, with a wife who reminds him of that fact every moment of every day. Rather than look to himself to improve things, he blames everyone around him. His lack of something is always due to someone else having whatever it is that he is without, and he feels entitled to remedy that situation by taking what isn’t his. Also, he isn’t simply hateful because he hates everyone... he enjoys observing the pain he inflicts. His only real happiness, albeit a perverse version of that state of being, comes from the unhappiness of others.
AR: Benjamin engages in a variety of strange behaviors, including everything from howling like a dog to clucking like a chicken. Is he - even in the slightest bit - mentally ill?
GCS: No, not at all. Feigning mental illness is certainly a device he uses to cover his tracks, but he is completely in control of his own actions and is aware that what he’s doing is wrong. He has no regard whatsoever for the moral boundaries that most of us live within, but that’s a matter of choice rather than a failure to recognise their existence.
AR: Were there really only 4 attendees at Benjamin's funeral?
GCS: In the book, yes. And he was lucky to have that many show up. The ‘real’ Benjamin Guppy lives on, but I doubt he will be as fortunate as his fictional counterpart.
AR: In Utamaro Revealed, you provide readers with a detailed, extensive history of the artist's life. How exhaustive was the research that you performed in putting the book together?
GCS: The research took more than two decades. I consulted sources in several languages and compiled more than seven volumes of notes, all of which are about three inches thick. It’s always been a labour of love, and the research is ongoing, so I’m still going on with it.
AR: Please provide us with more details regarding the Ukiyo-e School, of which Utamaro was a leading iconic figure.
GCS: ‘Ukiyo-e’ translates as ‘pictures of the floating world,’ and artists of the school were primarily concerned with depicting the transitory pleasures of everyday life, such as images of the courtesans of the Yoshiwara licensed pleasure quarter of Edo (now Tokyo), Kabuki actors on and off stage, famous beauties of the time, and the townsfolk of Edo engaging in various leisure pursuits. The first Ukiyo-e prints were produced in black and white in the seventeenth century, but by the time Utamaro rose to a position of significance, prints were produced in many colours, with sophisticated printing techniques.
AR: Please share with our readers why Utamaro was censured at the end of his life, and why the action was significant.
GCS: Utamaro produced a small number of prints of famous warriors in 1804. His offence was to name the historical subjects depicted, which was prohibited at the time. The nature of the offence, when considered alongside the harshness of the punishment, gives us some idea of the confined state in which artists worked at the time. Often, people will ask why Utamaro, and other Ukiyo-e artists, did not produce prints which depicted the hardships of the time; the simple reason is that the authorities forbade it, and failure to adhere to the restrictions put in place could result in the artist suffering harsh penalties.
AR: As the book indicates, Utamaro was primarily known for his portraits of beautiful women. Why was he so drawn to them as his favorite subject of choice?
GCS: Each artist chooses his niche, whether due to an interest in a specific subject or an ability to depict it, or both. Utamaro was incredibly adept at depicting the female form, and in capturing the moods of the female sex. In addition to this, he lived in close proximity to the licensed pleasure quarters of Edo (modern day Tokyo), so female subjects would have been in ample supply. The desire to carve his mark in the art world and his natural ability most likely combined to direct him towards depicting images of women, and his subsequent success in that area would have inspired him to remain on that course. That said, he produced many images of couples, gods, legendary heroes, etc.
AR: What exactly is a "woodblock print?"
GCS: Woodblock printing is a method of printing which involves carving several blocks, in relief, to represent the various elements of the overall design. The number of blocks depends upon the number of colours, as each colour must be printed separately. The artist’s original design would be drawn onto thin paper (washi) and then pasted to the block which was to be cut - the original design would therefore be destroyed during this process. Once the block has been carved, paper is placed onto it, and when even pressure is applied the ink transfers to the paper, producing a print... or one element of the complete design at least.
AR: Please share more with our readers about your publisher, Nezu Press.
GCS: Nezu Press is a small independent publisher, made up of individuals who are incredibly passionate about books. It’s been a wonderful experience, working with people who are so enthusiastic about producing books with high quality content and so devoted to helping writers promote their work.
AR: Also, please share more with us about your endeavors as an artist in your own right.
GCS: I was trained as an artist, specialising in ceramics and glass, but gave up working three-dimensionally a number of years ago to focus on working in oils and acrylics. At the moment, most of my work is in miniature. Generally a painting will be no more than two inches tall. I enjoy working on such a small scale.
AR: What's next for you?
GCS: I’m finishing off another book on Japanese woodblock prints right now, and a historic novel. Also, I have just begun writing the sequel to The Wonderful Demise of Benjamin Arnold Guppy. I’ve got a couple of other projects on the go too, so there’s a lot going on. I’m having a marvelous time.
AR: How can people learn more about you and your writing efforts?
GCS: I have a web site at http://www.ginacolliasuzuki.com and there’s information about both ‘Utamaro Revealed’ and ‘The Wonderful Demise of Benjamin Arnold Guppy there.’ I also keep a Japanese print blog at http://www.blog.utamarorevealed.com, and one about ‘The Wonderful Demise’ at http://dieneighbour.blogspot.com, where I post additional information about my own experiences with nuisance neighbours. I also post character interviews on the latter blog... I’ve just finished writing up a four-part interview with Pat Guppy.
AR: How can they contact you directly?
GCS: There are contact details on the web site and on each of my blogs. I’m always happy to talk about Japanese art, history and culture, and nightmare neighbours. I appreciate all feedback.
AR: Any final thoughts you'd like to share with our readers?
GCS: I hope that those who read ‘Utamaro Revealed’ will find the subjects and themes behind the artist’s work as fascinating as I do, and that when viewing his works they will be captivated not just by their beauty, but also by the men, women, gods, heroes, etc., that they depict.
For those who have (or have had) the misfortune to live alongside mean neighbours, I hope that Benjamin Guppy’s tale will give them cause to laugh. Living with such people is often the cause for so much pain... sufferers need all the laughter they can get!
AR: Thanks again, Gina, and best of continued success to you in all your endeavors!