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134010 https://hdl.handle.net/2286/R.I.46754 http://rightsstatements.org/vocab/InC/1.0/ 2018-05 39 pages eng Randall, Madeleine Elise Brown, Claudia Hoy, Meredith School of Art Barrett, The Honors College Text The early to mid 20th century saw the rise of two woodblock print movements, shin-hanga and sosaku-hanga. Both movements involved changes in style and production in a time of changing landscapes and tastes. Increased industrialization and greater international contact impacted both movements, while an awareness of a market abroad and embracing modern art sensibilities defined shin- hanga and sosaku-hanga respectively. Ten prints by 6 sosaku-hanga artists and 4 shin-hanga artists demonstrate the conventions and variations of their respective styles. A close analysis of two prints applies the history of Japan and printmaking to two prints from different movements. A catalogue of all ten prints provides a brief overview of works in relation to their historical influences. Comparisons with the ukiyo-e prints from earlier Japan create a greater understanding of the shin-hanga prints discussed, while the lives of the artists themselves help elucidate readings of sosaku-hanga prints. Analyzing the work of sosaku-hanga artist Shiko Munakata demonstrates the tension that results from the combination of modern art and traditional craft that inform the perspectives of artists in that movement. A print by Takahashi Shotei reveals shin-hanga's approach to portraying modernizing Japan. Both movements addressed changes in Japanese society and formed relationships with the international art community. Art History Japan Woodblock Prints Shin-hanga and Sosaku-hanga