213 245 1125 chris@cgk.ink
the Flora Glassware COLLECTION: Konan Tanigami (1879-1928)

the Flora Glassware COLLECTION: Konan Tanigami (1879-1928)

Dec 31, 2025 | cgk.ink writes:, fine art, historical, Japanese design & culture, Tanigami

In this article:
15% OFF SETS of 4+ GLASSES

These items display stunning floral imagery, following the tradition of Japanese kacho-e (depictions of flowers and birds). 

Konan Tanigami, a prominent Nihon-ga artist from 1879 to 1928, is celebrated for his exceptional contributions to the Kacho-e genre, which focuses on the intricate depiction of birds and flowers. Notably, he distinguished himself as the first Japanese artist to incorporate Western flowers into his work, bridging the gap between traditional Japanese aesthetics and Western botanical subjects. His innovative approach not only enriched the Kacho-e tradition but also opened new avenues for artistic expression in Japan.

Early Life and Education

Tanigami Konan, born in 1879 in the historical city of Nagoya, Japan, grew up surrounded by the rich cultural tapestry that defined the Meiji era. He was drawn to art from a young age, enrolling in the Kyoto School of Arts where he honed his skills in traditional Nihon-ga techniques. Under the guidance of renowned mentors, Konan developed a keen eye for detail, allowing him to bring a sense of vibrancy to his subjects.

Career Highlights and Milestones

Konan’s artistic journey flourished as he became recognized for his innovative approach to Kacho-e, a genre focused on birds and flowers. His career spanned several decades, during which he not only exhibited widely but also became the first Japanese artist to dive into the world of Western flowers. This daring endeavor, along with his participation in international exhibitions, let the world know that Japanese art was not a solitary island but a bridge connecting diverse natural beauty across oceans.

Definition and Characteristics of Kacho-e

Kacho-e is basically the beautiful lovechild of birds and flowers, taking center stage in the Nihon-ga (Japanese painting) scene. Characterized by delicate brushwork and a focus on natural beauty, Kacho-e pieces often highlight seasonal blooms and graceful wildlife. Imagine a serene setting, where a sparrow is perched on a cherry blossom branch—poetry in visual form. The detail is so fine, it’s like the artist had a mini microscope while painting!

Historical Context of Kacho-e in Japanese Art

Emerging during the Edo period, Kacho-e became a stylish staple for art lovers, reflecting the shifting interests of Japanese society. Capitalizing on the West’s fascination with Japanese culture, Kacho-e blossomed in popularity, often embodying a meditative relationship between nature and humanity. So, while Konan painted Western flowers, he was also part of a long tradition that appreciated the beauty of nature—albeit with a modern twist.

Integration of Western Flora into Traditional Techniques

Konan’s reputation as a daring innovator is well-earned, especially when it comes to his approach to Western flowers. He didn’t just dip his toes into unfamiliar waters; he cannonballed right in! Blending the intricate techniques of Nihon-ga with vibrant blooms like roses and daisies, he created an exciting fusion that made flower arrangements feel fresh and new. His work often had viewers wondering, “Is that a bouquet from my garden or the pages of a Western floral catalog?”

Comparison with Contemporary Artists

While many of his contemporaries timidly stuck to traditional Japanese flora, Konan boldly ventured into the uncharted territory of Western botanicals. Artists like Takehisa Yumeji were also experimenting, but none quite captured the same flair for floral diversity as Konan. His ability to intermingle Western aesthetics with Eastern sensibility set him apart, making him a trendsetter in a field that was still finding its footing in a rapidly changing artistic landscape.

Nature and Its Representation in Konan’s Work

If there’s one thing that defines Konan’s art, it’s his deep connection with nature. Every brushstroke seemed to whisper an ode to the delicate balance of flora and fauna. With a penchant for detail, his pieces captured not just the visual appeal but also the essence of the natural world. Whether it was the play of light on petals or the rustle of leaves, Konan’s paintings felt alive, as if nature was right there in the room with you.

Western Art Movements and Their Impact

The early 20th century was a melting pot of artistic movements, and Konan wasn’t immune to their influence. The Impressionists, with their focus on light and color, left a mark on him, perhaps inspiring his vivid interpretations of Western flowers. Additionally, the Arts and Crafts movement’s emphasis on nature and craftsmanship resonated with his artistic philosophy. This cross-pollination of ideas allowed Konan to create artwork that was a harmonious blend of Eastern and Western aesthetics, proving that art truly knows no boundaries.

Notable Paintings and Their Significance

Tanigami Konan’s portfolio features an impressive array of paintings that boast a harmonious blend of traditional Japanese aesthetics and Western botanical influences. His work, such as “Peonies and Birds,” exemplifies this unique fusion, showcasing not just the beauty of the depicted flowers but also a meticulous attention to detail that invites viewers to appreciate the harmony of nature. Konan’s ability to illustrate Western blooms with the grace typical of Kacho-e art not only expanded the thematic repertoire of Nihon-ga but also sparked conversations about Japan’s engagement with globalization in the early 20th century.

Innovations in Technique and Style

Konan wasn’t just a pretty face in the art world; he was a trailblazer. His innovative use of color and texture reflected his keen observation of natural forms, elevating the Kacho-e genre. Embracing techniques such as layering and the incorporation of new pigments from Western sources, he created works that were more vivid and lifelike than ever before. This innovation didn’t just set a new standard; it redefined how Japanese artists approached floral and avian subjects, ushering in a fresh era of aesthetic exploration.

Influence on Future Generations of Artists

The ripples of Konan’s artistic contributions can be felt even today. Many contemporary artists cite him as an inspiration for their own explorations of nature and the interplay between Eastern and Western art techniques. His fearless approach encourages new generations to experiment with their styles, bridging traditional forms with modern expressions, and invites a re-examination of cultural identity through art.

Preservation and Recognition of His Work Today

Today, Konan’s works are more than just beautiful images; they are treasured artifacts representing the evolution of Japanese art. Museums and galleries around the globe recognize his contributions, often featuring his works in exhibitions that highlight the dialogue between East and West. Art enthusiasts and scholars alike are increasingly dedicated to preserving his legacy, ensuring that the vibrant colors and intricate details of Konan’s flora will continue to flourish for future generations.

Major Exhibitions During His Lifetime

During his lifetime, Tanigami Konan’s works were showcased in several high-profile exhibitions, drawing significant attention and acclaim. His participation in the 1910 Japan-British Exhibition introduced Western audiences to his unique vision and helped establish his reputation as a leading Kacho-e artist. These exhibitions paved the way for broader appreciation of Japanese art, allowing Konan to stand confidently in the spotlight of an evolving art scene.

Posthumous Recognition and Awards

Even after his passing in 1928, Konan’s art has continued to gain recognition. Various art institutions have posthumously honored his work through exhibitions and special collections that celebrate his contributions to the Nihon-ga movement. Additionally, awards recognizing his influence on the Kacho-e genre further cement his status as a pivotal figure in the history of Japanese art. 

Fine Art Focus: Joan Miró

Fine Art Focus: Joan Miró

Dec 26, 2025 | cgk.ink writes:, fine art, historical, miro

Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesco Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917 he met Francis Picabia.

The Tilled Field (La terre labourée), Joan Miró (1923)

Miró’s spirited depiction of The Tilled Field also has political content. The three flags—French, Catalan, and Spanish—refer to Catalonia’s attempts to secede from the central Spanish government. Primo de Rivera, who assumed Spain’s dictatorship in 1923, instituted strict measures, such as banning the Catalan language and flag, to repress Catalan separatism. By depicting the Catalan and French flags together, across the border post from the Spanish flag, Miró announced his allegiance to the Catalan cause.

—Guggenheim New York

Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924 Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. Miró left Spain because of the civil war; he returned in 1941. Also in 1936 Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year he was commissioned to create a monumental work for the Paris World’s Fair. During the 1960s he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. In 1978 the Musée National d’Art Moderne exhibited over five hundred works in a major retrospective of his drawings. Miró died on December 25, 1983, in Palma de Mallorca, Spain.
Figure at Night Guided by the Phosphorescent Tracks of Snails Joan Miro 1940
Fine Art Focus: László Moholy-Nagy 

Fine Art Focus: László Moholy-Nagy 

Nov 24, 2025 | bauhaus, cgk.ink writes:, design, fine art, historical, Hungarian

Hungarian, 1895 – 1946

László Moholy-Nagy was a Hungarian painter and photographer as well as a professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts. The art critic Peter Schjeldahl called him “relentlessly experimental” because of his pioneering work in painting, drawing, photography, collage, sculpture, film, theater, and writing.

He also worked collaboratively with other artists, including his first wife Lucia Moholy, Walter Gropius, Marcel Breuer, and Herbert Bayer.

His largest accomplishment may be the School of Design in Chicago, which survives today as part of the Illinois Institute of Technology, which art historian Elizabeth Siegel called “his overarching work of art”. He also wrote books and articles advocating a utopian type of high modernism.

Explore all Artists in this Collection:

Fine Art Focus: Jean (Hans) Arp

Fine Art Focus: Jean (Hans) Arp

Nov 21, 2025 | Arp, fine art, French, historical

Fine Art Focus: Jean (Hans) Arp

In 1904, after leaving the École des Arts et Métiers in Strasbourg, he went to Paris where he published his poetry for the first time. From 1905 to 1907, he studied at the Weimarer Kunstschule in Germany, where he met his uncle, German landscape painter Carl Arp. In 1908 he returned to Paris, where he attended the Académie Julian. Arp was a founder-member of the first modern art alliance in Switzerland Moderne Bund in Lucerne in 1911, participating in their exhibitions from 1911 to 1913.


In 1912 he went to Munich and called on Wassily Kandinsky, the influential Russian painter and art theorist. Arp was encouraged by him in his researches and exhibited with the Der Blaue Reiter group. Later that year, he took part in a major exhibition in Zürich, along with Henri Matisse, Robert Delaunay, and Kandinsky. In Berlin in 1913, he was taken up by Herwarth Walden, the dealer and magazine editor who was at that time one of the most powerful figures in the European avant-garde. 

In 1915 he moved to Switzerland to take advantage of Swiss neutrality. Arp later told the story of how, when he was notified to report to the German consulate in Zürich, he pretended to be mentally ill in order to avoid being drafted into the German Army: after crossing himself whenever he saw a portrait of Paul von Hindenburg, Arp was given paperwork on which he was told to write his date of birth on the first blank line. Accordingly, he wrote “16/9/87”; he then wrote “16/9/87” on every other line as well, then drew one final line beneath them and, “without worrying too much about accuracy”, calculated their sum.

Hans Richter, describing this story, noted that “they [the German authorities] believed him.”

 In 1916 Hugo Ball opened the Cabaret Voltaire, which was to become the centre of Dada activities in Zürich for a group that included Arp, Marcel Janco, Tristan Tzara, and others. In 1920, as Hans Arp, along with Max Ernst and the social activist Alfred Grünwald, he set up the Cologne Dada group. In 1925 his work also appeared in the first exhibition of the Surrealist group at the Galérie Pierre in Paris.

Fine Art Focus: Bauhaus: 100 years later

Fine Art Focus: Bauhaus: 100 years later

Oct 24, 2025 | bauhaus, cgk.ink writes:, design, fine art, historical, kandinsky, klee, miro, textiles

bauhaus

A 100-year perspective

The importance of the Bauhaus lies in its revolutionary approach to design, architecture, and art education that emphasized functionality, simplicity, and the integration of art with mass production, creating a lasting influence on modern design across many fields, from furniture and buildings to graphic design and beyond. Despite being a short-lived German school (1919-1933), its principles were spread worldwide, especially after its closure by the Nazis, pioneering the concept of design as a holistic, problem-solving discipline.

;

The school existed in three German cities—Weimar, from 1919 to 1925; Dessau, from 1925 to 1932; and Berlin, from 1932 to 1933—under three different architect-directors: Walter Gropius from 1919 to 1928; Hannes Meyer from 1928 to 1930; and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism.[4] Internationally, former key figures of Bauhaus were successful in the United States and became known as the avant-garde for the International Style.[5] The White city of Tel Aviv, to which numerous Jewish Bauhaus architects emigrated, has the highest concentration of the Bauhaus’ international architecture in the world.

The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school and would not allow any supporters of Hannes Meyer to attend it.

The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883–1969).

Its core objective was a radical concept: to reimagine the material world to reflect the unity of all the arts. Gropius explained this vision for a union of art and design in the Proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living.

The Bauhaus combined elements of both fine arts and design education. The curriculum commenced with a preliminary course that immersed the students, who came from a diverse range of social and educational backgrounds, in the study of materials, color theory, and formal relationships in preparation for more specialized studies. This preliminary course was often taught by visual artists, including Paul Klee (1987.455.16), Vasily Kandinsky (1866–1944), and Josef Albers (59.160), among others.

Major Bauhaus Artists

Wassily Kandinsky (1866–1944):

A leading figure in abstract art, he was a member of the influential Der Blaue Reiter group and taught at the Bauhaus.

Paul Klee (1879–1940):

Also a member of Der Blaue Reiter, Klee was known for his colorful, geometric abstract paintings and taught at the Bauhaus from 1921 to 1932.

László Moholy-Nagy (1895–1946):

A Hungarian artist who taught painting and photography, known for his work in kinetic sculpture and his use of light and form.

Josef Albers (1888–1976):

A German artist who was both a student and later a master at the Bauhaus, known for his work with color and geometric forms.

Oskar Schlemmer (1888–1943):

A painter and sculptor who designed the Bauhaus emblem and taught painting, known for his work on the ballet “The Triadic Ballet”.

Anni Albers (1899–1994):

A significant textile artist and printmaker, she was a key figure in the women artists of the Bauhaus.

Specialization Workshops

Although Gropius’ initial aim was a unification of the arts through craft, aspects of this approach proved financially impractical. While maintaining the emphasis on craft, he repositioned the goals of the Bauhaus in 1923, stressing the importance of designing for mass production. It was at this time that the school adopted the slogan “Art into Industry.”

Architecture & Furniture Design

In 1925, the Bauhaus moved from Weimar to Dessau, where Gropius designed a new building to house the school. This building contained many features that later became hallmarks of modernist architecture, including steel-frame construction, a glass curtain wall, and an asymmetrical, pinwheel plan, throughout which Gropius distributed studio, classroom, and administrative space for maximum efficiency and spatial logic.

The cabinetmaking workshop was one of the most popular at the Bauhaus. Under the direction of Marcel Breuer (1983.366) from 1924 to 1928, this studio reconceived the very essence of furniture, often seeking to dematerialize conventional forms such as chairs to their minimal existence. Breuer theorized that eventually chairs would become obsolete, replaced by supportive columns or air. Inspired by the extruded steel tubes of his bicycle, he experimented with metal furniture, ultimately creating lightweight, mass-producible metal chairs. Some of these chairs were deployed in the theater of the Dessau building.

Textiles

Women and Weaving at the Bauhaus

The Bauhaus weaving workshop was one of the most inventive and commercially successful departments of the pioneering 20th-century school of art and design. Notably, most of the artists involved were women.

These women were “exploring textiles’ potential, both as works of art and as utilitarian fabrics,” said Laura Muir, research curator for academic and public programs and curator of The Bauhaus and Harvard at the Harvard Art Museums.

Collaboration and innovation were paramount in the workshop: artists pursued new designs suitable for industrial production and experimented with novel materials and techniques.

Source —Harvard Art Museums

The textile workshop, especially under the direction of designer and weaver Gunta Stölzl (1897–1983), created abstract textiles suitable for use in Bauhaus environments.

Students studied color theory and design as well as the technical aspects of weaving. Stölzl encouraged experimentation with unorthodox materials, including cellophane, fiberglass, and metal. Fabrics from the weaving workshop were commercially successful, providing vital and much needed funds to the Bauhaus. The studio’s textiles, along with architectural wall painting, adorned the interiors of Bauhaus buildings, providing polychromatic yet abstract visual interest to these somewhat severe spaces.

While the weaving studio was primarily comprised of women, this was in part due to the fact that they were discouraged from participating in other areas. The workshop trained a number of prominent textile artists, including Anni Albers (1899–1994), who continued to create and write about modernist textiles throughout her life.

Metal & Industrial Design

Metalworking was another popular workshop at the Bauhaus and, along with the cabinetmaking studio, was the most successful in developing design prototypes for mass production. In this studio, designers such as Marianne Brandt (2000.63a–c), Wilhelm Wagenfeld (1986.412.1–16), and Christian Dell (1893–1974) created beautiful, modern items such as lighting fixtures and tableware. Occasionally, these objects were used in the Bauhaus campus itself; light fixtures designed in the metalwork shop illuminated the Bauhaus building and some faculty housing.

Brandt was the first woman to attend the metalworking studio, and replaced László Moholy-Nagy (1987.1100.158) as studio director in 1928. Many of her designs became iconic expressions of the Bauhaus aesthetic. Her sculptural and geometric silver and ebony teapot (2000.63a–c), while never mass-produced, reflects both the influence of her mentor, Moholy-Nagy, and the Bauhaus emphasis on industrial forms. It was designed with careful attention to functionality and ease of use, from the nondrip spout to the heat-resistant ebony handle.

Typography

The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer (2001.392). At the Bauhaus, typography was conceived as both an empirical means of communication and an artistic expression, with visual clarity stressed above all. Concurrently, typography became increasingly connected to corporate identity and advertising. The promotional materials prepared for the Bauhaus at the workshop, with their use of sans serif typefaces and the incorporation of photography as a key graphic element, served as visual symbols of the avant-garde institution.

Cessation, Nationalism and the new beginning

Gropius stepped down as director of the Bauhaus in 1928, succeeded by the architect Hannes Meyer (1889–1954). Meyer maintained the emphasis on mass-producible design and eliminated parts of the curriculum he felt were overly formalist in nature. Additionally, he stressed the social function of architecture and design, favoring concern for the public good rather than private luxury. Advertising and photography continued to gain prominence under his leadership.

Under pressure from an increasingly right-wing municipal government, Meyer resigned as director of the Bauhaus in 1930. He was replaced by architect Ludwig Mies van der Rohe (1980.351). Mies once again reconfigured the curriculum, with an increased emphasis on architecture. Lilly Reich (1885–1947), who collaborated with Mies on a number of his private commissions, assumed control of the new interior design department.

Other departments included weaving, photography, the fine arts, and building. The increasingly unstable political situation in Germany, combined with the perilous financial condition of the Bauhaus, caused Mies to relocate the school to Berlin in 1930, where it operated on a reduced scale. He ultimately shuttered the Bauhaus in 1933.

During the turbulent and often dangerous years of World War II, many of the key figures of the Bauhaus emigrated to the United States, where their work and their teaching philosophies influenced generations of young architects and designers.

Breuer and Gropius taught at Harvard. Josef and Anni Albers taught at Black Mountain College, and later Josef taught at Yale.

Moholy-Nagy established the New Bauhaus in Chicago in 1937.

Mies van der Rohe designed the campus and taught at the Illinois Institute of Technology.

It remains to this day, standing as a distinguished monument to the power of art.

the EXPANDED FINE ART COLLECTION

the EXPANDED FINE ART COLLECTION

Oct 22, 2025 | cgk.ink writes:, fine art, historical

Henri Matisse, “Nymphe et faune rouge” (Nymph and Red Faun), (1939)

“Everything has its beauty, but not everyone sees it.”

—Andy Warhol

Guernica, oil on canvas by Pablo Picasso, 1937

Guernica by Pablo Picasso (1937)

Exploring the great masters of fine art is a suprisingly fun way of developing this ecommerce site.

The chance to learn more about Master Artists is wonderfully accessible and frustratingly difficult to understand.

cgk.ink has created the FINE ART COLLECTION to explore, unveil and to delve into the artists who continue to shape our world.

We’re focusing on Modern Art right now. And we’re adding to this collection often.

The main page of the FINE ART COLLECTION features the work of artist’s who crurrently are inspiring us to create.

Right now, we’re focusing on modern art masterpieces. This page will serve as our main gallery and we’ll be adding new artists constantly.

When an artist is selected, information regarding their influences and impacts on larger artistic movements are discussed.

We’ ve gathered the information from the world’s leading museums, universities and private collectors.

Explore all current arists

Items that are inspired by that artist’s work are featured at the bottom of the page which displays related work, more details and available discounts.

These collections are changing quickly, so check often for new items.

We welcome your feedback and are eager to hear about artists that inspire you!