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10 of 10 people found the following review helpful:
5.0 out of 5 stars Extraordinary scholarship on extraordinary persons, January 11, 2000
By 
Prof Itamar Procaccia (The Weizmann Institute of Science, Rehovot, Israel) - See all my reviews
(REAL NAME)   
This review is from: Extraordinary Persons : Works by Eccentric, Non-Conformist Japanese Artists of the Early Modern Era (1580-1868) in the collection of Kimiko & John Powers (3 Volume Set) (Hardcover)
If you thought why spend a significant price for a book concentrating on a private collection of Japanese painting, take into account the following: 1) the collection is superb, covering a number of styles and cultural backgrounds, from Zen to nanga, from tea to Rimpa. 2) The scholarship, research, reading and traslation that went into the text is exemplary, I'd say even touching. Every piece of art is complemented with an interesting analysis of its form and content, the cultural influence that it sprang from, the poetic or religious sources that it connects to, or the social and political significance of the work and its authors. The book is a treasure trove of knowledge about Japanese art and culture in the Early Modern Era, and I find the price exceptionally well justified by hours of pleasure and learning that this book provides. If you are a dealer, collector or just seriously interested in Japanese painting, make sure you own this book before it becomes a collector's item.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars Individualism in Japanese painting, February 18, 2002
This review is from: Extraordinary Persons : Works by Eccentric, Non-Conformist Japanese Artists of the Early Modern Era (1580-1868) in the collection of Kimiko & John Powers (3 Volume Set) (Hardcover)
This three-volume set is a must for anyone seriously interested in Japanese painting. There are entries on 235 works in the Powers Collection by Japanese artists of many different schools, including Zen Masters, haiku poets, literati, ukiyo-e masters, and eccentrics. These mini-essays are well written, thorough, and fascinating. Professor Rosenfield consistently includes valuable information on the artist and subject, plus analysis of the style, for each painting. In addition, the third volume contains longer biographies of the artists and other helpful infomation such as seal photographs, a useful index, and a full bibliogfraphy. Most of all, however, this set of books makes the art come alive within the context of an early modern Japan that welcomed individualism, leading to some of the most poetic, dramatic and evocative painting in East Asian history. This set of books can be read for pleasure, as well as serving as a vital resource in the field of East Asian art.
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