The masters of Ukioye; a complete historical description of Japanese paintings and color prints of the genre school by Fenollosa Ernest Francisco 1853-1908 & Ketcham W. H

Author:Fenollosa, Ernest Francisco, 1853-1908 & Ketcham, W. H
Language: eng
Format: epub
Tags: Art, Japanese, Painting, Japanese, Color prints, Japanese
Publisher: [New York, The Knickerbocker Press
Published: 1896-03-25T05:00:00+00:00

i68. ToRiiKiYOTSUNE About 1771.

Small color print.

Actor riding on a cow. Kiyotsune was a pupil of Kiyomitsu, and thus a fellow student of Kiyonaga. I<ike all the Torii of this day, he was influenced by Harunobu.

169. ISHIKAWA TOYONOBU. AboUt 1778.

Small color print.

Girls with gold-fish and turtle. This Toyonobu is our old patriarch of Hordki, the leader of one branch of Masanobu's school after the latter's death. For the last twelve years his work has become very rare. This shows markedly the influence of Koriusai. It is interesting to have the old veteran turn up once more just at the moment of our beginning to study the work of his famous pupil, Toyoharu.

170. ISHIKAWA TOYOMASA. About 1771.

Small color print. The dolls' festival.

Toyomasa was probably the son of Toyonobu, natural or adopted.

His work follows closely the contemporary phases of Harunobu's,

Shunsho's, Toyoharu's, and Shigemasa's.

171. Utagawa Toyonobu. About 1773.

Painting on a kakemono.

N6 dance of the salt-girls.

Lent by George W. Vanderbilt of New York. But the greatest pupils of the first Toyonobu were two brothers of the Utagawa family, a name destined to play a great part in the subsequent history of Ukioye. Of these Utagawa Toyonobu was probably the elder and the greater genius. But he died very young, and his works have now become extremely scarce.

This painting is one of the most beautiful of his remaining works, the claret quality of the reds being something unprecedented in painting.

172. Utagawa Toyonobu. About 1773.

Kakemonoye.

Small figures with architectural background. This is a most unusual specimen, careful and neat in its drawing and disposition of quiet masses.

173. Utagawa Toyoharu. About 1769.

Large color print.

Young girls practising music. We now come to the work of the younger Utagawa Toyoharu, tt man who becomes the leader of one of the three remaining great schools,

'which, through Meiwa and Anyei, run on parallel with the leading one of Harunobu-Koriusai.

Toyoharu's genius was a delicate and sensitive one, which shrank from competition; and so, after a few years, we find him giving up print designing for the more private art of painting. In this way he goes over and becomes the true successor of the school of Shunsui.

]parly prints by Toyoharu are very rare and very beautiful. His finest work is a set of four large prints illustrating the four accomplishments. This is one of the series. In texture and sweetness of characterization it rivals Harunobu.

The beautifully drawn profile head is a rarity, and shows the complete hair-dressing.

174. TOYOHARTJ About 1770.

Kakemonoye. Boy flying kite.

The unique beauty of this print is its grand opposition of solid

orange and black.

175. Toyoharu. About l^^^

Painting on a kakemono.

A supper party.

I<ent by Bmest F. FenoUosa of Boston.

This is one of the earliest of Toyoharu's paintings and the most delicate. In daintiness it is like the handling of the finest print.

176. Toyoharu About 1779*

Painting on a large panel.

Young girl on New Year's day. A remarkably large and rich specimen from the master's brush. In wealth of line it almost suggests the black and white prints of Kai-getsudo. In this richness of pattern we can see what Shunsho tried to render in his actors' elaborate dresses at this date.

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