. Studio international . IVORY CARVING : A BEAUTYBY OGURA MASAKO in the cavalry, and one is not sur-prised to learn that he becamevery fond of horses, and made thisanimal his favourite subject incarving. He went to France andGermany at the time of the ParisExposition in 1900, where hestudied the methods of the carversof the West. Upon his return toJapan he became a pupil of AsaiChu, and learned oil painting, asYonehara learned of Gaho. Yoshida Homei learned the artof ivory carving from. ShimamuraShimmei. Although a young manof thirty-five, he has done somegood work and displayed muchskill and

GLIX-115-2CDXGT9

. Studio international . IVORY CARVING : A BEAUTYBY OGURA MASAKO in the cavalry, and one is not sur-prised to learn that he becamevery fond of horses, and made thisanimal his favourite subject incarving. He went to France andGermany at the time of the ParisExposition in 1900, where hestudied the methods of the carversof the West. Upon his return toJapan he became a pupil of AsaiChu, and learned oil painting, asYonehara learned of Gaho. Yoshida Homei learned the artof ivory carving from. ShimamuraShimmei. Although a young manof thirty-five, he has done somegood work and displayed muchskill and
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. Studio international . IVORY CARVING : A BEAUTYBY OGURA MASAKO in the cavalry, and one is not sur-prised to learn that he becamevery fond of horses, and made thisanimal his favourite subject incarving. He went to France andGermany at the time of the ParisExposition in 1900, where hestudied the methods of the carversof the West. Upon his return toJapan he became a pupil of AsaiChu, and learned oil painting, asYonehara learned of Gaho. Yoshida Homei learned the artof ivory carving from. ShimamuraShimmei. Although a young manof thirty-five, he has done somegood work and displayed muchskill and

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