Murakami Meets Monet
'Murakami Meets Monet' is surfacing as a fresh dialogue between ukiyo‑e, Impressionism and contemporary art—social posts promoting the show appeared March 25 and frame it as a cross‑period conversation. The pairing is getting attention for bridging traditional Japanese print aesthetics with Monet’s light and composition. (x.com)
Perrotin Los Angeles presented "Hark Back to Ukiyo-e: Tracing Superflat to Japonisme’s Genesis," a solo showing of 24 new paintings that ran Feb. 14–Mar. 14, 2026. (ocula.com) Murakami has said a recent visit to Claude Monet’s house and gardens in Giverny directly informed the series’ handling of light and compositional cues. (dnyuz.com) The exhibition opens with SUPERFLAT reworkings of bijinga by Kitagawa Utamaro and Torii Kiyonaga, some presented as monumental multi‑panel canvases measuring roughly 235 × 463.8 cm and finished in acrylic with gold and platinum leaf. (fadmagazine.com) Alongside those Edo‑era references, Murakami produced direct riffs on Monet paintings — for example "Claude Monet’s Woman with a Parasol — Madame Monet and Her Son: A Spacetime of Awareness — SUPERFLAT," a 100 × 81 cm acrylic on canvas in the Perrotin listing. (artnet.com) Perrotin also ran a temporary store in Los Angeles from Feb. 6–28 offering limited‑edition prints and exhibition merchandise tied to the show. (fadmagazine.com) Close readings in gallery coverage and criticism called out Murakami’s signature squeegee technique and noted occasions where his palette intensifies or alters passages from the Monet originals. (greg.org)
