Lilian May Miller (American, 1895–1943)
Cathedral Cliffs, Diamond Mountains, Korea
Woodblock Print, 1928

Signed and dated in plate.

Lilian May Miller was one of the most remarkable Western artists working in East Asia during the early twentieth century. Born in Tokyo to an American diplomatic family, she received classical Japanese artistic training from childhood and later studied at Vassar College in the United States. Unlike most Western artists working in the Japanese print tradition, Miller eventually mastered every stage of the woodblock process herself, designing, carving, and printing her own works. Her prints occupy a unique position between Japanese shin-hanga aesthetics and Western artistic sensibilities, making her one of the most important cross-cultural artists of her generation.

This print depicts the celebrated Diamond Mountains (Kŭmgangsan) of Korea, one of East Asia’s most revered scenic landscapes. The composition focuses on soaring granite cliffs rising dramatically into mist-filled space, their vertical forms creating a sense of monumentality and spiritual grandeur. The title “Cathedral Cliffs” reflects Miller’s interpretation of the landscape through both Eastern and Western eyes. The towering peaks resemble the architecture of a Gothic cathedral, transforming the natural world into a place of contemplation and reverence.

Miller spent considerable time in Korea during the 1920s and produced some of her finest prints there. At a time when relatively few Western artists traveled extensively throughout Korea, she was deeply attracted to its mountains, temples, rural villages, and distinctive cultural landscape. Her Korean subjects differ from many contemporary Japanese prints in their emphasis on rugged terrain and dramatic natural scenery. Rather than focusing solely on picturesque beauty, Miller often sought to capture the spiritual atmosphere and timeless character of the places she visited.

The present work demonstrates the artist’s mastery of the shin-hanga tradition. Delicate gradations of blue and grey create a luminous sense of depth, while the sharply defined mountain forms retain the structural clarity characteristic of Japanese woodblock technique. The contrast between the monumental cliffs and the tiny architectural elements nestled below enhances the viewer’s awareness of nature’s vast scale. The composition is both elegant and powerful, combining Japanese design principles with a Western appreciation for landscape drama.

Miller's work occupies a unique place in the history of twentieth-century printmaking. Fluent in Japanese language and culture, she bridged artistic traditions that were often treated separately by her contemporaries. Her prints of Japan and Korea introduced many American audiences to East Asian landscapes and contributed significantly to the international appreciation of the shin-hanga movement. Today her works are held in major museum collections, including the Smithsonian Institution, the Art Institute of Chicago, and the British Museum.

Combining technical excellence, cultural significance, and striking visual beauty, Cathedral Cliffs, Diamond Mountains, Korea stands among Lilian May Miller’s most admired Korean landscapes and represents an outstanding example of cross-cultural printmaking in the early twentieth century.

{Image size: 13 3/4 x 9 inches (35 x 22.8 cm)}.
{Frame size: 21 x 16 1/4 inches (53.3 x 41.27 cm)}.

Not inspected out of frame. For condition report, please contact the Asian Art Department.