Japanese woodblock prints-andreas marks

B U N C HO– 49

50 artists



Below l uniden Museum UnlistedTop 1770 The actor SanogawaIchimatsu II, from the “Picture-bookof Stage Fans” (Ehon butai ōgi), vol.1, p. 26. 16.7 x 25.9 cm (6.6 x 10.2 in.).Publisher: Kariganeya Ihei. Library ofCongress.Left 1770 The actors IchikawaKomazō II as Hanamori Kisaku andYamashita Kinsaku II as Oume in theplay Nue no mori ichiyō no mato,Nakamura Theater, XI/1770. Chūban.National Museum of Ethnology, Leiden,The Netherlands. Hayashi 1981, no. 252.

late 1760s The actor Ōtani Hiroji III in anntified role. Hosoban nishiki-e. Nationalm of Ethnology, Leiden, The Netherlands.d in Hayashi 1981. B U N C HO– 51

Shu 1726– Given na ings: Jūg characte Born pr Shunsu (1730–1 forty ye develop illustrat 1770. Th that wa (Azuma After pre-em individu prints in triptych Shun publish (Fukaga collabor Cultiva format (Ise mon the poe Shun Shunsh 1776, ag of Com Of the to c.177 includin his nam Shun which c at Mats Left top E Sukegorō unidentifi Art Museu Left bott as Kameō the play H Ichimura nishiki-e. Museums Opposite the series Brocade monoga Rieder.52 artists

unshō –1793 ames: Yōsuke, Yūsuke (from 1774). Art surname: Katsukawa. Art names on paint- gasei, Kyokurōsai, Kyokurōsei, Ririn, Rokurokuan, Yūji. Jar-shaped seal with the er “rin” (grove). resumably in 1726, Shunshō initially studied painting under Katsukawa ui (act. c.1744–64) and the Hanabusa school painter Kō Sūkoku 1804). His earliest known prints date from 1764 when he was nearly ears old. Together with Bunchō he played the central role in the pment of realistic portrayal of actors. Most important are their tions in the book “A Picture-book of Stage Fans” (Ehon butai ōgi) fromThe novel half-length portraits of actors in fan shapes was an approach as continued by Shunshō in his celebrated series “Fans of the East” a ōgi: 1775–82). r Bunchō ceased to design actor prints in the 1770s, Shunshō becameminent in this field, providing more realistic portraits that emphasize the ual characters of the actors. Overall, he designed several hundred actor n the small, narrow hosoban format, sometimes composed as diptychs, hs, or even pentaptychs. nshō was active in other genres as well, working for at least 18 differenthers. His early beauties like the series “Eight Views of Fukagawa” awa hakkei) are strongly influenced by Harunobu. Around 1772 he rated with Shigemasa in producing the chūban-size series “Silkworm ation” (Kaiko yashinai gusa). From c.1772–73 date forty-eight chūban- designs of the first full-color print series illustrating the “Tales of Ise” nogatari). At the top of each print is a stylized cloud border, enclosing em from the depicted episode. nshō created several portraits of sumo wrestlers. Until his death, hō continued to illustrate books and also produced several erotica. In gain in collaboration with Shigemasa, he illustrated the book “Mirrormpeting Beauties of the Green Houses” (Seirō bijin awase sugata kagami). more than one hundred paintings known by him, the earliest is dated 79–80. As head of the Katsukawa school, Shunshō had many students, ng Shunkō, Shun’ei, Shunzan, Shundō, and Shunrō (who later changedme to Katsushika Hokusai). nshō passed away aged 67 on the eighth day of the twelfth month 1792, corresponds to January 19, 1793 in the modern calendar. He is burried sudaira Saifukuji, Asakusa, today located in Tokyo’s Taitō ward. Early 1770s The actors Nakamura ō II and Segawa Kikunojō II in fied roles. Hosoban nishiki-e. Asian um, National Museums in Berlin. tom 1768 The actors Ōtani Hiroji III ō and Sakata Sajūrō I as Ariō in Hime Komatsu ne no hi no asobi, a Theater, IX/1768. Hosoban Asian Art Museum, National s in Berlin. e c.1772–73 “The Syllable Yo”, from s “Tales of Ise in Fashionable Prints” (Fūryū nishiki-e Ise atari). Chūban. Collection Peter



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Left top late 1770s The actor Nakamura Rikō I in an unidentified role. (Lef sheet of a diptych, right sheet shows the actor Ōtani Tomoemon I). Hosoban nishiki-e. Asian A Museum, National Museum in Berlin.54 artists

Left bottom 1770 The Above c.1786 Westn actor Ichikawa Danzō IV, Division—The sumoft from the “Picture-book of wrestlers Sekinoto Hachirōji and Dewanoumi Stage Fans” (Ehon butai Kinzō. Ōban. Collection ōgi), vol. 2, p. 19. 16.7 x 25.9 cm (6.6 x 10.2 in.). Peter Rieder.Art Publisher: Kariganeya Ihei.ms Library of Congress.

Left top 1776 The actoDanjūrō V as the spiritwoman Higaki in the plno hana yuki no kuronIchimura Theater, XI/17Hosoban nishiki-e. AsianNational Museums in Ber

or Ichikawa Left bottom c.1770s The actors Below c.1770s “Autumn Moon at of the old Nakamura Tomijūrō I sitting on a Shiohama” (Shiohama no aki no lay Sugata horse and Bandō Mitsugorō I in an tsuki), from the series “Eight Viewsnushi, unidentified play. Hosoban nishiki-e. of Fukagawa” (Fukagawa hakkei). 776. Asian Art Museum, National Chūban. Collection Peter Rieder.n Art Museum, Museums in Berlin. rlin. S H U N S HO– 55

Harunobu1725?–1770Family names: Hozumi, Suzuki. Given name: Jihei. Art names: Chōeiken, Shikojin.Suzuki Harunobu is thought to have been born in example of this type1725 and lived in Kanda Shirakabechō according to upper right of pagethe “Wastepaper Basket” (Hōgu kago) from the 1800s, depicting the youngwritten by Morishima Chūryō (1756–1810). known toothpick sh[According to the “Supplement to Ukiyo-e fortune god Ebisu fMiscellany” (Zoku ukiyo-e ruikō) he lived in Ryōgoku Gods of Good FortYonezawachō, however this source is from 1833 and Harunobu’s death inseems rather unreliable as Harunobu’s artist name is beauties dominatedgiven as “Koryūsai.”] It is unclear who he received his are predominantly iartistic training from and how he started his career. and his entire outpuHe probably was a student of Nishimura Shigenaga them actors but mobut also shows the influence of Nishikawa Sukenobu Yoshiwara pleasurein his female portraits. His earliest known designs are also produced severadated to 1760, when he was in his thirties. These and illustrated someprints are benizuri-e (two-color-printing) and mizue(water pictures). The figure at the bottom left of page59, Ōtomo no Kuronushi, is from the rare narrow-format (hosoban) series “Six Saints of Poetry”(Rokkasen), issued around 1765 by Iwatoya Genpachi.In these mizu-e the key block is colored and notblack, hence the very light appearance of the print. During the first half of the 1760s, Harunobudesigned several actor prints. The majority of themare rather unexciting and lack the vigor of thekabuki theater. To the second half of the 1760sdate a few warrior prints by Harunobu. In 1765,the first, innovative “brocade pictures” (nishiki-e)which caused a shift towards full-color printing wereproduced, showing Harunobu’s designs. Amongstthem are “pictorial calendars” (egoyomi) from theyears 1765 and 1766, commissioned by groups ofhaikai poets. These picture calendars were printed insmall numbers and exchanged at parties. They werethe driving force to the further commercializationof the print market and Harunobu was the foremostdesigner of such prints. Deriving from such picturecalendars is his celebrated series “Eight Views ofthe Parlor” (Zashiki hakkei), published c.1766. Thefigure on the right shows one of the eight designs,“Descending Geese of the Koto Bridges,” in thefirst state with signature and seal of the haikai poetKikurensha Kyosen, in reality the shogunal retainerŌkubo Jinshirō Tadanobu (1722–1777), whocommissioned this series from Harunobu. When the boom of picture calendars ended,Harunobu turned his focus to “parody pictures”(mitate-e) on a rich variety of pictorial and literarysubjects. The figure on the next page, “Parody ofNarihira’s Journey to the East,” from c.1768-69 is an56 artists

e of print, as is the figure on the Right c.1768–69 Parody of 59 from around the same time, Narihira’s journey to the east.g girl Ofuji, a sales girl at the well- Chūban. Asian Art Museum,hop Hon’yanagi, together with the National Museums in Berlin.from the series “Modern Seven Suzuki 1979, no. 379.tune” (Tōsei shichifukujin). Until n 1770, his delicate and sensual Below c.1766 “Descendingd the print market. His designs Geese of the Koto Bridges”,in chūban (medium print) size from the series “Eight Views ofut of single-sheet prints, some of the Parlor” (Zashiki hakkei).ostly young men and girls from the Chūban. Asian Art Museum, quarter, is close to 900. Harunobu National Museums in Berlin. al erotic works, very few paintings, Suzuki 1979, no. 512-4-1. e seventeen books.



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Right c.1768–69 Young girl in loose kimono, washing cloth in a stream under a willow tree. Chūban. Asian Art Museum, National Museums in Berlin. Suzuki 1979, no. 570?. Below left 1760s The actor Ichimura Uzaemon IX as Osugi in an unidentified play. Hosoban benizuri-e. Publisher: Harimaya Shinshichi. Library of Congress. Suzuki 1979, no. 47; unlisted in Mutō 2005. Below right c.1768–69 Evening cool on a bench. Chūban. Collection Peter Rieder. Suzuki 1979, no. 433?.58 artists



Right c.1765 “Ōtomo no Kuronushi”, from the series “SixImmortal Poets” (Rokkasen). Hosoban mizu-e. Publisher:Iwatoya Genpachi. Collection Peter Rieder. Suzuki 1979, no. 26.Bottom right c.1768–69 Ofuji, a sales girl at the well-known toothpick shop Hon’yanagi, together with thefortune god Ebisu, from the series “Modern Seven Gods ofGood Fortune” (Tōsei shichifukujin). Chūban. CollectionPeter Rieder. Suzuki 1979, no. 306-1.Bottom left c.1765 Parody of a smoking fortune god Hoteiwatching the moon in attendance of courtesans. Chūban.Asian Art Museum, National Museums in Berlin. Suzuki 1979,no. 182.

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Koryūsai 1735–1790 Family name: Isoda. Given n Born 1735, Koryūsai wa samurai in the service of Tsuchiya. After the deat became a rōnin and settl district near Ryōgoku B career as a print maker a age of 35 using the nam that the first character o with the first character o suggests, that there was professional relation bet eight designs are known signature, showing his p samurai themes. He soo floating world (ukiyo) su continued to work in th who had died in 1770. K wide variety of serial dev Twelve Months” as in th Months in the Pleasure jūnikagetsu) of which on known, dated to c.1773– In the spring of 1776 the series “Models for F Designs as Fresh Young wakana no hatsumoyō), d from the Yoshiwara toge attendants. the figure on provides an example fro showing the courtesan T two attendants Tasoya a continued to produce de until 1781. Overall, Kor least 140 different desig most extensive beauty se of Japanese prints. Desp of designs for “Models f Koryūsai simultaneously for example the series “P Left c.1771 Young couple an boy feeding carp on the Dru Bridge at Kameido. Hashira- of Congress. Pins 1982, fig. 449 Hockley 2003, appendix III, E.660 artists

names: Masakatsu, Shōbei. Artist name: Haruhiro. as originally a Thirty-six Saints of Poetry in the Northern f the lord of Quarter” (Hokurō yatsushi sanjūrokkasen) th of his lord he [Morokoshi of the Echizenya brothel]. led in the YagenboriBridge. He started his Allen Hockley substantiated that around 1769 at the Koryūsai adopted the “Hermit of Bukōme Haruhiro. The fact Yagenbori” (Bukō Yagenbori inshi) signatureof this name matches in fall of 1778, demarcating the beginning of Suzuki Harunobu of his life as rōnin. In 1782, when Koryūsai some kind of was 48 years old, he was honored with the tween the two. Only Buddhist title hokkyō (lit. bridge of the law),n with the Haruhiro a priestly title for artists paying tribute topreference for their achievements. To receive this title, heon turned towards had to submit a request and it seems that ubjects and his good personal connections as well as hishe style of Harunobu, many successful flower and bird (kachō-e) Koryūsai employed a designs of which roughly 170 are known, vices like “The were the decisive factors for his successful he series “Twelve bid. Koryūsai, being proud to have received Quarters” (Enrō this title, from now on added a reference to nly three designs are it to his signature. However, it seems that –75. he significantly reduced his output after6, Koryūsai started 1782 as only a small number of his printsFashion: New and paintings bear this addition. Amongstg Leaves” (Hinagata them is a picture of the Six Saints of Poetrydepicting courtesans (rokkasen), copied after the painter Tosa ether with their Mitsushige (1496–1559). n the next pageom this series, Koryūsai is considered as one of the Toyoharu and her great masters of “pillar prints” (hashira-e), and Takino. He which became popular as decoration for esigns for this series Japanese homes. Over 350 designs covering ryūsai created at various subjects were published. Koryūsaigns, making it the produced also an unknown number of eries in the history erotica, a subject that was probably close topite the high number him because he was the leading designer of for Fashion,” beauty prints, after the death of Harunobu y drew other prints, in 1770. His last known print, a depiction Parodies of the of the famous, deified Chinese general Kan U (Chin. Guan Yu), was published by Nishimuraya Yohachi around 1790.nd small Opposite c.1780 The courtesanum Toyoharu of the Chōjiya and her two-e. Library attendants Tasoya and Takino, from9, and the series “Models for Fashion—New6. Designs as Fresh Young Leaves” (Hinagata wakana no hatsumoyō). Ōban. Publisher: Nishimuraya Yohachi. Asian Art Museum, National Museums in Berlin. Hockley 2003, appendix II, E.110.



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Left c.1770–72 “Clearing mist atIchigaya” (Ichigaya no seiran),from the series “Eight Views ofEdo’s Red-light Districts” (Edoirozato hakkei). Chūban. NationalMuseum of Ethnology, Leiden, TheNetherlands. Hockley 2003,appendix I, F.5-2.Right mid 1780s Six Saints ofPoetry (rokkasen), copied afterthe painter Tosa Mitsushige.Chūban. National Museum ofEthnology, Leiden, The Netherlands.Hockley 2003, appendix IV, J.7.Below c.1773–75 “Sixth Month”(Minazuki), from the series“Twelve Months in the PleasureQuarters” (Enrō jūnikagetsu).Chūban. Collection Peter Rieder.Series listed in Hockley 2003,appendix I, G.9, however, not thisdesign.

Above c.1776–81 The courtesanMorokoshi of the Echizenya, from theseries “Parodies of the Thirty-six Saintsof Poetry in the Northern Quarter”(Hokurō yatsushi sanjūrokkasen).Chūban. Collection Peter Rieder. Serieslisted in Hockley 2003, appendix I, O.2,however, not this design.Top right c.1770s Woman asleep at herdesk dreams of a girl walking with apilgrim. Chūban. Collection Peter Rieder.Hockley 2003, appendix IV, C.50.KORYU– SAI 63

Shunkō1743–1812Family name: Kiyokawa. Given name: Denjirō. Art surname:Katsukawa. Art names: Sahitsusai (from 1791); Sahitsuan. Smalljar-shaped seal with the character “ki” (wood).Shunkō lived in Nihonbashi Hasegawachō. He is believedto have been Shunshō’s earliest student. His first worksseems to be illustrations to the book “Talks about DebutPlays” (Kaomise shibai banashi), dated to 1766. Around1771 he started to design actor prints and soon acquiredthe nickname “Small Jar” (Kotsubo) because he used asmall jar seal on his prints with the character “ki” assignature, following his teacher’s large jar seal withinscribed “rin.” Like his teacher Shunshō, Shunkō concentrated onactor prints and developed a distinctive style. The majorityof his prints were in the narrow hosoban format. In 1780,he experimented with close-up portraits of actors in aibanformat and two such prints were produced. But it was notuntil 1788 when he designed the first bust portraits inthe ōban format, forerunners for the renowned designs bySharaku and others in the 1790s. Shunkō created also a number of sumo wrestlerpictures, a motif that suited his powerful drawing style.In the late 1780s he suffered a stroke and was no longerable to use his right arm. He ceased designing prints butcontinued to paint. He passed away in 1812, aged 70. Heis buried at the Zenshōji in Asakusa and his posthumousBuddhist name is Shaku Shunkō Shinji. Left early Ichikawa Nakamu unidenti nishiki-e Rieder.64 artists

y 1780s The actors Above 1787 The actor Sawamuraa Danjūrō V (right) and Sōjūrō III as Oda Izuminosuke inura Rikō I (left) in the play Keisei Ide no yamabuki,ified roles. Hosoban Nakamura Theater, IV/1787. diptych. Collection Peter Hosoban nishiki-e. Collection Arendie and Henk Herwig.

Below 1788 The wrestlers Right top c.1780s The actor Right bottItsukushima, Koshinoto and Bandō Mitsugorō II in an Onoe MatTakinoue at the Sumo Spring unidentified dance role. Takauji inTournament in IV/1788. Ōban. Hosoban nishiki-e. Asian Art misao onnPublisher: Toyoshimaya Bunjiemon. Museum, National Museums in KawarazaCollection Peter Rieder. Berlin. Hosoban n Congress.

tom 1794 The actortsusuke I as Ashikagan the play Matsu wa na kusunoki,aki Theater, XI/1794.nishiki-e. Library of S H U N KO– 65

Shigemas 1739–1820 Family name: Kitabatake. C name: Kitao. Art names: Ho Kitao Shigemasa was b publisher Suharaya Mo later became a student beautiful women, at firs activity was illustrating several of them with er poet and painter. He w Among his most famou yashinai gusa), produced Another collaborative p “Mirror of Competing kagami) from 1776. Shigemasa had sever students included Kubo Kyōden, 1761–1816). S 1820, aged 82.66 artists

sa Childhood name: Tarōkichi. Given name: Kyūgorō, Sasuke. Art sur- okuhō, Kōsuisai, Kōsuiken, Suihō Itsujin, et al. Poet name: Karan.born in 1739 as the eldest son of the bookseller and ohei of Nihonbashi. He was originally self-taught and only of the print artist Nishimura Shigenaga. He specialized in st strongly influenced by Harunobu, but his main area ofg books, starting in 1765. Over 250 are known by him,rotic content. Shigemasa made himself also known as aworked for over 20 publishers, foremost Tsutaya Jūzaburō. us works is the chūban series “Silkworm Cultivation” (Kaiko d from about 1772 in collaboration with Shunshō. project with Shunshō is the illustrations to the book Beauties of the Green Houses” (Seirō bijin awase sugata ral students and was the founder of the Kitao School. His o Shunman (1757–1820) and Kitao Masanobu (SantōShigemasa passed away on the 24th day of the first month

Opposite far left early 1770s Tale of Ōeyama.Hashira-e. Publisher: Urokogataya Magobei.Library of Congress. Unlisted in Pins 1982.Opposite left early 1770s Sugawara noMichizane seated on a platform under a pineand a plum tree. Chūban. Library of Congress.

Above 1772. The actors IchikawaYaozō II as Nuregami Chōgorō andIwai Hanshirō IV as Ume no Oyoshi inthe play Futatsu chōchō kuruwanikki, Nakamura Thetaer, VIII/1772.Hosoban benizuri-e. Publisher: IseyaKōshichi. Collection Peter Rieder.Unlisted in Mutō 2005.Left c.1772. No. 10—Boiling thecocoons, from the series “SilkwormCultivation” (Kaiko yashinai gusa).Chūban. National Museum ofEthnology, Leiden, The Netherlands.SHIGEMASA 67

Toyoharu 1735–1814 Family name: Tajimaya. names: Ichiryūsai, Sen’ō Toyoharu, born 1735 to Kyoto and first stu (1688–1769). Accord he moved around 17 Sekien (1712–1788) from Sekien’s person Toyonobu (1711–17 Because he lived i Utagawa and, as thin with Toyokuni and T on successive genera Sakai Hōitsu (1761– Active from aroun using the Western te prints illustrate famo Occidental scenes fr for the publisher Nis (perspective pictures several “pillar prints” After working for seemed to have stopp After 1785, he also d appointed head of pa Nikko. Contrary to h two publications, on from 1804. He died aged 80 a Nichiyō Shinji. He i Ikebukuro.68 artists

u . Given names: Shōjirō, Shin’emon, Masaki. Art surname: Utagawa. Art ō, Senryūsai, Shōjirō. 5, was from Toyooka in Tajima Province, Western Japan. He went udied painting under the Kanō School master Tsuruzawa Tangei ding to the Utagawa retsuden (Lives of Utagawa school masters)763 to Edo and became a student of the print artist Toriyama). The “Toyo” in Toyoharu’s studio name is apparently derivednal name Toyofusa. Toyoharu was also influenced by Ishikawa785) and Suzuki Harunobu.in Udagawachō in Edo’s Shiba district, he started to use the namengs developed, he became the founder of the Utagawa schoolToyohiro as his main students. Toyoharu had a strong influenceations of print artists but was also the teacher of painters such as–1828), who created a distinctive Rinpa style in Edo.nd 1768, he is especially important for his horizontal printsechnique of one-point vanishing perspective. These perspectiveous Japanese sights, temples, theatres, and teahouses, as well asrom history and legend. Also produced in series, predominantely shimuraya Yohachi, these series usually have the phrase “uki-e”s) in their title. Next to horizontal prints, Toyoharu did also” (hashira-e).r less than ten different publishers during his entire career, he ped designing prints in the 1780s and turned to paintings.designed a few kabuki programs and billboards. In 1796, he was ainters working on the restoration of the Tokugawa shrine in his students, he was not active in illustrating books apart fromne being “Illustrated Book of Edo Brocade” (Ehon Edo nishiki)and his posthumous Buddhist name is Utagawain Toyoharuis buried at the Nichiren Temple Honkyōji, located in present-day

Opposite far left early 1770s Animaginary depiction of the letterreading scene from the “Treasury ofLoyal Retainers” (Chūshingura).Hashira-e. Library of Congress. Pins1982, fig. 916.Opposite left bottom early 1770s“View of the night show at theopening-of-the-seasonperformance at Fukiyachō andSakaichō” (Sakaichō Fukiyachōkaomise yoshibai no zu), from theseries “Perspective Images” (Uki-e).Ōban. Publisher: Nishimuraya Yohachi.Library of Congress.Right 1770s “View of groupamusement at the New-Yoshiwara”(Shin-Yoshiwara sōjimai no zu),from the series “Perspective Images”(Uki-e). Ōban. Publisher: MatsumuraYahei. Library of Congress.Bottom early 1770s “Daidai kaguraperformance at the two sites of IseShrine” (Isedaijingū ryōshodaidaimikagura no zu), from theseries “Perspective Images” (Uki-e).Ōban. Publisher: Nishimuraya Yohachi.Library of Congress.

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Opposite top 1770s “View of Shiba Opposite bottom early 1770s “View ofShinmei Shrine” (Shiba shinmeigū no the Hall of Thirty-three Bays atzu), from the series “New edition of Fukagawa in Edo” (On-Edo FukagawaPerspective Prints” (Shinpan uki-e). Sanjūsangendō no zu), from the seriesŌban. Publisher: Nishimuraya Yohachi. “Perspective Images” (Uki-e). Ōban.Library of Congress. Publisher: Nishimuraya Yohachi. Library of Congress.

f Above 1770s “Morning Fuji at Tago Bay” (Tago-no-ura haru no Fuji), from the series “New edition of Perspective Prints” (Shinpan uki-e). Ōban. Publisher: Izumiya Ichibei. Asian Art Museum, National Museums in Berlin. TOYOHARU 71

Kiyonaga 1752–1815 Family name: Seki. Given names: Ichi surname: Torii. Kiyonaga, born 1752, was the so from Motozaimokuchō Itchōme life, presumably in 1765 when h became the student of Torii Kiy also show influences of Suzuki H Koryūsai, and Kitao Shigemasa. focused on actor prints drawing frequent visits to the close-by Ic Nakamura kabuki theaters. A na print of the actor Segawa Kikun from 1767 is the earliest known Kiyonaga was 16 at that time an format were extremely popular. Th and billboards were his specialty his career he is especially known women. For forty years, between also worked as illustrator of pict (e-banzuke) and books. The figure on the left side of p 1778 and is an early warrior prin capturing the horse ride of Mus Tosabō Shōshun. During the 17 became the leading designer of b that are exceptionally tall with th one-seventh of the total stature. portraits, beautiful women becam format (ōban) multiple sheet com around 1784. He set these wom quarter into a landscape by using perspective. Around 1787, he see his teacher as fourth generation family. After 1794, when Utama in designing beautiful women, h prints on a large scale and conce paintings, and illustrations. Kiyonaga’s print designs appe formats, like ōban, aiban, chūban hosoban (narrow format), or “pill During the almost fifty years of print designer, he worked for at publishers. His last known print dates fro on the 21st day of the fifth mon buried at the Ekōin Temple in E His posthumous Buddhist name Shinshi.72 artists

ibei, Shinsuke. Art on of a book dealer Above 1784 Kintarō playing with demons. e in Edo. Early in his Ōban. Publisher: Nishimuraya Yohachi. Asian he was 14 years old, he Art Museum, National Museums in Berlin. yomitsu but his works Chiba City Museum of Art 2007, no. 106. Harunobu, Isoda . Kiyonaga initially Left early 1780s Two geisha viewing his images from the cherry blossoms on a hill. Hashira-e. chimura and Publisher: Nishimuraya Yohachi. Library of arrow hosoban format Congress. Pins 1982, fig. 681, and Chiba City nojō II (1741–1773) Museum of Art 2007, fig. 205, no. 420. n design by Kiyonaga. nd actor prints in this Right c.1795 Courtesan going to bed, Though actor prints looking at another courtesan sleeping, y at the beginning of from the series “Ten Types of Beauties in n for his beautiful Pictures” (Jittai e-fūzoku). Ōban. Publisher: n 1771 and 1811, he Takasu Sōshichi. Collection Peter Rieder. ture programs Chiba City Museum of Art 2007, no. 12-4. page 74 dates from nt by Kiyonaga, sashibō Benkei and 780s, Kiyonaga beautiful women heir heads only . With his full-length me subjects for large mpositions frommen from the pleasure g a Western style of ems to have succeeded head of the Torii aro took over the lead he stopped designing entrated on surimono, eared in differentn (medium print), lar prints” (hashira-e). his career as a least 23 different om 1813. He died nth 1815 and is Edo’s Honjo district. e is Chōrin Hideki