Why does Yayoi Kusama love pumpkins?
The pumpkin is to Yayoi Kusama what the Campbell’s Soup can is to Warhol: an everyday comestible elevated to the status of fine art, via a singular artist’s skills and vision. She has created pumpkin sculptures and paintings, pumpkin infinity rooms, pumpkin charm bracelets and pumpkin polka-dot print shoes.
However, Kusama’s very first pumpkin artwork, created when the 89-year-old (who celebrates her birthday today) was still in her teens, was a much less ambitious artistic undertaking.
“The pumpkin first appeared in Kusama’s work in 1946 when she exhibited Kabocha (Pumpkin) in a travelling exposition in Nagano and Matsumoto, Japan,” explains the curator and critic Catherine Taft in our newly updated Kusama monograph. “The work was accepted as a fine example of Nihonga, the new, nationalistic style of traditional Japanese painting, which developed around the turn of the nineteenth century.”
Yayoi Kusama, Reach Up to the Universe, Dotted Pumpkin (2010)
Kusama may have sloughed off that simple, pictorial style when she moved to New York, yet her pumpkins stayed with her, reemerging in the late 1970s, “with a nearly anthropomorphic presence.”
“In the 1980s she began incorporating pumpkins into her dot-motif paintings, drawings and prints,” writes Taft, “as well as into her environmental installation Mirror Room (Pumpkin) that she created in 1991 for an exhibition at the Fuji Television Gallery and the Hara Museum in Tokyo and subsequently exhibited in the Japanese Pavilion at the 1993 Venice Biennale, for which she even handed out little takeaway pumpkins to visitors.”
Yayoi Kusama in Mirror Room (Pumpkin) (1991)
“In 1994, Kusama installed a massive pumpkin sculpture in yellow with a black dotted pattern on Naoshima Island in Japan’s Seto Inland Sea region. The work – which was the first of many notable examples of public art and architecture on the islands – sits at the end of a pier at Benesse Art Site, hovering over the water in harmony with the natural landscape.
“This was the first of the many open-air sculptures that Kusama would increasingly display throughout the 2000s at international sites including the Kirishima Open Air Museum in Kagoshima Prefecture, Japan; Matsudai Station in Tōkamachi, Niigata, Japan; the Lille Europe Train Station in Lille, France; Beverly Gardens Park in Beverly Hills, California; and in Pyeonghwa Park in Seoul, Korea, to name only a few.”
Yayoi Kusama, Pumpkin (M) (2014), courtesy of Victoria Miro gallery, London.
“The pumpkins have reappeared in the past few years, cast larger than life in bronze, mosaic and stainless steel, with apertures cut out of their surfaces to create dot-pattern plays with light and shadow. With its jolly, peaceful presence, the pumpkin is a figurative, almost bodily, form.”
Yayoi Kusama (Photo: courtesy of Ota Fine Arts, Tokyo/Singapore, Victoria Miro Gallery, London, David Zwirner, New York, and KUSAMA Enterprise; © Yayoi Kusama)
While we can all revel in that joyful, peaceful presence, it’s hard to settle on a concrete reason for repeated use of pumpkins in Kusama’s art. Perhaps we should leave the last word to her.
“I love pumpkins,” the artist explained in a 2015 interview, “because of their humorous form, warm feeling, and a human-like quality and form. My desire to create works of pumpkins still continues. I have enthusiasm as if I were still a child.”
Let’s hope, as she celebrates her 89th birthday, that this enthusiasm remains undiminished. For a better understanding of Kusama’s work order a copy of our Yayoi Kusama book here.
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Yayoi Kusama Tatehata, Hoptman, Kultermann, and Taft
Price AUD$100.00 Price CAD$89.95 Price £49.95 Price T69.95 Price USD$69.95 Price €59.95
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An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time.
“Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring.” —The New York Times
Kusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama’s subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, which is arguably still one of the most comprehensive studies on her work to date, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.
Specifications:
- Format: Hardback
- Size: 290 × 250 mm (11 3/8 × 9 7/8 in)
- Pages: 240 pp
- Illustrations: 240 illustrations
- ISBN: 9780714873459
About the author
Akira Tatehata is a poet and art critic who has been awarded the 2005 Takami Jun Award for Literature.
Laura Hoptman is a curator at the Museum of Modern Art in New York.
Udo Kultermann was a curator and art historian who taught at Washington University in St. Louis.
Catherine Taft is deputy director of LAXART in Los Angeles.
“When people look back at Kusama’s work decades from now, they’ll see that her idea of creation and infinity has an eternal endurance.” —Marc Jacobs
“The effect of Kusama’s work is both so complex and simple. It is produced by the interaction of the two close somewhat parallel planes, at points merging at the surface and at others diverging slightly but powerfully.” —Donald Judd
“Yayoi Kusama comes with a pedigree of film and orchestrated happenings and performance in New York during the 1960s and the 1970s that was every bit as avant-garde as Warhol.”—The Art Review Power 100
“Yayoi Kusama is as close as one can get to being called a legend while alive. This updated monograph is richly illustrated and serves as as an unparalleled guide to the work of one the most eccentric artists alive.”—Mint (India)
“One of the most iconic and revolutionary artists of our time, internationally renowned for her boundary-pushing work on themes such as infinity, self-image, sexuality and compulsive repetition. Kusama’s ability to communicate her artistic vision through various mediums is explored and documented.”—CreativeBoom.com
“Still one of the most comprehensive studies of this intriguing artist [. ] allows readers to traverse from ‘Happenings’ in 1960s New York through to Kusama’s current work, which encompasses diverse media from paintings to sculpture. And, for the first time, a collection of poems by Kusama are published to accompany the colourful illustrations, compelling essays and interviews by curators and critics.”—TheCultureTrip.com
“Enjoy the artist’s boundary-pushing work in this comprehensive and colourful book.”—The Glossary
“Filled with visual treasures. Now includes poems by the artist.”—Harper’s Bazaar
“Celebrates the boundary-breaking work of the 88-year old who still captures the imagination of the art world and beyond, reflecting her uncanny ability to remain in the spotlight.” —House & Garden
“Richly illustrated. Explores Kusama’s varied career to the present, through informative essays written from diverse scholarly and critical perspectives, as well as interviews with the artist, and selections from her lively poetry and fiction.”—The British Museum Magazine
“A fascinating artist.”—Visi (South Africa)
“A dose of inspiration (that also looks good on the coffee table).”—Vogue Online
Famous Artists & Their Fall Landscapes
Fall is a time of year that’s loved by so many, us included, and as so many artists are inspired by nature, it makes sense that we would wonder about the Autumns of the past.
Artists have been enthralled by the changing leaves and stunning sunsets of lovely Fall days for decades, painting them in the most magnificent ways. We are ALWAYS fans of a good landscape, a timeless and classic subject to paint, and we offer many of these in our classes.
Did you know that our landscape paintings are some of our most-popular paintings at the studio? Our customers see the beautiful colors and neutral subject matter and know the these masterpieces will work in any room of their home!
From beaches and mountains, to country wildflowers and forests, we’ve got them all — and Fall landscapes? Well those are our favorites.
The nice thing about painting landscapes, especially for first-time painters, is that they’re surprisingly easy to do. There is some color blending (like for sky and water), and techniques we’ll teach you to make texture (like trees and clouds), but it’s keep in mind that it’s nature, which is rarely perfect.
If your trees are a little crooked or your clouds a little fluffier than the instructor’s painting…
If your sky has a little more orange or your water is a little darker than your friends’ painting…
That’s wonderful.
Just remember to relax, have fun, get creative, and know that even if you make a “mistake” or do something differently than the example painting, it will all camouflage and look natural, and that’s the best part about a landscape! 🙂
As Bob Ross (famous landscape artist) says: “There are no mistakes; Only Happy Accidents”
Check out these amazing, famous Fall Landscape Paintings from some of the most inspirational artists throughout history:
*** Vincent van Gogh
Landscape with Trees, 1881, Museum Boijmans van Beuningen, Rotterdam, Netherlands
This light and airy sketch of a warm Fall landscape is so much different than the thick and colorful post-impressionistic style we’re accustomed to linking with Van Gogh. Think about the colors and texture of ’Starry Night’ and then the charcoal, pen, and ink sketch of this piece…
This helps us to see, even further, just how talented and diverse the style and talents of Vincent Van Gogh were.
View it: https://www. n%20Beuningen
Autumn Landscape with Four Trees, 1885, Kröller-Müller Museum, Otterlo
Vincent applies a lighter touch to the canvas with his muted, neutral tones of oil paint in this stunning depiction of Fall, with the crisp copper-colored leaves.
See this masterpiece and learn all about it here:
https://www. our-trees.jsp
*** Claude Monet, Autumn on the Seine at Argenteuil, 1873, High Museum of Art
Light and airy, just as our impressionistic friend, Mr. Monet was known for.
https://www. at-argenteuil
*** Gustav Klimt, Birch Forest I, 1902, private collection
This is one of our absolute favorites, by far! The color, the texture, the movement… Breathtaking
View it: https://www. ch-Forest.jsp
*** David Hockney, Woldgate Woods, 2008, private collection
Hockey is a contemporary artist who loves color. Since we are all about color and fun in our paintings, it’s no surprise that we’re big fans of this artist!
See the paintings (and how much it most recently sold for at auction):
https://www. land-38026547
*** Georgia O’Keffee, Autumn Leaves, 1924, private collection
An absolute classic in the world of art…
This piece, this artist, and this legacy of impeccable and unique work will love on forever as her masterpieces are shared and loved by generations of the past and future.
We chose this painting as our cover picture since it’s filled with al of the best representations of Fall.
From the colors of the changing leaves, to the ways she can make something look crisp and clean yet soft and blended all at the same time, this is one of our favorites, always.
View it: https://www. mn-leaves.jsp
*** Henri Rousseau, Eiffel Tower at Sunset, 1910, private collection
If there’s one style of painting that give our landscape classes a run for their money (in popularity), its all of our Paris-themed pieces! From fancy ladies to Eiffel Towers and Parisian words, we get a lot of love for all things, French!
This painting combines both, the Eiffel Tower and a stunning Fall landscape and we could not love it more if we tried.
View it: https://www. e-sunset-1910
*** Paul Gauguin, Landscape in Arles near the Alyscamps, 1888, Musée d’Orsay
Friend and fellow-painter of Van Gogh, Paul Gauguin, loved to experiment with color and we’re thankful that he did. The stunning shades of bold color in this landscape, along with the loose shapes, make it the masterpiece it is.
Like Van Gogh, Gauguin was unappreciated as an artist until after his death, which is very sad— BUT we are so thankful that he painted and shared his work with the world; His work is such a loved and respected reference for so many other artist and art enthusiasts now!
View it: https://www. ar-arles-1888
*** Wassily Kandinsky, Autumn in Murnau, 1908, private collection
The deep, rich colors and thick style of this abstract painting would look stunning in any space. The warms and cools contrast with one another magnificently, making it a one of a kind masterpiece that is worth millions.
View it: https://www. /work-336.php
MAKE YOUR OWN:
Join us in the studio or virtually for a painting class where you can make your own Fall paintings! From landscapes and pumpkins, to leaves, trucks, and more, we’ve got it all.
Come in to make some artwork in person at our studio in Naperville! We have been taking all of the necessary precautions these past few months, with limited seating, social distancing, and disinfecting the studio. You can come in with loved ones to spend some times together as you get in touch with your inner-artist and paint + sip wine!
If you’re looking for a way to make some art from home, our virtual classes are perfect for you! From Take-Home Paint Kits for the kids to Live Interactive Virtual Classes for adults, we’ve got something for everyone.
You can sign up online, pick up supplies at the studio, and use the emailed link to watch the class on the device of your choice.
Stay comfy and safe at home as you enjoy some wine and snacks and paint along with the artist, virtually!
However you choose to utilize our classes, you’re sure to have fun! Check out our calendar to see all of the stunning landscapes, Fall decor, and Halloween paintings coming up and we’ll see you soon!
Spend an Autumn Day at The Met
Autumn is full of good things: pumpkins, turning leaves, cable-knit sweaters, and good reasons to spend cold days indoors at The Met. There is plenty to see in the Museum with the season in mind, from allegorical depictions of autumnal themes to abstract renderings of fall landscapes. Here are five works from five eras to see during your next trip to The Met Fifth Avenue.
Pan Yunyu (Chinese, active ca. 15th–16th century). Setting Sun on the Autumn River , 1604 or 1664. Folding fan mounted as an album leaf; ink and color on gold paper, 6 1/4 x 19 in. (15.9 x 48.3 cm). The Metropolitan Museum of Art, New York, John Stewart Kennedy Fund, 1913 (13.100.79)
Fall is rarely a time of respite. Instead, it tends to be when we return to work or school after a spell of rest in the summer. But Pan Yunyu, a Chinese artist active during the Ming dynasty (1368–1644), used an autumn setting as the backdrop for this calm scene. At the left of the folding fan, the artist has painted a solitary, peaceful, untroubled figure in a small raft. The water theme is no accident: artists of the period often used rivers as emblems of dreamy simplicity.
George Inness (American, 1825–1894). Autumn Oaks, ca 1878. Oil on canvas, 20 3/8 x 30 1/8 in. (54.3 x 76.5 cm). The Metropolitan Museum of Art, New York, Gift of George I. Seney, 1887 (87.8.8)
The American painter George Inness finished this picture about 1878, after a four-year sojourn in Europe with his family. In Rome, he was drawn to the work of Claude Lorrain, but it was an autumn day in New England, to where he had moved in 1874, that inspired this painting. The work is notable in part because of its lack of many small details, which Inness set aside in favor of a more poetic, contemplative rendition of a central group of trees framed by a darkening sky.
François Boucher (French, 1703–1770) and Workshop. Allegory of Autumn, 1753. Oil on canvas, 44 3/4 x 63 3/4 in. (113.7 x 161.9 cm). The Metropolitan Museum of Art, New York, Purchase, Mr. and Mrs. Charles Wrightsman Gift, 1969 (69.155.1)
This allegory of autumn by the Rococo painter François Boucher and his workshop is tucked above one door of a Parisian period room. Originally built between around 1736 and 1752 by the architect Jacques Gabriel, the room, which is now installed at The Met, also has an allegorical depiction of Lyric Poetry. For autumn, Boucher and his assistants rendered an image of Cupid handing fruit to two putti below, who are flanked by a tambourine and a wind instrument. It’s an image of youthful abundance and joy—a perfect summary of healthy, seasonal change.
Paul Klee (German [born Switzerland], 1879–1940). Redgreen and Violet-Yellow Rhythms, 1920. Oil and ink on cardboard, 14 3/4 x 13 1/4 in. (37.5 x 33.7cm). The Metropolitan Museum of Art, New York, The Berggruen Klee Collection, 1984 (1984.315.19)
The vivid colors in this painting of trees by Paul Klee have long been appealing, and the painting has gone through several hands. From 1922 to 1958, it belonged to the art historian Sophie Küppers, who was married to the Russian Constructivist El Lissitzky. The couple lent the work from 1926 to 1930 to the Provinzialmuseum in Hanover. In 1974, it came to into the collection of Heinz Berggruen, a major collector of paintings by Klee. Ten years later, Berggruen donated 90 works by the artist to The Met, including this picture, which today sits in a gallery devoted in part to his collection.
Marble statue of Tyche-Fortuna restored with the portrait head of a woman. Roman, Imperial, Late Flavian or Early Trajanic (1st or 2nd century A.D.). Marble, 75 x 26 x 23 in. (190.5 x 66 x 58.4 cm). The Metropolitan Museum of Art, New York, Fletcher Fund, 1961 (61.82.2)
In ancient Rome, Fortuna was originally a fertility goddess, which is why this figure carries a cornucopia (today a symbol of the fall harvest). But she also became identified with the Greek goddess of fate and luck, Tyche (the ship’s rudder symbolizes that she can steer destiny). This statue was indeed lucky: after its original head was lost, it was outfitted in the 18th century with the portrait head of an unknown Roman woman with a fashionable hairdo. The work once belonged to William Fitzmaurice, 1st Marquess of Lansdowne, who, as the British Prime Minister, oversaw the end of the American Revolution and the Treaty of Paris in fall 1783. Until 1930, the statue was displayed in the dining room of Lansdowne House in London. Today, that dining room also lives in The Met.
