Primarily aimed at foreign markets, shin-hanga prints appealed to Western taste for nostalgic and romanticized views of Japan and as such, enjoyed immense popularity overseas. Shin-hanga prints were directed to a Western audience largely through Western patronage and art dealers such as Robert O. Inspired by European Impressionism (which itself had drawn from ukiyo-e), the artists incorporated Western elements such as the effects of light and the expression of individual moods, but focused on strictly traditional themes of landscapes ( fukeiga), famous places ( meishō), beautiful women ( bijinga), kabuki actors ( yakusha-e), and birds-and-flowers ( kachō-e). The movement was initiated and nurtured by publisher Watanabe Shozaburo (1885–1962), and flourished from around 1915 to 1942, resuming on a smaller scale after the Second World War through the 1950s and 1960s. It maintained the traditional ukiyo-e collaborative system ( hanmoto system) where the artist, carver, printer, and publisher engaged in division of labor, as opposed to the parallel sōsaku-hanga (creative prints) movement which advocated the principles of "self-drawn" ( jiga), "self-carved" ( jikoku) and "self-printed" ( jizuri), according to which the artist, with the desire of expressing the self, is the sole creator of art. "new prints", "new woodcut (block) prints") was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized the traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). Two Cockatoos on Plum Blossom Tree, by Ohara Koson (c.
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