Lilian May Miller – Inland Sea

$3,000.00

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Additional information

Artist

Miller, Lilian

Condition

(A+) Excellent Condition

Date

1910s-1930s

Edition

First Edition, Lifetime

Movement

Shin-hanga

Publisher

Self published

Size

O-tanzaku (6.75"x15")

Subjects

Boats, Landscape, River / Lake / Ocean

While not one of her most profound works, this beautiful large horizontal tanzaku print by Lilian Miller tapes into the Orientalist sensibilities common among the Western shin-hanga artists of the time.

Specifically worth noting is the usage of the natural woodgrain; if you look closely at the water, the grain of the wood is used as a visual design element acting as wind lines (or wind streaks), the visible line on the water indicating the direction of on-coming wind.

A rare and beautiful print contributing a unique voice to the canon of mokuhanga.

The Woodblock Print

This stunning tanzaku (roughly 8″x20″) woodblock print is in excellent condition. Beautiful color, a clean verso, full margins, stamped in the bottom left and bottom right margins.  A clean verso.

About the Artist

Lilian May Miller (1895-1943) was an American artist who made significant contributions to the world of Japanese-style woodblock prints. Born in Tokyo, Japan, Miller grew up in a multicultural environment that shaped her artistic sensibilities. She received training in traditional Japanese painting techniques from masters such as Kamisaka Sekka and Ishii Hakutei, which heavily influenced her artistic style (Lakdawalla, 2019).

Miller’s career flourished during a time when female artists faced significant challenges and limited opportunities. Despite these obstacles, she forged her path as an independent artist, successfully blending Eastern and Western aesthetics in her works. Miller’s art often depicted serene landscapes, delicate flowers, and traditional Japanese themes, showcasing her technical skill and artistic vision (Davidson, 2007).

During her time in Japan, Miller interacted with notable artists and scholars, some of whom became her contemporaries and collaborators. One such artist was Bertha Lum, who also specialized in Japanese woodblock prints. Lum’s friendship and artistic partnership with Miller helped foster a supportive environment for their respective endeavors (Lakdawalla, 2019).

In addition to her artistic achievements, Miller’s career was significantly impacted by the Great Kanto Earthquake of 1923. The devastating earthquake and subsequent fires destroyed much of her artwork and forced her to relocate. This event marked a turning point in Miller’s life and art, prompting her to experiment with new styles and techniques (Davidson, 2007).

Miller’s work also reflected her engagement with feminist ideals. As a female artist in a male-dominated field, she challenged societal norms and strove for recognition and equal opportunities. Through her art and advocacy, Miller contributed to the broader feminist movement and the empowerment of women in the arts (Lakdawalla, 2019).

Tragically, Miller’s life was cut short when she passed away in 1943. However, her artistic legacy lives on, and her contributions to the field of woodblock prints continue to be appreciated and studied. Miller’s work serves as a testament to her talent, perseverance, and cultural bridge-building, making her an important figure in the history of Japanese-inspired art in America (Davidson, 2007).

References:

  • Davidson, S. R. (2007). Lilian Miller and Japanese woodblock prints. Print Quarterly, 24(4), 376-381.
  • Lakdawalla, E. (2019). Miller, Lilian May. In Oxford Art Online.