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Andreas Marks is the Director and Chief Curator of the Clark Center for Japanese Art and Culture. He has a master's degree in East Asian art history from the University of Bonn, Germany, and a Ph.D. in Japanese Studies (on a thesis on nineteenth-century actor prints) from Leiden University, the Netherlands. As a specialist in Japanese prints, he is an advisor to the San Diego Museum of Art. He has published widely in Europe, the United States, and Japan, and curated several exhibitions on various aspects of Japanese art. Dr. Stephen Addiss is Professor of Art at the University of Richmond. He is a composer, musician, poet, painter and Japanese art historian, and is the recipient of four grants from the National Endowment for the Humanities and one from the National Endowment for the Arts. He has published thirty-six books or exhibition catalogs, including Old Taoist: The Life, Art and Poetry of Kodojin; The Resonance of the Qin in Far Eastern Art; and The Art of 20th Century Zen.
"The presentation is practically all-inclusive, covering artists and publishers from the 1660s to the 1940s. Impeccably researched with an exhaustive bibliography, this is a work that demonstrates the highest level of scholarly achievement." -CHOICE: Current Reviews for Academic Libraries "Marks's (director & chief curator, Clark Ctr. for Japanese Art) clear, informative text, while valuable for scholars beginning research, also remains accessible to the average reader. With excellent production values and a modest price, this volume is recommended for all libraries, academic and public." -Library Journal "The meticulous organization of information notwithstanding, it is the prints which are the chief pleasure of the book: 523 prints that bring to life a Japan of heroic tales, beautiful women, ghosts, warriors, demons, and spring cherry blossoms. The exuberance of color, motion, and expression, all carefully arranged, make this a book for scholars and browsers, serious collectors and hedonists alike." -ForeWord Reviews "Marks provides the kind of concrete biographical details that most art historical treatments, more focused on style, genre, and influences, would pass over. And, besides, even for a minor artist like Eizan, we're given five full-color images of examples of his work, one of them a full-page illustration, giving us a sense at a glance of his style-we don't need it described out in lengthy paragraphs. So, in this way, I do think that Marks' book is a wealth of knowledge, a real deep, solid, source to consult for names and dates and the like, a true compendium of artists. The fact that Marks includes publishers at all is also fairly revolutionary, since 'traditional' scholarship on ukiyo-e has always focused on artists almost exclusively, elevating them, and all but ignoring publishers and others involved in the process." -Nubui Kuduchi blog "This is a beautiful book, and the publisher section makes it stand out [ ... ] as a valuable guide for print identification." -Wood Block Dreams blog