Japanese woodblock prints-andreas marks

ARTIST / PUBLISHER 73

Below 1789 “Act 7 of the Loyal Retainers” (Chūsh shichidanme), from the “Anthology of music” (O Ōban. Asian Art Museum, Museums in Berlin. Chiba of Art 2007, no. 10-1.Above 1778 Musashibō Benkei andTosabō Shōshun. Hosoban nishiki-e.National Museum of Ethnology, Leiden,The Netherlands. Chiba City Museum ofArt 2007, no. 398.74 artists

e Treasury ofhingura seriesOngyoku shū). , Nationala City Museum



Left 1779 “Star Meeting”, from the series Below c.1783 “Courtesan Hanaōgi of the“Holiday Entertainments in the Flower Ōgiya” (Ōgiya Hanaōgi), from the seriesQuarter” (Hanagaku gosechi asobi). “Models for Fashion—New Designs asAiban. Collection Peter Rieder. Chiba City Fresh Young Leaves” (Hinagata wakanaMuseum of Art 2007, no. 151-4. no hatsumoyō). Ōban. Publisher: Nishimuraya Yohachi. Collection Peter Rieder. Chiba City Museum of Art 2007, no. 2-10-a.Left c.1779 “Night rain in the fifth month” (Chūka 75yau), from the series “Eight views from the fourseasons” (Shiki hakkei). Chūban. Publisher: NishimurayaYohachi. National Museum of Ethnology, Leiden, TheNetherlands. Chiba City Museum of Art 2007, no. 158-3. KIYONAGA

Utamaro1753–1806Family name: Kitagawa. Common name: Yūsuke, Ichitarō(?). Art surname: Kitagawa (three chaToyoaki, Utamaro (since 1781). Art names on paintings: Sekiyō (1770), Mokuen, Murasakiya. PNot much is known about the early years of Utamaro 120 series of beautifu(also possibly read as Utamaru), one of the better- the Physiognomic Stknown print artists outside Japan. Born in 1753, he juttai; c.1792), “Fivestudied under the painter Toriyama Sekien (1712– Quarter” (Hokkoku go1788). His earliest known work is believed to be a “Twelve Hours of thesimple illustration of aubergines, signed Sekiyō, in toki; c.1794), all in althe 1770 haikai anthology “Eternal Spring” (Chiyo no Furthermore he creatharu). The next known works are unpretentious book and illustrations to alillustrations and a few actor prints that appeared Picture-book of Selestarting in 1775 under the name Kitagawa Toyoaki. 1788) or “The Poem 1788). In the fifth m At a banquet in the autumn of 1782, he officially upon his release becaannounced his name change to Utamaro. In the book manacled for fifty da“A Brief History of the Exploits of a Great Dandy” identifiable figures fr(Minari daitsūjin ryaku engi) from 1781, the name Chronicles of the ReUtamaro already appears which leads either to the forbidden by law.conclusion that this book was actually not publisheduntil 1783 or that Utamaro used his new name Utamaro establishealready before the official announcement. Be that students continued has it may, at that time Utamaro lived in Sukiyachō Tsukimaro, HidemarShinobugaoka and he had already met with the Kiyomine. Utamaro dpublisher Tsutaya Jūzaburō with whom he would of the ninth month 1build a long lasting and, for both sides, very fruitful at Senkōji and his poassociation. It is believed that Utamaro moved to Shūen Ryōkyō ShinjTsutaya in 1783 where he lived until Tsutaya diedin 1794. The young Utamaro first produced actorprints in the style of Katsukawa Shunshō but soonstarted to specialize in beautiful women, influencedby Torii Kiyonaga and Kitao Masanobu who alsolived at Tsutaya’s house. Utamaro’s style evolvedsteadily during the 1780s and early 1790s when heestablished his own unique style replacing Kiyonagaas the foremost designer of prints of beautifulwomen. He became a central figure of the literaryand artistic world of Edo and is highly praised forhis remarkably sensual and elegant way portrayingsingle women in ōkubi-e (“large-head pictures”)but became also very successful in capturing eroticscenes. An example of such an ōkubi-e can be seenin the figure to the right from the series “SevenKomachis from the Pleasure Quarters” (Seirō nanaKomachi), issued around 1796. During his heyday Utamaro captured the mostfragile nuances of emotional states in his designsbut then ceased to keep up with the changingtaste so by the early 1800s his designs are merelyrepetitions. His print designs were issued by almost60 different publishers, most importantly TsutayaJūzaburō and Izumiya Ichibei. He produced over76 artists

aracters; since c.1783). Artist names:Poet name: Fude no Ayamaru. ul women, like “Ten Types in Bottom c.1796 “Courtesan tudy of Women” (Fujin sōgaku Hanamurasaki of the Tamaya” Shades of Ink in the Northern (Tamaya uchi Hanamurasaki), from oshiki zumi; c.1794–95), or the series “Seven Komachis from the e Green Houses” (Seirō jūni Green Houses” (Seirō nana Komachi). ll over two thousand prints. Ōban. Publisher: Sen-Sa. Collection Peter ted approximately 30 paintings, Rieder. Ukiyo-e shūka 3 (1978), no. lmost one hundred books, e.g. “A 285.6-1. ected Insects” (Ehon mushi erabi; of the Pillow” (Utamakura; Opposite 1805 “Konami, Honzō’smonth of 1804, he was jailed and daughter” (Honzō no musume ame one of the artists who were Konami), from the series “Honorable ays for including the events and Contest of the Treasury of Loyal rom the Ehon Taikōki (Illustrated Retainers” (Chūshingura misao egent) in his prints, which was kurabe). Ōban. Publisher: Nishimuraya Chō. Asian Art Museum, National ed his own school and his Museums in Berlin. Ukiyo-e shūka 3 his style, amongst them (1978), no. 361.2. ro, Utamaro II, Bunrō, and died, aged 53, on the 20th day 1806. His grave stele is located osthumous Buddhist name is ji.



ARTIST / PUBLISHER 77

78 artists



Opposite c.1805 “CourtesanMantoka of the Tamaya” (Tamayauchi Mantoka). Ōban. Publisher: IbayaKyūbei. Collection Peter Rieder. Ukiyo-eshūka 3 (1978), no. 541.1.Right c.1790s “One hundred tales”(Hyaku monogatari). Ōban. Publisher:Ōmiya Gonkurō. Asian Art Museum,National Museums in Berlin. Unlisted inUkiyo-e shūka 3 (1978).

U TA M A R O 79

Below 1802 “Act two” (Ni danme), from the Right bottom c.1797–98 Young manseries “Treasury of Loyal Retainers” shaving the neck of a courtesan, from the(Chūshingura). Ōban. Publisher: Nishimuraya series “Elegant five-needled pine” (FūryūChō. Library of Congress. Ukiyo-e shūka 3 goyō no matsu). Ōban. Unidentified(1978), no. 368.2. publisher. Asian Art Museum, National Museums in Berlin. Ukiyo-e shūka 3 (1978), no.Right top 1803 Courtesan breast-feeding 533.2-1.her child, from the series “Famous scenicplaces, Twelve types of beautiful women” Opposite 1801 “Act 8” (Hachi danme),(Meisho fūkei, Bijin jūni sō). Ōban. Asian Art from the series “Treasury of LoyalMuseum, National Museums in Berlin. Ukiyo-e Retainers” (Chūshingura). Aiban. Publisher:shūka 3 (1978), no. 585.5. Nishimuraya Yohachi. Library of Congress. Ukiyo-e shūka 3 (1978), no. 380.8.80 artists





U TA M A R O 81

ChōkiAct. c.1780–1809Family name: Momokawa. Artist names: Shikō, Chōki. Art name: Eishōsai.Not many details are known about Chōki’s life. of the “Eight Views.” OnHe is considered a student of Toriyama Sekien Views of Lake Ōmi” (Ōm(1712–1788), possibly his adopted son. He went juxtaposes the popular stthrough a number of name changes and started Retainers” to the “Eight Vhis career as a print designer as Shikō. In the thereafter “Eight Views oearly 1780s he changed his artist name to Chōki, Retainers” (Chūshingura hbut used Shikō again between c.1796 and 1801, “pillar prints” (hashira-e)before returning to Chōki in the last years of and birds (kachō-e), and bactivity. Both names indicate a different style, illustrated several books.whereas works signed with Chōki are lodged with the publishereminiscent of Torii Kiyonaga, Shikō signed produced most of his serworks tend to be more like Utamaro but with a publishers of the less thastrong personal touch. Chōki produced mainly for are Iwatoya Kisaburōportraits of beautiful women and only a fewactor prints that are stylistically similar to Chōki’s last known woSharaku’s. In the late 1780s he produced two the book “Nakoso Gate”chūban series, each related to the popular theme 1809, written by Kanwat 1818).Below Late 1790s “Act 7” Right Late 1790s “The Opposite Early 1800s(Shichidanme), from the courtesan Hinazuru and her Parable of good versus evilseries “The Treasury of Loyal attendants Tsuruji and guest in a brothel. (RightRetainers” (Chūshingura). Tsuruno from the Chōjiya” sheet of an untitled triptyc12.5 x 12.8 cm (4.9 x 5 in.). (Chōjiya uchi Hinazuru, Ōban. Publisher: Tsutaya Tsuruji, Tsuruno).. Ōban. Jūzaburō. National MuseumNational Museum of Ethnology, Publisher: Murataya Jirōbei. Ethnology, Leiden, The National Museum of Ethnology, Netherlands.Leiden, The Netherlands. Leiden, The Netherlands .82 artists

ne illustrates the “Eight Above Early 1800s “Clearing mist at Awazu”mi hakkei), the other (Awazu seiran), from the series “Eight Views oftory “Treasury of Loyal Lake Ōmi” (Ōmi hakkei). Chūban. National Views” and is titled Museum of Ethnology, Leiden, The Netherlands. of the Treasury of Loyal hakkei). Chōki also did and pictures of flowersbetween 1789 and 1809, It is known that heer Tsutaya Jūzaburō, whories. Other importantan a dozen he workedō and Tsuruya Kiemon.orks are illustrations in (Nakoso no seki) fromtei Onitake (1760– l,ch). of



CHO– KI 83

Shunman1757–1820Family name: Kubota, Kubo. Given names: Toshimitsu, Yasubei. Artnames: Kōzandō, Sashōdō. Poet names: Issetsu Senjō, Nandaka Shiran,Shōsadō.Kubo Shunman, born in 1757, was orphaned at an early age. Hestudied under Kitao Shigemasa as well as under the poet KatoriNahiko (1723–1782). Active from the 1770s, he created only afew commercial prints of elegant beautiful women and picturesof customs and manners (fūzokuga) in the style of ToriiKiyonaga. These women were often set in landscapes andpublished by Wakasaya Yoichi or Fushimiya Zenroku, who alsopublished his most famous composition, an untitled hexaptychof women juxtaposed to the “Six Jewel Rivers” (mu tamagawa)of which one sheet is illustrated in the figure on the next page.Shunman was active as a painter and later specialized insurimono. He is said to be the first who employed the subject ofstill life. His earliest work, made in 1774, was a copy of a votiveplaque by Nahiko. Between 1779 and 1820, Shunman illustrated also a numberof books, some of them erotic. Early in his career, fromc.1779–84, he wrote and illustrated novels under the nameNandaka Shiran. He was a prolific poet and member of thepoem clubs Bakuro-ren and Rokujuen. Originally, his poetname was Hitofushi Chitsue. After the death of the founderof the Bakuro-ren, Tsumuri no Hikaru, Shunman became thenew leader and judge of the club. He abandoned designingcommercial single-sheet prints in around 1790 and fullyconcentrated on kyōka surimono (crazy verse deluxe prints) tobecome their foremost designer. He wrote the poems for booksillustrated by Katsushika Hokusai, Kitagawa Utamaro, andHosoda Eishi. With over seventy extant paintings, Shunmanwas the most prolific painter of the Kitao school. He died, aged64, on the 20th day of the ninth month 1820.84 artists

Above 1812 The monkeySongokū from Journey to theWest. 13.7 x 21 cm (5.4 x 8.25 in.).Library of Congress.Left Late 1790s Snow on Mt.Koro. Fan print. Library of Congress.Right 1780s Far right panel fromthe first edition of an untitledhexaptych of women juxtaposedto the “‘Six Jewel Rivers’” (mutamagawa).Ōban. Publisher:Fushimiya Zenroku. Asian ArtMuseum, National Museums inBerlin. The complete hexaptych isillustrated in Genshoku ukiyo-e daihyakka jiten, vol. 7, no. 193, p. 72.



SHUNMAN 85

Eishi1756–1829Family names: Fujiwara, Hosoda. Given names: Tokitomi, Yasaburō. Art names: Chōbun, ChōbEishi was born in 1756 into a high-ranking of a certain Torii Bunryūsaisamurai family living from a generous stipend eighteenth century) about wof 500 koku of rice. Eishi’s family belonged to else is known. His earliest wthe Fujiwara clan and their records went back 1785. In 1789, Eishi retiredto the tenth century. He was 15 or 16 years to the shogun and passed thold when his father, Hosoda Tokiyuki the family on to his adopted(1737–1772), died and Eishi became the head The reason for the change mof the family. In 1781, he received a position new anti-luxury laws that win the palace of the shogun, presumably that time, aiming also at ukiwithin the department of keeping coloringmaterials. Initially influenced by Ki a rival to Utamaro and estab It is not clear when and under which school. Eishi specialized incircumstances Eishi started to study painting. of beautiful women in an elApparently he first studied painting under style. The beauty prints werKanō Eisen’in Michinobu (1730–1790). series, usually by the publishUnusual amongst print artists, Eishi served Yohachi or Iwatoya Kisaburthe shogun Tokugawa Ieharu (1737–1786) the far right of the next pagwho allegedly gave him his artist name Eishi. series “Beauties of the YoshHowever, it seems more likely that Eishi Saints” (Seirō bijin rokkasen)received his name from his teacher Kanō thirty series produced by NMichinobu. of the prints by Eishi are in popular at that time, but th Presumably because of health issues, Eishi number of pillar prints.left his official position in 1784 but remainedin the service of the shogun. He turned During the short periodto print design and became the student active as a print designer, fr86 artists

bunsai, Kaei, Dokuyū. i (second half 1801, Eishi created also a few illustrations whom nothing for books including some erotica. He then work is dated from stopped designing prints and only did d from the service paintings for which he is considered as one he leadership of of the best artists with an enormous output. d son Tokitoyo. In 1800, one of his paintings was added to might lie in the the collection of the retired empress Go- were imposed at Sakuramachi (1740-1813) which might iyo-e. be the reason why he stopped designing iyonaga, he became prints. Around the same time he received blished his own the honorary title Jibukyō, possibly also in idealized portraits relation to the success of his painting. legant and refined re mainly issued in Eishi had a small number of students hers Nishimuraya but he seemed not to have operated his rō. The figure on own school or a large studio. Several of his ge illustrates the students are only known by name and theirhiwara as Six Floral prints or paintings are rare if not unknown ), one of well over today. Amongst his better known students areNishimuraya. Most Eishō and Eiri. n theōban formathere is also a small Eishi died on the second day of the seventh month 1829, aged 73. He is buried when Eishi was at the Rengeji Temple and his posthumous rom 1785 until Buddhist name is Kōsetsuin Denkaishin Eishi Nichizui Koji.

Left early 1790s The courtesanHanaōgi of the Ōgiya. Hashira-e.Publisher: Nishimuraya Yohachi. Library oCongress. Brandt 1977, cat. I.224, and Pin1982, fig. 855.Opposite c.1792 Eleven women and ayoung assistant writing poems. Ōbantriptych. Publisher: Nishimuraya YohachiCollection Peter Rieder. Brandt 1977, catI.123.

Above c.1794 The courtesan Morokoshi of the Echizenya, from theof series “Beauties of the Green Houses asns Six Floral Saints” (Seirō bijin rokkasen). Ōban. Publisher: Nishimuraya Yohachi. Asian Art Museum, National Museums ina Berlin. Brandt 1977, cat. I.169.ni.t. EISHI 87

EishōAct. c.1795–1801Art names: Chōkōsai (c.1795–97), Shōeidō (c.1795–96).Eishō is considered as the most important for fourteen publishers, thestudent of Eishi. Nothing is known about his issued by Yamaguchiya Chūlife other than his oeuvre. Active from the found in Eishō his answer tmid 1790s, he was the most prolific amongst head beauty series by UtamEishi’s students, showing a distinctive by the publishers Nishimurpersonal style. It can be assumed that Eishō and Tsutaya Jūzaburō. Togewas already in his twenties at the time when and Eiu, fellow students ofhe produced his first prints because these contributed designs to the searly prints show no characteristics of a young Beauties of the Pleasure Quartist in training. bijin kurabe), published c.17 four different beauties are k Eishō specialized in beautiful women twenty Eishō was the mainwho he often portrayed in the large-head whatever reason, Eishō seemformat. He designed at least twenty seriesRight c.1795–96 “Thecourtesan Tsurunoo of theTsuraya” (Tsuruya uchiTsurunoo), from the series“Comparison of Beautiesfrom the Green Houses”(Seirō bijin awase). Ōban.Publisher: YamaguchiyaChūsuke. Library of Congress.Series listed in Brandt 1977,cat. A 38-40, but not thisdesign.Far right c.1796–98 Twogeisha with hobby-horses asNiwaka Manzai. Ōban.Publisher: Uemura Chō.National Museum ofEthnology, Leiden, TheNetherlands. Brandt 1977, cat.A 101.Opposite c.1795–97 Thecourtesan Shinowara of theAsahimaruya, from theseries “Contest of Beautiesof the Pleasure Quarters”(Kakuchū bijin kurabe).Ōban. Publisher: YamaguchiyaChūsuke. Collection PeterRieder. Variation of Brandt1977, cat. A 5.88 artists

majority of them designing prints simultaneously with his ūsuke who had teacher Eishi. to successful large-maro produced A few books with illustrations by Eishō raya Yohachi appeared between 1798 and 1801, some of ether with Eiri them with erotic content. Unlike his teacher Eishi, Eishō Eishi, only a small number of paintings by series “Contest of Eishō survive. One of them, a handscroll, uarters” (Kakuchū is inscribed to be after a picture that Eishi 795–97. Twenty- painted as an old man. This would suggest known and with that Eishō was still somewhat active in then contributor. For 1810s/20s during Eishi’s later years. ms to have stopped



E I S H O– 89

Hokusai1760?–1849Family name: Kawamura, Nakajima (adopted). Child name: Tokitarō. Given name: Tetsuzō. ArtArtist names: Shunrō, Sōri, Hokusai, Taitō, Iitsu, Manji. Art names: Gunbatei, Kakō, Tokimasa, GHokusai arguably the most famous Japanese Katsushika. He continued toartist. Born in 1760, he was initially trained as death in 1849, thus having ta carver of woodblocks and only at the age of of any Japanese print artist.eighteen began to learn how to design printsfrom Katsukawa Shunshō. It is said that he Over a period of more thstudied with Kanō Yūsen Hironobu (1778– Hokusai created several tho1815), Tsutsumi Tōrin III (active c.1790s– original prints, paintings, sk1830s), Sumiyoshi Hiroyuki (1755–1811) and book illustrations. He workeothers. Hokusai frequently changed his art different publishers—most iname, using more than thirty different names. Rihei, Moriya Jihei, and NisHis earliest work, signed Katsukawa Shunrō, is He became most famous foran actor print dating from 1778. During the style prints and landscapes,period when he used the name Shunrō, he significantly influenced. Ammostly designed prints in relation to the renowned works are his serikabuki theater, but soon turned to landscapes along the Tōkaidō road thatand historical prints. In 1795, he took over the (present-day Tokyo) with KTawaraya painting studio and changed his from c. 1802 until 1810. Alsname to Sōri. He started to use the name his series of sketch books, HHokusai in 1797 and in 1805 the art surname published in fifteen volumes 1878. Equally popular were90 artists

t surnames: Katsukawa, Katsushika.Gakyōjin, Gakyō Rōjin et al. o be active until his Mount Fuji, especially the series “Thirty-six the longest career Views of Mount Fuji” (Fugaku sanjūrokkei) published from c.1829-33, and the bookhan seventy years, “One Hundred Views of Mount Fuji” (Fugakuousand highly hyakkei) published from 1834–35. Widelyketches, and known is his picture of Mount Fuji Behind the ed for over thirty Wave off Kanagawa (Kanagawa oki, nami ura), importantly Iseya commonly referred to as “ The Great Wave,” shimuraya Yohachi. from the series “Thirty-six Views of Mount r his Western- Fuji.” a genre that he Hokusai seemed to have been rathermongst his most eccentric and moved houses over ninety times. ies illustrating life He had several students; amongst the most t connected Edo talented were Hokkei and Hokuba (1771–Kyoto, published 1844). Hokusai died at the advanced age of 90 so celebrated were on the eighteenth day of the fourth month inHokusai manga, 1849. His posthumous name is Nanshōin Kiyo s from 1814 until Hokusai Shinji. his pictures of

Above C.1829–33. “In the mountains of Tōtōmi Province”(Tōtōmi sanchū), from the series “Thirty-six Views of Mount Fuji”(Fugaku sanjūrokkei) Ōban. Publisher: Nishimuraya YohachiCollection Peter Reider. Ref.: Nagata 1981, p. 229, vertical ōban no.18.38Right C.1810. “Shōno,” from a series known as “Tōkaidōpublished in the year Bunka 7 (1810)” (Bunka schichinen banTōkaidō) 11.4 x 11.8 cm (4.5 x 4.6 in.) Publisher: Tsuruya KinsukeLibrary of Congress Ref.: Nagata 1981, p. 225, vertical koban no. 4.46Left c.1829–33 “Ejiri in Suruga Province” (Sunshū Ejiri), from theseries “Thirty-six Views of Mount Fuji” (Fugaku sanjūrokkei)Ōban. Publisher: Nishimuraya YohachiLibrary of Congress Nagata 1981, p. 229, vertical ōban no. 18.35

HOKUSAI 91

92 artists

Above c.1829–33 “Snowy morning atKoishikawa” (Koishikawa yuki noashita), from the series “Thirty-sixViews of Mount Fuji” (Fugakusanjūrokkei). Ōban. Publisher:Nishimuraya Yohachi. Library of Congress.Nagata 1981, p. 229, vertical ōban no.18.11.Left c.1831 “Cat’s love” (Neko no koi),from an untitled series of caricatureswith poems. Chūban. Publisher: MoriyaJihei. Collection Erich Gross, Switzerland.Nagata 1981, p. 227, chūban no. 24.3.Right c.1830 “Laughing demoness”(Warai hannya), from the series “OneHundred Ghost Stories” (Hyakumonogatari). Chūban. Publisher: TsuruyaKiemon. Collection Peter Rieder. Nagata1981, p. 227, chūban no. 25.1.



HOKUSAI 93

94 artists

Above c.1830–33 “South wind, clearsky” (Gaifū kaisei), also known as“Red Fuji”, from the series “Thirty-sixViews of Mount Fuji” (Fugakusanjūrokkei). Ōban. Publisher:Nishimuraya Yohachi. HonoluluAcademy of Arts: Gift of James A.Michener, 1970 (15583). Nagata 1981, p.229, vertical ōban no. 18.33.

Below 1800s “Returning SaiYabashi” (Yabashi no kihan)the series “New Edition of thViews of Ōmi” (Shinpan Ōmhakkei). Chūban. Library of CNagata 1981, p. 227, chūban n

ils at ), from he EightmiCongress. no. 15.2. HOKUSAI 95

Toyokuni1769–1825Family name: Kurahashi. Given names: Kumakichi, Kumaemon. Art surname: Uta-gawa. Art name: Ichiyōsai.Born in 1769 in Shinmeimae Mishimachō of Edo’s Shiba district as theson of a dollmaker, Toyokuni became the most important student ofToyoharu, the founder of the Utagawa school. The illustrations to thebook “Sleeping and Waiting Fool” (Ahōha nete mate) from 1786 seems tobe his first known work whereas his earliest print is a portrait of theactor Segawa Kikunojō III (1751–1810) in the female role Tsunagadated to the ninth month 1789. In the early 1790s, he followed his teacher Toyoharu by also designinga series of perspective prints. Toyokuni’s early images of beautifulwomen, influenced by Kiyonaga, appear austere and are usually set inlandscapes. In his later years, his beauties are much more accomplished.From time to time, Toyokuni also designed warrior prints. The overwhelming majority of Toyokuni’s works are related to thekabuki theatre. He became close friend with some of the importantactors of his time and drew also actors behind the scenes and in privatelife offstage or memorial portraits once a popular actor passed away.The figure on the upper right from c.1811 depicts the actor SawamuraSōjūrō IV (1784–1813) looking at a billboard. The publisher IzumiyaIchibei issued Toyokuni’s innovative series “Likenesses of Actors onStage” (Yakusha butai no sugata-e) from 1794 until 1796, through whichhe became famous. The novel, vivid sense of realism in these morethan fifty portraits set the stage for the future development in actorportraiture. Especially in his large-head (ōkubi-e) and in his doublebust portraits he emphasized the actors’ individual features and createdpowerful expressions. From the late 1790s until the 1810s he precededthe market of actor prints that were now, like prints of beautiful women,issued in the popular large ōban format, contrary to the previouslydominant narrow hosoban format. In the fifth month of 1804, he wasone of the artists who were manacled for fifty days for illustratingthe events and identifiable figures from the Ehon Taikōki (IllustratedChronicles of the Regent) in his prints. With over ninety print series and many hundreds of single sheet,unserialized prints, Toyokuni was one of the most prolific and sought-after print artists. In his almost thirty year long career he worked forover one hundred publishers and also produced a few paintings. Heillustrated over 400 books (some with erotic content); only his studentKunisada surpassed this number. Most importantly is the drawingmanual for leading actors of the time, “Quick Instructions in ActorLikenesses” (Yakusha nigao haya geiko), published in 1817. Toyokuni’ssuccess was the decisive factor to establish the Utagawa School as themost productive and influential school of the late Edo period and hefirmly set its reputation as specialists in actor prints. Amongst his manystudents were Kunisada, Kunimasa, Kuniyasu, and Kuniyoshi. Active until his final day, Toyokuni died at the age of 57 on theseventh day of the first month 1825. He received the posthumousBuddhist name Tokumyōin Jissaireigō Shinji and is buried at theBanshōin Kōunji. Immediately after Toyokuni passed away, twomemorial portraits by Kunisada were issued.96 artists



Left top c.1811 The actor Above 1800 The actors Right top 1Sawamura Sōjūrō IV looking at Ichikawa Danjūrō VII as Ichikawa Da billboard. Ōban. Publisher: Terusada, Segawa Kikunojō III Ara OtokoUnidentified. Collection Arendie as Unoha, Ichikawa Hakuen I as Shikisemoand Henk Herwig. Ōtomo Yamanushi in the play datezome Oi shigeru nami no uneune, I/1813. ŌbLeft bottom 1794 The actor Ichimura Theater, XI/1800. Rieder.Segawa Kikunojō III(“Hamamuraya”)as Katsuragi Ōban. Publisher: Nishimuraya Right botoin the play Keisei sanbon kara as a womakasa, Miyako Theater, VII/1794, Yohachi. Collection Peter Rieder. Harimaya Sfrom the series “Likenesses of Museum, NActors on Stage” (Yakusha butai Berlin.no sugata-e). Ōban. Publisher:Izumiya Ichibei. Collection PeterRieder.

1813 The actorDanjūrō VII as Miuraonosuke in the playono Soga noe, Morita Theater,ban. Collection Peteroom c.1795 Darumaan. Ōban. Publisher:Shinshichi. Asian ArtNational Museums in TOYOKUNI 97

98 artists