Summer Landscape Hanging scroll, ink on paper, (134.55 x 53.5 cm.), signed Gyokudo and with one artist's seal, mounted on brocade, in fitted wood box within a box. LITERATURE Published: Stephen Addiss, Zenga and Nanga: Paintings by Japanese Monks and Scholars, Selections from the Kurt and Millie Gitter Collection (New Orleans Museum of Art, 1976), pl. 59; Miyake Kyonosuke, Uragami Gyokudo (Tokyo, 1956), Vol. 2 Gyokudo's characteristic paintings date from the last two decades of his life. Working on paper in monochrome ink he developed a unique personal style by overlaying gray and black ink, wet and dry brushwork, in complex rhythmic patterns of horizontal and vertical strokes. Here he creates a wet summer landscape with open pavilions and a solitary fisherman. In describing this painting, Stephen Addiss has suggested that the rapid brushwork and blurring of forms may have been inspired by an excess of alchol. There is one first-hand account of the artist painting while intoxicated. In 1807 the painter Tanomura Chikuden (1777-1835) wrote that "While intoxicated, a heavenly refinement would appear in his brushwork, quite different from the ordinary skill of mortals... When he got too drunk, however, we would produce works in which one could not perceive distictions between houses, rocks and trees.".