Japanese woodblock prints-andreas marks

1851 “Genji clouds at Kuramagadake” (Genjikumo Kuramagadake). Ōban triptych.Publisher: Jōshūya Kinzō. Asian Art Museum,National Museums in Berlin. KUNISADA 123

124 artists





Left 1830s “Picture of Minamoto no Yoshitsune’s departure for the front” (Minamoto no Kurō Hangan Yoshitsune shutsujin no zu). Ōban triptych. Publisher: Yamamotoya Heikichi. Asian Art Museum, National Museums in Berlin. Below late 1810s Hakamadare Yasusuke (right) and Hirai Hōshō (left). Ōban diptych. Publisher: Iseya Rihei. Collection Arendie and Henk Herwig. Opposite bottom left c.1811 “Act eight” (Hachi danme), from the series “Perspective images of the Treasury of Loyal Retainers” (Uki-e Chūshingura). Ōban. Publisher: Iwatoya Kisaburō. Asian Art Museum, National Museums in Berlin.Caption KUNISADA 125

126 artists



Left top 1850 The actor Ichimura Uzaemon XII Top left 1852 The actor Ichikawas Izutsu Onnanosuke in the play Kōshoku Ōtomo no Kuronushi, from theshimada monogatari, Ichimura Theater, Allusions to a Five Elements CoIII/1850. Fan print. Publisher: Ibaya Senzaburō. (nazora-e gogyō zukushi no ucCollection Arendie and Henk Herwig. Publisher: Ebisuya Shōshichi. Coll Henk Herwig.Far left Kunisada II. 1865 Memorial portrait ofKunisada. Ōban. Publisher: Iseya Kanekichi. Japan Top middle Kunisada and GenUkiyo-e Museum, Matsumoto. actor Nakamura Shikan IV as N from an untitled series of actoNear left 1860 The actor Nakamura Fukusuke I slip. Ōban. Publisher: Kagiya Shōbas Ōhara Takematsu in the play Kinpeibai Soga the author.no tamamono, Nakamura Theater, I/1860.Ōban. Publisher: Ebisuya Shōshichi. Collection Top right 1864 The sumo wrestArendie and Henk Herwig. Kyūgorō. Ōban. Publisher: Wakas Art Museum, National Museums

wa Ebizō V as e series „The ollection“ chi). Ōban. lection Arendie andngyo. 1862 The Nangō Rikimaru,ors with a poem bei. Collection of tler Jinmaku saya Yoichi. Asians in Berlin. KUNISADA 127

Kuniyasu1794–1832Given name: Yasugorō. Art surname: Utagawa. Art name: Ippōsai.Born in 1794, little is known about Kuniyasu’s life. He lived inDaimondōri Muramatsuchō in the Nihonbashi district and latermoved to Ōgibashi in the Honjō district. He became a student ofUtagawa Toyokuni and his first work seems to be illustrations in the1808 book Hanashi no momochidori. Around 1811, for unknownreasons, he started to use the name Nishikawa Yasunobu, but soonabandoned it again. Kuniyasu designed a few hundred prints, amongst them mostlyseries of beautiful women in the same style as his fellow studentKunisada or like Eisen. Working for over twenty different publishers,he designed numerous unserialized actor prints. He was also active asan illustrator of books, producing almost one hundred titles. In the seventh month 1832, Kuniyasu died at the young age of 39.Many books with his illustrations were issued in this year and alsosome in the following year, suggesting that he was a popular illustratorat the time of his death and passed away suddenly.128 artists



Left 1831 The wrestler OitekazeKitarō, formerly Kuroyanagi fromHirado. Shikishiban. Asian Art Museum,National Museums in Berlin.Below 1820s “Picture of the height ofthe cherry blossoms in the Yoshiwaradistrict of the Eastern Capital” (TōtoYoshiwara zensei sakura no zu). Ōbantriptych. Publisher: Tsuruya Kiemon.Asian Art Museum, National Museumsin Berlin. Top 1831 Memorial p the actor Bandō Mits III, aged 57. Ōban. Pu Oden. Asian Art Muse National Museums in

print of sugorōublisher:eum, Berlin. K U N I YA S U 129

Eisen1790–1848Family name: Ikeda. Given names: Yoshinobu, Zenjirō, Satosuke. Art names: Hokutei, IppitsuaKokushunrō, Mumeiō, etc.Eisen, born in 1791 into a samurai family, was from the late 1810s resembthe son of the calligrapher Shigeharu. When turned towards more realisthe was twenty, he lost his father and portraits of beautiful womestepmother and started a life of nomadism. contemporary Kunisada. InHe became a student of the kabuki designs he also applied Wesplaywright Namiki Gohei II (1768–1819), His prints, most of them inwriting plays himself under the name published by over 50 differeChiyoda Saiichi (or Saishi). He lodged with many by Izumiya Ichibei, SKikugawa Eiji (late eighteenth century), Wakasaya Yoichi. Like the sfather of Eizan. He became a student of the Appearances” (Imayō sugataminor Kanō school painter Hakkeisai (act. beautiful women in half lenearly nineteenth century) and studied produced in the horizontalprobably also under the print artist Kikugawa the vertical as was commonEizan. Under the name Wakatakeya Satosuke,Eisen operated a brothel in Nezu. In Beauty prints were not hSakamotochō he sold the face powder also designed a small numb“Kaorikō.” and was known for his surim 1835, he designed twenty-f Eizan focused on prints of beautiful “Kisokaidō” landscape seriewomen in a style of Utamaro, and this area completed by Hiroshige (fosubsequently also became Eisen’s own field Other landscapes followed,of specialization. Though Eisen’s early work “Eight Views of Edo” (Edo130 artists

an, Kakō, Keisai,bles Eizan’s, he the mid 1840s. tic and lively With almost 400 titles, Eisen was amongsten, rivaling hisn his later woman the most prolific book illustrators. Issued stern techniques. between 1809 and 1848, some of these booksn series, were had an erotic content. In 1833, Eisen added ent publishers, his own research to the history of ukiyo-eSanoya Kihei, and and wrote his version of the encyclopedic series “Stylish “Ukiyo-e Miscellany” (Ukiyo-e ruikō), calleda), Eisen’s prints of “Miscellany of the Old Man with No Name”ngth are sometimes (Mumeiō zuihitsu), alternatively known as format and not in “Supplement to Ukiyo-e Miscellany” (Zokun. ukiyo-e ruikō).his only area. Eisenber of actor prints Eisen died, aged 58, on the 22nd day of mono. Around the seventh month 1848. He received thefour prints of the posthumous Buddhist name Keisai Eisenes that was then Koji and was buried at the Fukujuin. Eisenorty-six designs). had only a few minor students. Together with, such as the series Kunisada and Kuniyoshi he is depicted by hakkei), dated to Kuniyoshi in one of the illustrations of the book “Stories of Eccentric Japanese” (Nihon kijin den) from 1849.

Left mid 1840s “Sunsetglow at Ryōgoku Bridge“(Ryōgokubashi no sekisho),from the series “Eight Viewsof Edo” (Edo hakkei). Ōban.Publisher: YamamotoyaHeikichi. Library of Congress.Right early 1830s Beautyholding an umbrella, fromthe series „StylishAppearances“ (Imayōsugata). Ōban. Publisher:Maruya Seijirō. CollectionPeter Rieder.Bottom left c.1822“Evening bell ofTomigaoka“ (Tomigaoka nobanshō), from the series„Eight Vows at Tatsumi“(Tatsumi hakkei). Ōban.Publisher: Tsutaya Jūzaburō.Collection Erich Gross,Switzerland.Bottom right 1829 KiichiHōgen and Oumaya noKisanta, from the series “SixImmortal Poets ofUshiwaka” (Ushiwakarokkasen). Shikishiban.Library of Congress.

EISEN 131

Hiroshige1797–1858Family name: Andō. Child hood name: Tokutarō (until 1809). Given name: Jūemon (1809–46),gawa. Art name: Ichiyūsai (until c.1829), Ichiyūsai (different character, c.1830), Yūsai (c.1830–3c.1841).Hiroshige was born in 1797 at Yayosugashi as the son guide books like tof a fire warden. Apparently at the age of nine he drew of Views of Famosketches of a procession of delegates from the Ryūkyū and even this allegIslands to the shogun. In 1809, he became the head of Until his death, Hthe family after both of his parents passed away. In another in differe1810 or 1811, it is said the he was rejected as a student collaboration withby the artist Toyokuni and instead became a student of the Tōkaidō landsToyohiro. In 1812, he adopted the artist name views of famous pHiroshige. His first confirmed works were published in1818—illustrations to the “Book of Murasaki Poems” During his care(Kyōka Murasaki no maki) as well as several actor prints. and historical prinIn the following year, his first surimono were produced. many flower and bIn the 1820s, Hiroshige designed several beauty series some 500 fan prinand samurai warrior prints, and continued to illustrate and produced mabooks. In 1823, he gave up his position as a fire warden are the so-called “in order to concentrate on his career as an artist. paintings of which for the Oda daim In the early 1830s, Hiroshige’s first landscapeprints appeared. He subsequently became the leading His last masterwlandscape artist and was especially known for his series Famous Views ofon the Tōkaidō highway that connected Edo (present- from 1856 until 1day Tokyo) with Kyoto. The earliest and most famous Fuji” (Fuji sanjūrokof these, generally known by the name of its publisher his few students aras “Hōeidō ban Tōkaidō” (Tōkaidō published by Hōeidō), c.1851–66).was issued from c.1832–33. Hiroshige III stated sixtyyears later that Hiroshige’s designs are after sketches he Hiroshige is saitook during a journey to Kyoto, however, most of his sixth day of the nidesigns are undoubtedly inspired from illustrations in Tōgakuji and his p Tokuō Ryūsai Koj132 artists

, Tokubei (from 1846). Art surname: Uta-31), Ichiryūsai (from c.1831),Ryūsai (from the Tōkaidō meisho zue (“Gathering Right c.1849–50 “Below the ous Sights along the Tōkaidō;” 1797) Barrier Gate” (Seki no to no ged journey cannot be verified. shita)—Sekidera Sekibei andHiroshige produced one series after the Spirit of the Komachi cherry ent sizes, with different subjects, in tree, from the series “Collection h other print designers, etc. As with of Jōruri Past and Present” scapes he was equally successful with (Kokon jōruri zukushi). Ōban. places in Edo. Publisher: Sanoya Kihei. Collection eer Hiroshige occasionally drew actor Arendie and Henk Herwig. Sakai nts, but much more important are his 1981, p. 253, ōban no. 21.7. bird masterpieces. He also designed nts, illustrated more than 130 books, Below c.1832 “Yui—Satta any paintings. Most famous of these Peak” (Yui—Satta mine), from “Tendō Hiroshige” paintings, 200 the series known as “Hōeidō h 123 are known, that Hiroshige made ban Tōkaidō” (Tōkaidōmyo clan in Tendō. published by Hōeidō). Ōban. works are the series “One Hundred Publisher: Takenouchi Magohachi. Edo” (Meisho Edo hyakkei), published Collection Erich Gross,1858 and “Thirty-six Views of Mount Switzerland. Sakai 1981, p. 245, kkei), published in 1858. Amongst horizontal ōban no. 55.17.are Hiroshige II and Hirokage (act.id to have passed away of cholera on theinth month 1858. He was buried at theposthumous Buddhist name is Genkōinji.



ARTIST / PUBLISHER 133

Above c.1833 “Okazaki,” from the seriesknown as “Hōeidō ban Tōkaidō” (Tōkaidōpublished by Hōeidō). Ōban. Publisher:Takenouchi Magohachi. Japan Ukiyo-eMuseum, Matsumoto. Sakai 1981, p. 245,horizontal ōban no. 55.39.Right 1840 “Tsuchiyama: View of MountSuzuka” (Tsuchiyama: Suzukayama nozu), from the series “Fifty-three Stationsalong the Tōkaidō” (Tōkaidō gojūsantsugi), known as “Tōkaidō with Poems”(Kyōka iri Tōkaidō). Chūban. Publisher:Sanoya Kihei. Collection Erich Gross,Switzerland. Sakai 1981, p. 236, horizontalchūban no. 24.50.134 artists



Right top 1858 “Riverbank at Sukiya in Edo” (TōtoSukiya-gashi), from the series “Thirty-six Views ofMount Fuji” (Fuji sanjūrokkei). Ōban. Publisher:Tsutaya Kichizō. Library of Congress. Sakai 1981, p. 250,ōban no. 58.24.Right bottom 1856 “Takinogawa, Ōji”, from theseries “One Hundred Famous Views of Edo” (MeishoEdo hyakkei). Ōban. Publisher: Sakanaya Eikichi. Libraryof Congress. Sakai 1981, p. 250, ōban no. 62.26.

Caption HIROSHIGE 135

Right Kunisada 1858 Memorial Opposite top c.1836 “Act eleven, p portrait of Hiroshige. Ōban. Publisher: one—night attack advances” (Jūic Sakanaya Eikichi. Asian Art Museum, danme ichi, youchi oshiyose), from National Museums in Berlin. the series “Treasury of Loyal Retainers” (Chūshingura). Ōban. Below c.1850 “View of the opening Publisher: Izumiya Ichibei. Collection celebration of Benzaiten Shrine at Erich Gross, Switzerland. Sakai 1981, p Enoshima in Sōshū” (Sōshū 245, horizontal ōban no. 50.11. Enoshima Benzaiten kaichō sankei gunshū no zu). Ōban triptych. Opposite bottom 1853 “The Precin Publisher: Sumiyoshiya Masagorō. of the Tenmangū Shrine at Kameid Library of Congress. Sakai 1981, p. 248, (Kameido Tenmangū keidai), from ōban triptych no. 55. the series “Famous places in Edo” (Edo meisho). Ōban. Publisher: Yamadaya Shōjirō. Library of Congres Sakai 1981, p. 247, horizontal ōban no 19.14.136 artists

part chim p. ncts do”m ss. o.



HIROSHIGE 137

Above 1830s/40s “Satta Pass in Suruga Province” (Sunshū Satta mine), from an untitled series of famous places in the various provinces. 25.2 x 12.2 cm (9.9 x 4.8 in.). Library of Congress. Sakai 1981, p. 239, sanchōgake no. 12.5. Right 1830s/40s Hawk on a Pine Tree on New Year’s Day. Ōtanzaku. Collection Peter Rieder. Sakai 1981, p. 241, ōtanzaku no. 8.4. Opposite 1820 A courtesan and her attendant passing a New Year’s decoration. [Made for the Noichiren poetry club]. Shikishiban. Asian Art Museum, National Museums in Berlin. Schaap, McKee 2008, SP 3.138 artists





HIROSHIGE 139

Kuniyoshi1798–1861Family name: Igusa. Given name: Magosaburō. Art surname: Utagawa. Art names: Chōōrō, IchIchimyōkai Hodoyoshi (on erotica).Kuniyoshi was born as the son of a silk dyer on the fifteenth day Japanese wof the eleventh month 1797, which corresponds to January 1st, market of1798, in the Western calendar. Apparently at the age of twelve actors, landhe won Toyokuni’s praise with a drawing of Shōki, the game boarlegendary Chinese demon queller. Toyokuni subsequently took of Frogs, imhim as a student but he also studied the Tosa, Kanō, and for well ovMaruyama painting styles. Together with Hiroshige and his With overfellow student Kunisada, he became one of the principal print illustratorsartists of the late Edo period, especially noted for his warrior students; tprints. and Yoshit Kuniyoshi first lived in Ushigome Shiroganechō and Kuniyoslater moved to Ryōgoku Yonezawachō. [Some sources list 1861, agedthe illustrations in the book Ryūkō wasetsu from 1808 as his Buddhist nearliest work, however, Kuniyoshi did not illustrate the firstedition of this book but the re-edition from 1831.] His earliestknown work is illustrations in the book “Peaceful Treasury ofLoyal Retainers” (Gobuji Chūshingura) from 1814, written byTakezuka Tōshi (died 1815). Kuniyoshi soon started to designactor prints in the same style as Kunisada and other studentsof Toyokuni. Kuniyoshi’s first known single print is a fightingscene from the kabuki play “Weaving a Brocade of Rags”(Oriawase tsuzure no nishiki) staged at the Nakamura Theaterin the ninth month of 1815, showing the actor NakamuraUtaemon III (1778–1838) as Shundō Jiroemon in the center. Kuniyoshi was not particularly successful with his actorprints but was much more so with his prints of heroic warriors,a theme he took up as early as 1819. First following stylisticallyShuntei and Hokusai’s warrior designs until c.1827 when hefinally had his breakthrough with the publication of the firstpart of his series “One Hundred and Eight Heroes of a PopularWater Margin All Told” (Tsūzoku suikoden gōketsu hyakuhachininno hitori). After this series, Kuniyoshi continued to produce aconstant flow of innovative creations, fortifying his position asthe leading designer of warriors. Amongst his most importantlandscape series are “Famous Places of the Eastern Capital”(Tōto meisho) published around 1831 and “Thirty-six Viewsof Mount Fuji Seen from the Eastern Capital” (Tōto Fujimisanjūrokkei) from c.1843–44. In the early 1840s, Kuniyoshi’s output reached its height.In 1843, during a period of newly enforced reforms of thecensorship regulations, Kuniyoshi’s famous triptych “TheEarth Spider with His Monsters in the Palace of MinamotoYorimitsu” (Minamoto Raikō yakata tsuchigumo yōkai-o nasuzu) was released. It was speculated that the artist meantthis triptych to be critisism on the ruling Tokugawa regime.However, Kuniyoshi and his publisher convinced the judge thatthey had no intention to critize the regime. Kuniyoshi’s oeuvre is one of the largest in the history of140 artists

hiyūsai, Ryūen,woodblock printing. Apart from dominating the warrior prints he also designed beautiful women,dscapes with Western shading techniques, erotica,rds, and many comical prints such as a Collectionmitating a famous kabuki role. Kuniyoshi workedver 150 publishers, and designed nearly 250 series.r 240 books, he was one of the most prolific books. He headed a large and successful studio with manythe most talented were Kyōsai, Yoshiiku, Yoshitora,toshi.shi passed away on the fifth day of the third monthd 65. He is buried in the Daisenji and his posthumousname is Shinshūin Hōsankokuhō Shinji.

Above c.1847–50 OnzōshiUshiwakamaru (akaMinamoto Yoshitsune) fightingMusashibō Benkei with thehelp of tengu. Ōban triptych.Publisher: Enshūya Hikobei.Collection Arendie and HenkHerwig. Robinson 1982, no. T194.Right c.1831 Priest Nichiren’sprayer for rain answered, fromthe series “Illustrated abridgedbiography of the founder”(Kōso goichidai ryakuzu).Ōban. Publisher: Iseya Rihei.Collection Peter Rieder. Robinson1982, no. S6.4.Left 1852 Fujiwara Masakiyo(aka Katō Kiyomasa) watchingreturning geese, from theseries “Eight Views of MilitaryBrilliance” (Yōbu hakkei).Ōban. Publisher: Enshūya Hikobei.Collection Arendie and HenkHerwig. Robinson 1982, no.S76.8.

KUNIYOSHI 141

142 artists

Above c.1831 “View of the OnmayagashiEmbankment” (Onmayagashi no zu), fromthe series “Eastern capital” (Tōto). Ōban.Publisher: Yamaguchiya Tōbei. Library ofCongress. Robinson 1961, no. 7.Right c.1827–30 Kinhyōshi Yōrin after thebattle of Kōtōshū, from the series “OneHundred and Eight Heroes of a PopularWater Margin All Told” (Tsūzoku suikodengōketsu hyakuhachinin no hitori). Ōban.Publisher: Kagaya Kichiemon. Library ofCongress. Robinson 1982, no. S2-3



KUNIYOSHI 143

Sadahide1807–c.1878Family name: Hashimoto. Given name: Kenjirō. Art surname: Utagawa.Art names: Gountei, Gyokuran, Gyokuransai.Sadahide was born in 1807 as Hashimoto Kenjirō. He joinedKunisada’s studio in the 1820s to become one of his mostimportant students. The earliest known work by Sadahide is hisillustrations to the first volume of “Misaogata tsuge no ogushi,”published in 1824. His first known actor prints date from 1827,but in his early period Sadahide was quite often engaged todesign beautiful women. In the 1830s and 1840s he producedpictures of warriors and landscape views. Sadahide became particularly successful in the late 1860s, afterKunisada’s death. His detailed, map-like panoramas of Yokohamawith its harbor and many prints of foreigners like the series“Foreigners Viewing Famous Places in Edo” (Edo meisho kenbutsuijin) demonstrate his individuality. Sadahide was one of eleven artists selected by the Tokugawagovernment for the Japanese pavilion in the world’s fairExposition Universelle in Paris in 1867. In 1868, he was listedas the top ranking print artist. Throughout his career, Sadahideillustrated a large number of books. In 1875, he lived in FukagawaAtakachō 18-banchi. He passed away in 1878 or 1879. Le m lo m sh no Lib Ab pi (A Ōb Yo Mu Rig (R “F Ed Pu Co144 artists

eft 1861 “Picture of an Americanmerchant exceedingly delighted withong awaited cherry blossoms of aminiature tree” (Amerika no shōnin hōju no sakura o motomete ōini kanki o zu). Ōban. Publisher: Moriya Jihei. brary of Congress. bove late 1820s “Eastern brocade, icture of stylish firefly catching”Azuma nishiki imayō hotarugari no zu). ban triptych. Publisher: Nishimuraya ohachi. Asian Art Museum, National useums in Berlin. ght 1861 “Ryōgoku Bridge”Ryōgokubashi), from the series Foreigners Viewing Famous Places in do” (Edo meisho kenbutsu ijin). Ōban. ublisher: Yamaguchiya Tōbei. Library of ongress.

Right early 1840s “Act 6”(Rokudanme), from the series“Japanese Syllabary Copybook onthe Treasury of Loyal Retainers”(Kanadehon Chūshingura). Ōban.Publisher: Kawaguchiya Uhei. Library ofCongress. Congress.

SADAHIDE 145

YoshitoraAct. c.1836–82Family name: Nagashima. Given name: Tatsugorō. Art sur-name: Utagawa. Art names: Ichimōsai, Kinchōrō, Mōsai.Biographical information on Kuniyoshi’s oldest as a criticism of authstudent, Yoshitora, is scarce. His exact dates are approve its publicatiunknown, leaving his works as the only source of expelled from Kuniyinformation on him. It is unclear at which age print might have beYoshitora joined Kuniyoshi’s studio but he ultimately Taking Yoshitora’s obecame one of his most important students. He had no impact on hifollowed his teacher and concentrated on warrior illustrations continuprints, beautiful women, and actors, but produced print artists from 18also many humoristic prints. His earliest knownwork, illustrations in the book “Story of Karasu In the early 1860sKanzaemon’s Loyalty” (Karasu Kanzaemon chūgi den), and pictures capturidates from 1836. country. Foreigners continued to use tra Yoshitora’s first print series date to the early 1862, was commissi1840s. Until the 1880s he illustrated over one Kunisada’s so-calledhundred books and produced well over sixty series Head Actor Portraitof prints. In 1849, he got punished with fifty an outstanding seriedays of handcuffs for his satirical picture “Funny large-head pictures.Warriors—Our Ruler’s New Year’s Rice Cakes” of collaborative proj(Dōke musha: Miyo no wakamochi). The picture “Flowers of Edo—Ashows Oda Nobunaga, Takechi Mitsuhide, and (Edo no hana—MeisToyotomi Hideyoshi producing mochi (rice cakes) jōraku Tōkaidō” seriwhile the shogun Tokugawa Ieyasu eats them. The Writings along the Fpoem inscribed on this print published by Sawaya gojūsan tsugi) from 1Kōkichi reads “Tamping down the reign firm and of Advanced Tokyo”solid like spring rice cakes” (Kimi ga yo wo tsuki from 1875. The irregkatametari haru no mochi). The picture was regarded for nishiki-e artists” second position, afte 1870s, he frequently in Kyōbashi Matsuk 1878 in Kanda Suda Sawamuraya Seikich his address was Kyō and 1880 to 1881 K Yoshitora worked Meiji-period. In the illustrated books, th After that all trace o students he had, Yos tattoo artist. In the third book Painting” (Kyōsai ga of Kuniyoshi’s studi was a student of Ku 40, and depicts a sit present, giving him “portrait” of Yoshito his fellow student Y underneath him.146 artists

hority and the censors did not Bottom left 1862 The actor ion. Yoshitora was apparently Kawarazaki Gonjūrō I as yoshi’s studio and the impact of this Jiraiya, from an untitledeen the catalyst for the expulsion. series “Kinshōdō Edition ofoeuvre into account, the incident Large Head Actor Portraits” is output as his prints and book (“Kinshōdō-ban yakushaued to be published. On a list of best ōkubi-e”). Ōban. Publisher:853 his name is also listed. Ebisuya Shōshichi. Japan s, he concentrated on Yokohama-e Ukiyo-e Museum, Matsumoto. ing the modernization of the were a popular motif. He also Below 1855 “Battle ataditional ukiyo-e motifs and, in Yashima Dan-no-ura” ioned to contribute designs to (Yashima Dan-no-urad “Kinshōdō Edition of Large- kassen). Ōban triptych. ts” (Kinshōdō-ban yakusha ōkubi-e), Publisher: Izumiya Ichibei.es of actor portraits as ōkubi-e, Library of Congress.. He was involved in a number jects with other artists, especiallyA Gathering of Beautiful Places” shō e) from 1862–64, the “Go-ies from 1863, “Paintings and Fifty-three Stations” (Shoga 1872, and “The Beautiful Places ” (Tōkyō kaika meishō no uchi) gularly produced “ranking list” from 1868 gave his name in the er Sadahide. Towards the end of the y moved houses: In 1876, he livedkawachō Ni-banchi, from 1877 to achō Yon-banchi (the publisher hi was also located there), in 1879ōbashi Matsukawachō Roku-banchi,Kanda Kajichō Roku-banchi.d as a newspaper journalist in thee early 1880s, he predominantelyhe last of which are dated 1882.of him vanishes. One of the few shie (aka Horiyoshi), became ak of “Kyōsai’s Conversations onadan) from 1887, is an illustrationio. Kyōsai recalled the time when heuniyoshi, aged six until nine, 1837–tuation in the studio with Kuniyoshi instructions. On the left is the onlyora known, depicted in a fight withYoshikazu (act. c.1848–70) lying

Right 1849 “FunnyWarriors—Our Ruler’s NewYear’s Rice Cakes” (Dōkemusha—Miyo nowakamochi). Ōban. WasedaUniversity Library.Far right 1863 “Americans—Transcription of a barbarianlanguage” (Amerikajin—Bango wakai). Ōban. Publisher:Yamashiroya Jinbei. Library ofCongress.

YOSHITORA 147

148 artists