Charles W. Bartlett

Charles William Bartlett (1860–1940) was a British-born painter and printmaker whose collaboration with the Tokyo publisher Watanabe Shozaburo produced some of the most distinctive and sought-after landscape prints of the shin-hanga movement. A trained Western artist who brought a watercolorist's eye to the Japanese woodblock medium, Bartlett created prints of luminous color and atmospheric subtlety that stand as masterful examples of cross-cultural artistic exchange.

Born on June 1, 1860, in Bridport, Dorset, England, Bartlett received a thorough academic training in art. He studied at the Royal Academy Schools in London and subsequently in Paris at the Academie Julian under the prominent academic painters Raphael Collin and Jules-Joseph Lefebvre. These years of rigorous European training gave him a solid foundation in drawing, composition, and the handling of light and color that would inform all his subsequent work. He became a skilled painter in oils and watercolors, exhibiting at the Royal Academy and the Paris Salon.

In the late 1880s and 1890s, Bartlett began traveling extensively through Asia, visiting India, Ceylon, Java, China, and Japan. These travels profoundly shaped his artistic vision. He was captivated by the light, color, and landscape of the East, and his watercolor paintings from this period demonstrate a growing fascination with atmospheric effects and broad, simplified compositions that aligned naturally with Japanese aesthetic principles. His travels also brought him into contact with Japanese art and printmaking traditions, laying the groundwork for his later collaboration with Watanabe.

The defining chapter of Bartlett's printmaking career began around 1916 when he met Watanabe Shozaburo in Japan. Watanabe, who was building the shin-hanga movement by commissioning designs from both Japanese and Western artists, recognized in Bartlett a painter whose watercolor sensibility could translate beautifully into the woodblock medium. Bartlett provided watercolor designs that Watanabe's master carvers and printers translated into woodblock prints of remarkable fidelity to the original paintings' luminous color harmonies.

The resulting prints, numbering approximately thirty designs, are among the most beautiful and technically accomplished works of the shin-hanga movement. Bartlett's subjects ranged across the Asian landscapes he had painted during his travels: shimmering views of Indian temples reflected in still waters, Javanese landscapes bathed in tropical light, Japanese harbors at twilight, and Chinese riverscapes. Prints such as "Udaipur" and "Benares" capture the golden light of the Indian subcontinent with extraordinary sensitivity, while "Hodogaya" and "Sailing Boats, Morning" demonstrate his ability to render the more subtle, misty atmosphere of Japan.

What distinguished Bartlett's shin-hanga prints from those of his Japanese contemporaries was his distinctly Western approach to light and color. Where artists like Kawase Hasui and Hiroshi Yoshida worked within Japanese landscape traditions, Bartlett brought the plein-air painter's understanding of how light transforms a scene. His compositions tend toward broader, more open arrangements with fewer discrete elements, and his palette favors warm, saturated colors — ambers, golds, deep blues, and rich greens — that recall the watercolor tradition rather than the more restrained tones typical of Japanese printmaking.