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Lumi MizutaniTokyo Landscape – Hitotsumatsu III by Lumi Mizutani - Japanese painting, trees2017
2017
$15,014.09
£11,183.33
€12,600
CA$20,675.62
A$22,504.89
CHF 11,924.53
MX$270,655.33
NOK 151,617.42
SEK 138,940.59
DKK 96,003.66
About the Item
Tokyo Landscape – Hitotsumatsu III is a unique diptych painting by contemporary artist Lumi Mizutani. The painting is made with Japanese pigments, India ink and gold leaves on Japanese paper mounted on panel. Dimensions are 65.2 × 106 cm (25.6 × 41.7 in).
The artwork is signed, sold unframed and comes with a certificate of authenticity.
In her figurative paintings, Lumi Mizutani often pays homage to Japan and its traditional landscapes. This particular piece depicts a serene scene, where a gently flowing river and a succession of green-hued trees evoke a profound sense of tranquillity and calm.
As both a painter and lithographer, Mizutani draws inspiration from the rich traditions of Chinese and Japanese painting. Her work extends and reinterprets these techniques through ongoing experimentation. In recent years, her artistic exploration has centered on the interplay between opposites: abstraction and figuration, black and color, spontaneous ink work and the deliberate construction of pigment-based compositions. Through this dynamic tension, she finds the essential, complementary forces that shape her visual language.
- Creator:Lumi Mizutani (1948)
- Creation Year:2017
- Dimensions:Height: 25.67 in (65.2 cm)Width: 41.74 in (106 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803116706042
Lumi Mizutani
Painter and lithographer, Lumi Mizutani draws her inspiration from traditional Chinese and Japanese painting techniques. Her ink drawings and her paintings extend this tradition, and, through constant experimentation, carry her towards new horizons. For a few years now Lumi Mizutani’s work has revolved around the duality between abstract and figurative, black and colour, the spontaneity of the gesture (the ink painting) and the patient composition work (the painting with pigment). Thanks to these antagonisms she finds the necessary and complementary resources to express herself. “I felt the desire to introduce colors, especially Japanese color pigments, familiar to my childhood. Japanese painting thus entered my artistic expression and my life. While respecting the ancestral techniques and codes, I strive to create a personal and contemporary footprint that challenges the viewer by the emotion it arouses.“
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