UNESCO travelling exhibition: Japanese woodcuts

63. KABUKTDO ENKYO (1749- I8o3). EnkyO imitated the a r t o f Sharaku, b u t his style followed th a t o f the later years o f the teacher. He, too, was a m a n o f great talent, but was n o t so extremely unusual as t h a t o f Sharaku. H e ma d e only a few kinds o f prints in activity a n d fame h e seems to have been surpassed b y Kunisada (Toyokuni the during his active period o f about six months. Third), a fellow pupil o f his u n d e r Toyokuni the First. 64-70. K I T A G AWA U T AMA R O ( i 7 5 3 - 1 8 o 6 ) . U t ama r o a t first studied u n d e r Toriyama 82. U T A G AWA T O Y O H I R O ( 1 7 7 3 - 1 8 ! 2 8 ) . Toyohiro, like Toyokuni the First, was one Sekien. His art-name during the An-ei era (1772-80) was Kitagawa Toyoaki, b u t o f the two distinguished pupils o f Utagawa Toyoharu. Wi t h his excellent designs of he changed the n ame to U t ama r o in about 178!2. H e successfully depicted beauties beauties a n d landscape h e competed i n skill with Toyokuni, who specialized in portraits in the style o f Kiyonaga, b u t in 1791 h e created a novel style o f figure drawing. H e o f actors. His works a r e characterized b y quiet, poetic feeling. published thereafter masterpieces o f Okubi-e (large-head-pictures), o r close-up portraits, one after another, a n d won great fame which conquered the Ukiyo-e world. H e was 83. U T A G A w A KUNIMASA ( i 7 7 3 - 1 8 1 0 ) . Kunimasa was taught by Toyokuni the punished b y the Shogun government in 1804 o n the charge t h a t one o f his works implied First. H e was skilful i n portraying actors, especially i n the Okubi (close-up) style. He criticism o f the Shogun's family, a n d he died i n misery. ma d e only a few pictures o f women, b u t these show a delicate, sensuous beauty peculiar to his art. 7 ' . EimOs&i CFIOKI (late eighteenth century). ChOki was a pupil o f Toriyama Sekien. H e a t first called himself ChOki, t h e n changed the n ame to Nomakawa 84. U T A G AWA K u N l y o s H i (1797-1861). Kuniyoshi is coupled in fame with Kunisada ShikO, a n d finally resumed the n ame ChOki. His works are pictures o f beautiful women (Toyokuni the Third) as one o f the two outstanding pupils of Toyokuni the First. He in the style o f Utamaro, a n d are distinguished for light, clear colours a n d delicate dealt with actors a n d beauties, too, b u t his true merit was displayed i n landscapes flowing lines, a n d Musha-e (pictures o f historical warriors). His landscapes, in particular, were 7 2 . T o R i l KIYOMASA (late eighteenth century). Kiyomasa was the son o f T o n i fresh, vivid ones i n which h e adopted Western techniques. Kiyonaga. H e studied u n d e r his father in boyhood, b u t the father, u p o n becoming 85. U T A G AWA KUNISADA ( T o Y o K u N I T H E T H I R D ) ( i 786-1864). "A r t names", T o n i the Fourth, caused h i m to give u p a r t i n order to prevent future dispute a b o u t Gokitei a n d KöchOrO. H e was a pupil o f Toyokuni the First, a n d later became Toyo- the succession o f the T o n i family. Thus h e was active only u p to the age o f 20. His kuni the Third. H e was a pre-eminent figure i n the Ukiyo-e world after the 1830's, a r t shows strong, free brushwork a n d skilful colour scheme. a n d ma d e a great n umb e r o f pictures o f beauties a n d actors. His ma i n characte 73. KTJBO SHUNMAN ( 1 7 5 7 - 1 8 2 0 ) . Sh u nma n learned from Katori Nahiko a n d ristics are exaggerated contours a n d voluptuous atmosphere. Kitao Shigemasa. Sh6sad6 was another " a r t n ame " . H e was famous as a writer 86. K I K U K AWA E I Z A N (1787-1867). T a u g h t b y a teacher wh o studied the KanO o f fiction a n d comic poems. His favourite subject in Ukiyo-e was beautiful women, painting school, a n d later learned from Suzuki Nanrei. H e held a peculiar position a n d h e worked in a colour-scheme called "Beni-girai" (avoiding red colour) with the amo n g Ukiyo-e artists o f his time as a m a n who, with his pictures of sensuous beauties emphatic use o f purple constructed with grey a n d yellow. His "subdued" colour in the style o f Utamaro, emulated the Utagawa school then flourishing. tones a r e v e r y effective. 87. KEISAI EISEN ( 1 7 9 0 - 1 8 4 8 ) . Ikeda by family name. H e led a very eventful life 74. C i o i i u r ' s i (or HosonA) E1sHI (i 756-181 s). Eishi used the " a r t n a m e " ChO a n d collaborated with Hiroshige i n landscape. His late years were devoted to writing. bunsai. H e learned painting from KanO Eisen-in. H e was the son o f Hosoda H e wrote, among other books, the Zoku Ukyo-e R u i k , a collection o f biographies of Tokiyuki, great grandson o f Hosoda Tamba-no-kami, wh o held a n important position Ukiyo-e artists, which is still a n important source of information. in the Shogun government. H e himself was a Samurai o f high rank, b u t gave u p his governmental position a n d became a machi-eshi (artist o f the town). H e depicted 88-92. KATSUSHIKA H o K u s A l 0 7 6 o - i 8 4 9 ) . Hokusai was a pupil o f Katsukawa women in a n elegant a n d elaborate style. ShunshO. H e called himself Shunr a t first, a n d changed his " a r t names" more t h a n 20 times thereafter. H e studied various styles such as those o f the Kano, Tosa 75. C H ö K ñ S A I E I S H (late eighteenth century). Eishö was one o f the leading pupils a n d Korin schools as well as Chinese a n d Western arts, a n d established his original o f Hosoda Eishi. He , like his teacher, specialized in beauties, b u t his style was mo r e style o n the foundation o f these. H e was a m a n o f great talent a n d diligence, eagerly delicate a n d realistic, depicting a n y fit subject for art. His fame is n ow world-wide. 76. ICFrrRAKuTEI Eisui (late eighteenth century). Eisui, too, was a pupil o f Eishi. 93. T O T O Y A H O K K E I ( i 7 8 0 - 1 8 5 0 ) . Hokkei's family n ame was Iwakubo, b u t h e used His Okubi-e (close-up pictures) o f beautiful wome n show animated expression. the "house n ame " Totoya (fish dealer) as he kept a fish shop. H e first learned painting from KanO Masanobu (Kanö Yosen), b u t later studied under Katsushika 77. SHIKYOSAI E I R I ( o r REKISENTET ETRI) (late eighteenth century). Eiri, ChökyOsaia Hokusai a n d specialized i n Ukiyo-e. H e was a devoted follower o f the style o f Hokusai, b y another " a r t n ame " , also learned from Hosoda Eishi. H e later assumed the n a m e in which h e worked a t illustration o f literary works o f the time. H e was especially Rekisentei Eiri, the Eiri in this case being written in characters different from the o n - clever a t illustrating comic poems. ginal Eiri. H e excelled a t portrayal o f beautiful women. 94. SHÜTEI H O K U J U ( 1 7 6 3 - 1 8 2 4 ) . Hokuju studied u n d e r Hokusai, a n d developed 78-80. U T A G A W A T OYOKUN I T H E FIRST ( i 769-1825). Studied under U t a g awa a Western a r t style, besides creating his own original manner. Tovoharu. His a r t was very eclectic, h e readily assimilated the styles o f other artists, a n d very successfully. His portraits o f actors, in a style appealing t o the masses, 9 5 - 1 0 0 . ICHLRY1sAI ( o r ANDO) H I R o s H I G E ( i 797-1858). " A r t names", lchiryusai browrht h i m nation-wide fame. H e ma d e fine pictures o f beautiful women, too. H e a n d Rissai. H e became i n 1 8 11 a pupil of Utagawa Toyohiro, b y whom h e was given established his original U t a g awa style i n his later years. the n ame Hiroshige the next year a n d founded his own school. T h e famous series ô Highway brought h i m sudden a n d great fame. His 81. U T A G A W A TOYOKUNT T H E SECOND ( 1 8 0 2 - ? ) . This artist a t first used the n a m e Ffly-three Stages on the Tokaid Toyoshige. H e was a pupil o f Toyokuni the First, a n d h e became the latter's adopted landscapes were not realistic, faithful reproductions of nature, b u t a poetic, sentimental depiction o f the climate o f J a p a n in simplified brushwork a n d impressive, beautiful son, thus, after the death o f his teacher, inheriting the n ame Toyokuni. His style colours. 2 4 25