Japanese woodblock prints-andreas marks

Left Kyōsai 1887 Kuniyoshi’s studio Right 1871 “Kinpeirō in New-with Kuniyoshi, Yoshitamajo, Yoshiwara Edomachi” (Shin-Kyōsai, Yoshimune, Yoshitora, and Yoshiwara Edomachi Kinpeirō).Yoshikazu, from the book “Kyōsai’s Ōban triptych. Publisher: TsujiokayaConversations on Painting” (Kyōsai Kamekichi. Library of Congress.gadan). 30 x 19.9 cm (11.8 x 7.8in.). Publisher: Iwamoto Shun. Waseda Bottom right 1870 “Collection ofUniversity Library. vehicles coming and going in Tokyo” (Tōkyō ōrai kurumaBottom left C.1865 Content page zukushi). Ōban triptych. Publisher:for the series “Toyokuni’s Masadaya Heikichi. Library ofDrawings—A Magic Contest” Congress.(Toyokuni kigō—Kijutsu kurabe).Ōban. Publisher: Hiranoya Shinzō.Collection of the author.



YOSHITORA 149

Kunisada II1823–1880Family name: Takenouchi. Given name: Munehisa. Art surname: Utagawa. Artist names: Kunim(II; from 1851), Toyokuni (IV; from 1870). Art names: Ichijusai (c.1844–54), Baichōrō (c.1852–70Not many details are known about Kunisada about the same time when KII who was born in 1823. He became a bequeathed his house in Kastudent of Kunisada and signed his earliest Kunisada II.works as Kunimasa (III). Some sources listthe erotic book “First Mist” (Hatsu gasumi) Kunisada II continued infrom 1837 as his earliest work. However this Kunisada, but never reachedbook was illustrated by Kochōko Matahei, a success that his teacher did.pseudonym of Kunisada. Kunisada II’s earliest designed actor prints but wknown prints date to 1844. In 1846, Kunisada other subjects like beautifuladopted Kunisada II after he married his prints, or erotica, sometimeoldest daughter Osuzu. Kunisada himself had with other artists. One of hchanged his name in 1844 to Toyokuni and actor series is “The Tale of tsome sources erroneously say that Kunimasa Heroes” (Hakkenden inu noIII now became Kunisada II. However, several from 1852. The series depicprints exist from later years that contradict from Kyokutei Bakin’s (Takthis. Volume 12 of the book “The Character 1767–1848) epic novel in 1of Moral Wives” (Oshiegusa nyōbō katagi), Satomi Clan and the Eightwhich carries a preface written in the second Satomi hakkenden, 1814–42month of 1851 was illustrated by “Kunimasa, prints by Kunisada II’s handchanged to Kunisada II” (Kunimasa aratame “Imaginary Twelve Hours”nidaime Kunisada). This leads to the published by Enshūya Mataconclusion that the name change to KunisadaII occurred in late 1850 or early 1851, at With nearly 200 differen II was a prolific book illustr forty print series by him are150 artists

masa (III), Kunisada worked for almost fifty publishers, in 0). particular Tsutaya Kichizō for whom he designed three Genji series “Murasaki Kunisada Shikibu’s Genji Cards” (Murasaki Shikibu ameido to Genji karuta), “Up-to-date Genji Picture Scrolls” (Genji imayō emaki), and “Reflectionsn the style of of Genji’s Fifty-four Chapters” (Omokage d the level of Genji gojūyojō). The popularity of his work . He mostly decreased dramatically in the early Meijiwas also active in period. He continued as the head of the l women, Genji Utagawa School with a few students suches in collaboration as Kunisada III (1848-1920) and changedhis most famous his name in late 1870, again like his teacher the Eight Dog Kunisada did before him, calling himself now sōshi no uchi) Toyokuni (IV). However, he designed only cts characters few prints or illustrated books in the 1870s kizawa Bakin, and seems to have stopped completely after106 volumes,“The 1874. t Dogs” (Nansō2). From 1857, fan Age 58, Kunisada II passed away on July d such as the series 20, 1880. His posthumous Buddhist name (Mitate jūni toki), is Sankōin Hōkokujutei Shinji and, like abei, are known. Toyokuni and Kunisada, he is buried at thent titles, Kunisada Banshōin Kōunji. rator. Just over e known. He Left 1857 The hour of the hare and the hour of the tiger, from the series “Imaginary Twelve Hours” (Mitate jūni toki). Fan print. Publisher: Enshūya Matabei. Japan Ukiyo-e Museum, Matsumoto. Right 1852 The actor Onoe Kikujirō II as Fusahachi‘s wife Onui, from the series “The Tale of the Eight Dog Heroes” (Hakkenden inu no sōshi no uchi). Ōban. Publisher: Tsutaya Kichizō. Asian Art Museum, National Museums in Berlin.



Top 1863 The actor Kawarazaki Gonjūrō I as DanshichiKurobei in the play Shōbu yukata edokko kagami,Nakamura Theater, V/1863, from the series „Sake cupsdecorated with actors“ (Haiyū maki-e no sakazuki).Ōban. Publisher: Tsutaya Kichizō. Collection Arendie andHenk Herwig.Above 1863 The actor Kawarazaki Gonjūrō I as NihonDaemon, from the series „Actors as thieves with flowers“(Haiyū hana shiranami). Ōban. Publisher: YorozuyaZentarō. Japan Ukiyo-e Museum, Matsumoto.KUNISADA II 151

152 artists

Above 1870 “Hour of the horse“ (Uma no koku),from the series „Twelve hours of attempts forhidden images year-round“ (Jūni toki hitsushi notoshimaru). Ōban triptych. Publisher: Kiya Sōjirō.Japan Ukiyo-e Museum, Matsumoto.Left top 1865 “Tsurigane“—The actors NakamuraKanzaburō XIII as Hakuzōsu and NakamuraNakazō III (before Tsuruzō I) as Meotonodono,from the series „The congratulatory play“(Kotobuki kyōgen no uchi) related to the playKotobuki kyōgen, Nakamura Theater, IX/1865.Ōban. Publisher: Murayamaya Genbei. Japan Ukiyo-eMuseum, Matsumoto.Left bottom 1860 No. 17, from the series „Recordof the Eight Lives of Buddha as Stylish Magic-lantern Pictures“ (Shaka hassō ki imayōutsushi-e). Ōban. Publisher: Tsujiokaya Bunsuke.Collection Arendie and Henk Herwig.



Far left 1856 An unidentified actoras Yume no Ichirobei. Ōban.Publisher: Sagamiya Tōkichi. Asian ArtMuseum, National Museums in Berlin.Left 1865 “Daishō no mai”—Theactors Onoe Eizaburō IV, IwaiShijaku II, and KawarazakiKunitarō I, from the series “Thecongratulatory play” (Kotobukikyōgen no uchi) related to the playKotobuki kyōgen, NakamuraTheater, IX/1865. Ōban. Publisher:Murayamaya Genbei. Japan Ukiyo-eMuseum, Matsumoto.KUNISADA II 153

Hiroshige II1826–1869Family name: Suzuki. Given name: Chinpei. Art surname: Utagawa. Artist names: Shigenobu,1858). Art names: Ichiyūsai (c.1853–58), Ryūsai (c.1859–63), Ichiryūsai (c.1860–61), Kisai (fromHiroshige II is generally neglected because he followed his teacher nHiroshige very closely and focused on the same motifs. It is thiscloseness and the similarity in signatures that led early Western scholars tto even deny his existence. w c Born in 1826, it is said that he was, like his teacher, the son of a jfireman. It is not known at which age he entered Hiroshige’s studio dto become one of his very few students. Hiroshige gave him the name sShigenobu and he proved to be his most successful student. u m Shigenobu’s first illustrated book, of the roughly 20 he illustrated Thduring his career, is “Twenty-four Paragons of Japan and China” (Wakan “nijūshi kō) from 1849. This is also the earliest dateable work by him. IObviously Shigenobu was Hiroshige’s best student as he received a onumber of orders for books as well as prints. In the early 1850s, he lsometimes signed his works “Ichiryūsai mon” (student of Ichiryūsai), Hreferring to Hiroshige’s art name. From c.1853 until 1858, Shigenobu pemployed the art name Ichiyūsai in his works. After Hiroshige passed paway in late 1858, he married Hiroshige’s sixteen-year-old daughterOtatsu and inherited the name Hiroshige. Like his teacher, he used tfrom this point on the art names Ichiryūsai and Ryūsai. The marriage fwas dissolved in 1865 and Hiroshige II moved from Edo to Yokohama Hand changed his name from Hiroshige to Ryūshō/Risshō (bothpronunciations are possible). At that point he also started to use the art154 artists

Hiroshige (II; fromm 1865).name Kisai. In the early 1860s, Hiroshige II was involved in several series wheretwo or more artists collaborated. Like Hiroshige before him, he oftenworked with Kunisada and drew the landscapes or insets in theircollaborative works, e.g. in “Pride of Edo: Thirty-Six Amusements” (Edojiman sanjūrokkyō) from 1864. In late 1858, shortly after Hiroshige’sdeath, he worked with Hiroshige’s old artistic partner Kunisada in theseries “Record of Kannon’s Miracles” (Kannon reigenki). From 1859until 1861, “One Hundred Famous Views in the Provinces” (Shokokumeisho hyakkei) was published, one of Hiroshige II’s most popular series.Throughout his career he designed many sets of views of Edo, especially“Thirty-Six Views of the Capital” (Tōto sanjūrokkei), issued 1861–62.In 1862, he contributed to the series “Flowers of Edo—A Gatheringof Beautiful Places” (Edo no hana—Meishō e), a two and a half yearlong collaborative project commissioned under the lead of Kunisada.Hiroshige II was one of the principal artists of the “Go-jōraku Tōkaidō”project in 1863 and did other Tōkaidō series thereafter. Apart fromprints, Hiroshige II also produced a number of fine paintings. Works from his last years are scarce. In order to make a living he hadturned to decorating lanterns, kites, and especially tea chests (chabako)for export, thus he became known as “Tea chest Hiroshige” (ChabakoHiroshige). On September 17, 1869, Hiroshige II died at the age of 44. Far left 1860 “Dutch, American, English” (Oranda, Amerika, Igirisu), from an untitled series of foreigners. Ōban. Publisher: Owariya Seishichi. Library of Congress. Yoshida 1991, p. 8. Left 1859 “Tsūten Bridge at Kyoto’s Tōfukuji Temple” (Kyōto Tōfukuji Tsūtenkyō), from the series “One Hundred Famous Views in the Provinces” (Shokoku meisho hyakkei). Ōban. Publisher: Sakanaya Eikichi. Library of Congress. Yoshida 1991, p. 4. Right 1860 “Gathering cliff mushrooms at Kumano in Kishū Province” (Kishū kumano iwatake tori), from the series “One Hundred Famous Views in the Provinces” (Shokoku meisho hyakkei). Ōban. Publisher: Sakanaya Eikichi. Library of Congress. Yoshida 1991, p. 6.

Left 1861 “Steamseries “The arrivcountries” (GaikPublisher: JōshūyaCongress. YoshidaBelow 1867 SekShikan IV as Ina“Tōkaidō—Starshitome senryō).Rinnosuke. JapanMatsumoto. Unlis

mship” (Jōkisen), from theving ships from foreignkoku nyusen no uchi). Ōban. a Jūzō / Jūbei. Library of a 1991, p. 10.ki—The actor Nakamuraada Kōzō, from the series s at a Glance” (Tōkaidō Ōban. Publisher: Ebiyan Ukiyo-e Museum, sted in Yoshida 1991. HIROSHIGE II 155

Kyōsai1831–1889Family name: Kawanabe. Given names: Shūzaburō, Tōiku. Art names: Kyōsai,Seisei (from 1857), Shūmaro (c.1863), Shuransai (c.1866).Kyōsai was born in 1831 in Koga, Shimosa Province. His fathersucceeded to a fire station officer position in Edo where the familymoved in the following year. Kyōsai, on his own account, drew hisearliest sketch, a frog, when he was two years old. At the age of six, heentered Kuniyoshi’s studio where he stayed until he was nine. At thattime he entered the school of the Kanō-style painter Maemura Tōwa(died 1853) and in the following year moved to Tōwa’s teacher KanōTōhaku Norinobu (1818–1851). His earliest work, a portrait ofBishamon, is dated 1848. In 1849, Kyōsai finished his apprenticeshipand received the name Tōiku Noriyuki from his teacher. After adifficult time, he started in 1855 to design prints and to illustratebooks. In 1858 he took the art name Kyōsai but became only popularfive years later when he joined the “Gojōraku Tōkaidō” print series.One year later, the satirical series “Kyōsai’s Sketchbook” (Kyōsaimanga) and “One Hundred Wildnesses by Kyōsai” (Kyōsai hyakkyō)followed. He continued to design prints until he was imprisoned in1870 for a satirical painting that he did during a calligraphy andpainting party (shogakai). The corpus delicti for which Kyōsai was alsofifty times publicly beaten before finally being released from prison in1871 has never surfaced. As a result of his punishment, he exchangedthe first character of his art name ‘Kyōsai’ from “passionate” to onemeaning “dawn.” In the following years he continued to design prints, illustratebooks, and produce paintings. His works continued to be of auniquely individual kind, full of wit and originality, weird andfantastic subject-matter. In 1874, he produced the series “Kyōsai’sDrawings for Pleasure” (Kyōsai rakuga), and illustrated the firsthumor magazine of Japan, “Illustrated Newspaper—Nippon Punch”(E-shinbun Nipponchi). Kyōsai painted some of the Westerners who visited him, forexample Edoardo Chiossone (1833–1898) who was employed bythe Printing Bureau of the Japanese Ministry of Finance from 1875to 1891 as the engraver of the banknotes and stamps issued by theMeiji government. Kyōsai worked on several occasions for the kabukitheaters, and exhibited his work at the National Industrial Exhibition(Naikoku Kangyō Hakurankai) and other exhibitions. Despite taking Buddhist orders at Reiunji in 1885 and receivingthe name Jokū, Kyōsai continued to work until he died of stomachcancer on April 26, 1889, aged 59. He was buried at the Zuirinji inYanaka and his posthumous Buddhist name is Honyūin JokūnitteiKoji.156 artists

Above 1864. “Comic One Hundred Turns of theRosary” (Dōke hyakumanben), from the series“Kyōsai’s One hundred Madnesses” (Kyōsaihyakkyō). Ōban triptych. Publisher: DaikokuyaKinnosuke. Library of Congress.Right 1866. Kuwana, from the series “A FunnyPicture of the Fifty-three Stations” (Kyōgagojūsan tsugi no ichimai). Ōban. Publisher:Daikokuya Kinzaburō. Japan Ukiyo-e Museum,Matsumoto.Far right 1874. “No. 8—Aesop’s Fables, vol. 3,parable 113—The Quack Frog and parable16—Meeting of the Gods in Heaven”, from theseries “Kyōsai’s Drawings for Pleasure” (Kyōsairakuga). Ōban. Publisher: Sawamuraya Seikichi(Takekawa Seikichi). Waseda University Library.



ARTIST / PUBLISHER

Yoshiiku1833–1904Family name: Ochiai. Given name: Ikujirō. Art surname: Utagawa. Art names:Chōkarō, Ikkeisai, Keisai.Born in 1833 as son of a teahouse propieter in Asakusa Tamachi,Yoshiiku became a student of Kuniyoshi in the late 1840s. Hisearliest work seems to date from 1852 when he contributed thescenic background to two actor prints by Kuniyoshi, one fromthe series “Collection of Mount Fuji from the Capital in IrohaOrder” (Nanatsu iroha Tōto Fuji zukushi), the other from theseries “Thirty-six Popular Restaurants in the Eastern Capital”(Tōto ryūkō sanjūroku kaiseki). His first illustrated book is “TheRevenge of Crawling to the Hakone Miracle” (Hakone reigenizari no adauchi) from 1854. Like his teacher Kuniyoshi, Yoshiikufirst designed actors, warriors, and beautiful women but soonturned towards humoristic and satirical pictures. He played aleading role in this field, especially after Kuniyoshi’s death in1861. Yoshiiku also became active in illustrating books, in totalover 40 during his career. Amongst his most famous works arethe series “Up-to-date Allusions to Genji” (Imayō nazora-e Genji)from 1864. Noteworthy also are “Twenty-eight Plebian Verses about theConstellations of Famous Men” (Eimei nijūhachi shūku) from1866–67 that he did with Yoshitoshi and “Portraits as TrueLikenesses in the Moonlight” (Makoto no tsukihana no sugata-e)from 1867. Yoshiiku became also known for his prints of womenin bathhouses. For whatever reason, in 1869 designs started to appear wherehe had exchanged the character for “kei” in his artist name to asimilar looking character with more strokes. From 1874 until 1876 he illustrated reports from thenewspaper “Tokyo Daily Newspaper” (Tōkyō nichinichi shinbun)that were published as single-sheet prints. He then co-foundedand illustrated the newspaper “Tokyo Illustrated Newspaper”(Tōkyō eiri shinbun), a position that caused him to refrainfrom other print designing. After ending “Tokyo IllustratedNewspaper” in 1889, he returned in 1890 to producing actorprints and also a few series. Apparently he struggled in his lastyears, had to move a number of times, and sank into oblivion.One of Yoshiiku’s last known prints is a commemorative portraitfrom 1903 showing the actor Onoe Kikunosuke II who had diedat the age of thirty. Yoshiiku operated a small studio and had at least threestudents, Ikumura, Ikuei, and Ikumasa, none of which reachedgreat fame. With his second wife, Yoshiiku had ten children, allbut one of who died early. He passed away on February 6, 1904,aged 71, in a temporary residence in Honjo. His posthumousBuddhist name is Juzen’in Hōkinikkaku Koji, and he was buriedat Anseiji in Asakusa.158 artists



Left top 1860 “Image of a ferocious Above 1863 The atiger” (Mōko no shashin). Ōban. Gonjūrō I as KazuPublisher: Shinagawaya Kyūsuke. Library of Publisher: Kagaya KCongress. Arendie and Henk HLeft bottom 1864 The actor IchikawaKodanji IV as Ichibei, a peasant fromAnegasaki. Ōban. Publisher: ŌmiyaKyūjirō. Collection Arendie and HenkHerwig.

Below 1864 “No. 40—The priest Mongaku “ (Mongaku Shōnin), from the series “Up-to-date Allusions to Genji” (Imayō nazora-e Genji). Ōban. Publisher: Ōmiya Kyūjirō. Collection Arendie and Henk Herwig.actor Kawarazakiusanosuke. Ōban.Kichibei. Collection Herwig. YOSHIIKU 159

Kunichika1835–1900Family name: Ōshima, later Arakawa (mother’s maiden name). Art surname: Toyohara. Art na(c.1852–53), Kachōrō (c.1853), Ichiōsai (c.1855–70), Ittō (c.1859–63), Hōshunrō (c.1891–95).Kunichika was born on the fifth day of the ōkubi-e (large-head picturessixth month 1835 in Kyōbashi. His father was panorama triptychs with a sthe proprieter of a public bathhouse. Around depicted over all three sheet1846 he was apparently a student of a certain he spent time going to the kToyohara (Ichiōsai) Chikanobu (not to be and sketching actors. Influeconfused with Kunichika’s most famous art, he sometimes used framstudent, Chikanobu, whose name is written prints in imitation of Westedifferently in Japanese). In 1848, Kunichika photography. In 1866, Kunibecame a student of Kunisada who supported the official order to contribuhim in publishing his earliest known design, exhibition in Paris in 1867.an inset cartouche in a design by Kunisadafrom the series “A Collection of the Provinces With well over 120 seriesWith Honorable Characters of Japan” (Kuni was the most prolific print dzukushi Yamato meiyo), dated from the twelfth early Meiji period. He workmonth 1852. one hundred different publi importantly Fukuda Kumaj Since 1854 he used the name “Kunichika,” Kahei, and Sawamuraya Seiwhereas “kuni” derived from “Toyokuni,” his best known series are “OKunisada’s name at that time and “chika” was Performances of Ichikawa Dtaken from his teacher Chikanobu. Kunichika Danjūrō engei hyakuban; 189followed in Kunisada’s footsteps, designing “The One Hundred Roles opredominantly actor prints. He was instantly hyakushu no uchi; 1893–94).successful and especially popular for his actor actor prints, he also drew be160 artists

ames: Yasohachis) and innovative historical and war prints, and illustratedsingle actor several books, amongst them some erotica. ts. It is known that kabuki theater In 1861, Kunichika moved to Yanagishimaenced by Western with his first wife Ohana, and they had ames around his daughter, Hana, in the same year. Kunichika’sern painting and life was rather unsettled and the marriageichika received didn’t last long. He frequently changedute to the world partners as well as houses. Kunichika passed. away, aged 66, on July 1st, 1900, in his house s Kunichika in Honjō. His grave is at the Honryūji indesigner in the Asakusa. His posthumous Buddhist nameked for over is Ōunin Shaku no Kunichika. Amongst hisishers, most students were Chikanobu and Chikashige.jirō, Gusokuya ikichi. Amongst Below 1868 “The Winning Girls Bath of aOne Hundred Comparison of Skin and Flowers” (Hada kurabeDanjūrō” (Ichikawa hana no shōbuyu). Ōban triptych. Publisher: Echizenya 93–1903) and Kajū. Library of Congress.of Baikō” (Baikō. Apart fromeautiful women,

Left top 1893 The acKikugorō V as Tairawith an inset of IchikIX in “Shibaraku”, fro“The One Hundred R(Baikō hyakushu noPublisher: Fukuda KumCollection Arendie anLeft middle KunisadKunichika 1852 Tweprovince ShimotsukBandō Shuka I as Madaughter Takiyashaseries “A Collection oProvinces With HonoCharacters of JapanYamato meiyo). ChūMinatoya Kohei. PrivaThe inset by Kunichikknown work.Left bottom 1886 ThIchikawa Danjūrō IXKuemon and SawamGennosuke IV as Kojseries “The CompariPlaying” (Haiyū kyōuchi). Ōban. PublisheMatashichi. CollectionHenk Herwig.Right 1867 The actoTomoemon V as TairTomomori in the plakujira no ōyose, MorVII/1867. Ōban diptyDaikokuya KinnosukeArendie and Henk He

ctor Onoe no Masakadō kawa Danjūrō om the seriesRoles of Baikō”o uchi). Ōban.majirō.nd Henk Herwig.da and enty-six—Theke and the actor asakado’sa, from the of the orablen” (Kuni zukushiūban. Publisher:ate Collection.ka is his earliesthe actorsX as Kezorimura jorō, from the ison of Actorsōgen kurabe noer: Kodama n Arendie andor Ōtani ra noay Ichi no mori rita Theater,ych. Publisher:e. Collectionerwig. KUNICHIKA 161

Chikanobu1838–1912Family name: Hashimoto. Given name: Naoyoshi. Art surname: Toyohara. Artnames: Ikkakusai, Yōshū.Chikanobu was born in Edo into a samurai family from EchigoProvince. He originally studied under Kuniyoshi and took the nameYoshitsuru II. When Kuniyoshi passed away in 1861 he became astudent of Kunichika. In 1867, Chikanobu’s father retired and passedon his responsibilities to his son who fought in support of theTokugawa shogunate against the supporters of Emperor Meiji. He wasarrested and returned to Tokyo around 1875 to resume his career as aprint designer. But he only really became active in 1877 withillustrations of the Satsuma Rebellion (Sainan Sensō). He was mostactive in the 1880s and 1890s as designer of beautiful women but alsocreated a fair number of actor prints. From time to time Chikanobu wascommissioned to capture events, for example the horse race in UenoPark in 1885. Numerous artists designed many triptychs that illustrated the Sino-Japanese War (Nisshin sensō) of 1894–95 but Chikanobu’s designs onthis subject are rather rare. In the late 1890s he produced a number of series of womenproviding a nostalgic view towards the past, like the triptych series“Chiyoda, Inner Palace” (Chiyoda no Ōoku) that the publisher FukudaHatsujirō issued from 1894 until 1896. In 1897, the same publishercommissioned Chikanobu to move the focus from the Inner to theOuter Palace and published the series “Chiyoda, Outer Precincts ofthe Palace” (Chiyoda no on-omote). Throughout his career Chikanobu worked for about seventypublishers and produced almost sixty series. Furthermore, heillustrated some books and produced a few paintings. Chikanobu had afew students, most importantly Watanabe Nobukazu (1872–1944). In 1906, Chikanobu retired and ceased to design prints. He diedof stomach cancer, aged 75, on September 29, 1912. His posthumousBuddhist name is Inchokuyo Gisei Koji.162 artists

Above 1895 Attack atWeihaiwei Bay, from the series“The Sinō-Japanese War”(Nisshin sensō no uchi). Ōbantriptych. Publisher: HiguchiShintarō. Library of Congress. Left 1885 “Picture of the horse race in Ueno Park” (Ueno shinobazu keiba no zu). Ōban triptych. Publisher: Fukuda Kumajirō. Library of Congress. Right 1898 “Miracle of the Yaguchi ferry act” (Shinrei Yaguchi no watashi ba), from the series “Bamboo Knots” (Take no hitofushi). Ōban triptych. Publisher: Daikokuya Heikichi (Matsuki Heikichi). Collection Arendie and Henk Herwig.



CHIKANOBU 163

Right 1897 “Townsmen on the way to watch aNoh performance during the coronationfestivities” (Go tairei no fushi chōnin go nōhaiken), from the series “Chiyoda, Outer Precinctsof the Palace” (Chiyoda no on-omote). Ōbantriptych. Publisher: Fukuda Hatsujirō. CollectionArendie and Henk Herwig.Below 1869 “Gathering the beans thrown on thelast day of winter” (Setsubun), from the series“Chiyoda, Inner Palace” (Chiyoda no Ōoku). Ōbantriptych. Publisher: Fukuda Hatsujirō. Collection ErichGross, Switzerland.Opposite bottom 1895 “Entertainment in snow”(Geichū no yuki), from the series “Chiyoda, InnerPalace” (Chiyoda no Ōoku). Ōban triptych.Publisher: Fukuda Hatsujirō. Collection Erich Gross,Switzerland.164 artists





CHIKANOBU 165

Yoshitoshi1839–1892Family names: Yoshioka, Tsukioka (from 1865). Given name: Yonejirō. Art names: Gyokuōrō (a(1853–73), Kaisai, Taiso (from 1873).Yoshitoshi was born into a merchant family. Aspects of the Moon” (TsukIn the early 1850s he became a student of 1885–91), “Thirty-two AspKuniyoshi who introduced him to Western and Manners” (Fūzoku sanjūart and historical themes. Yoshitoshi’s first and “New Forms of Thirty-design dates from 1853. Initially he designed (Shinkei sanjūrokkaisen; 188beautiful women and actors in the Utagawa was a prolific designer whoSchool style but then shifted to a more more than 2000 color printrealistic style of drawing. In 1858, he became different publishers. In thean independent artist and focused on of his works were publishedhistorical prints, earning himself a name as a Magobei, in the late 1870s“war artist,” renown for illustrating violence. by Morimoto Junzaburō, anHe designed series such as “One hundred it was the publisher TsujiokGhost Tales from China and Japan” (Wakan who collaborated most withhyaku monogatari) from 1865. Yoshitoshi’s illustrated a small number opopularity apparently diminished and, in also active as a painter (app1872, a mental disorder developed that paintings survive).resulted in the production of more and moremacabre and sadistic prints. After recovering Yoshitoshi had many amfrom this illness, he started to illustrate married several times. His lnewspapers in 1873. From 1878 until 1880, ex-geisha Sakamaki Taiko.the publisher Funazu Chūjirō issued children; one of them was KYoshitoshi’s series “Mirror of Famous 1927), who became knownJapanese Generals” (Dainippon meishō kagami). the Noh theater. In the 1880s, he was much sought after Yoshitoshi passed away oas a print designer and produced many great aged 54. His posthumous Band important series, e.g. “One Hundred Taiso Inshaku Yoshitoshi K buried at the Senpukuji. Right top 1886 “Moon through Right bottom 1 smoke” (Enchū no tsuki), from the Tsunemoto killi series “One Hundred Aspects of the series “Mirror o Moon” (Tsuki no hyakushi). Ōban. Generals” (Dai Publisher: Akiyama Buemon. Library of kagami). Ōban. Congress. Chūjirō. Collectio Herwig. Right middle 1865 Ōya Tarō Mitsukuni watching a battle Opposite 1892 between skeletons, from the series Genta Yoshihira “One hundred Ghost Tales from Jirō at Nunobik China and Japan” (Wakan hyaku (Nunobiki no ta monogatari). Ōban. Publisher: Yoshihira rei ut Daikokuya Kinnosuke. Library of from the series Congress. Thirty-six Ghos sanjūrokkaisen Sasaki Toyokichi. and Henk Herwi166 artists

around 1860), Ikkaisai ki no hyakushi; pects of Customs ūnisō; 1888), -six Ghosts” 89–92). Yoshitoshi produced ts for over fifty 1870s many d by Yorozuya to early 1880s nd in the 1880s kaya Kamekichi h Yoshitoshi. He of books and was proximately 30morous affairs and last wife was the He adopted her Kōgyo (1869– for his prints of on June 9th, 1892, Buddhist name isKoji and he was 1879 Rokusonnō ing a deer, from the of Famous Japanese Nihon meishō . Publisher: Funazu on Arendie and Henk “The ghost of Aku a attacking Nanba ki Waterfall” aki Aku Genta tsu Nanba no Jirō), “New Forms of sts” (Shinkei n). Ōban. Publisher: . Collection Arendie ig.



YOSHITOSHI 167

Kiyochika1847–1915Family name: Kobayashi. Childhood name: Katsunosuke. Art names: Hōensha (1876–84), ShinKiyochika was born as the ninth and last In 1881, Kiyochika beganchild of the samurai Kobayashi Mohei. His series “Kiyochika Punch” (Kfather was “chief of the foremen” (koagegashira that led to a career as satiricsōtōdori) and in charge of unloading illustrator. In August 1882,operations at the governmential rice granary a political cartoonist for theon the east bank of the Sumida River. After “Marumaru chinbun” (Maruhis father died in 1862, Kiyochika became of eleven years.head of the family. He traveled with theshogun to Kyoto in 1865, and gave up the Until 1886, he continuedgranary position in 1868. He followed the last and also returned to the trashogun, Tokugawa Yoshinobu (1837–1913) to theme with the series “OneShizuoka, worked for a fencing troupe, and Views of Musashi” (Musashfinally returned to Tokyo in 1874. He was uchi), published 1884 to 188most likely self-taught when his first prints of designed after Hiroshige’s lTokyo landscapes in a Westernized style were series, “One Hundred Famopublished in January 1876 by one of the (Meisho Edo hyakkei, 1856–5major publishers Daikokuya Heikichi. series, Kiyochika retired andDaikokuya continued to issue this series until from the print scene. Howe1879. The publisher Fukuda Kumajirō then outbreak of the Sino-Japantook over this untitled series and issued more returned to print designingprints until 1881. popular than ever, designing war triptychs alone, occasio168 artists

nsei (from 1884). n with the comical pentaptych. By 1898 he had produced severalKiyochika ponchi) series but then again ceased to work and cal and comical traveled extensively. In 1900, he became the illustrator of the political newspaper Niroku Kiyochika became shinpō but three years later he was forced toe magazine resign. With the beginning of the Russo- uchin) for a period Japanese War in 1904 Kiyochika again found some work but could not reach the samed to design prints level of popularity. He drew new designs foraditional landscape the series “Long Live Japan—One Hundrede Hundred Selections, One Hundred Laughs” (Nipponhi hyakkei no banzai—Hyakusen hyakusō), that first came 85. This series is out during the Sino-Japanese War. During hislast great landscape last years, Kiyochika produced a number of ous Views of Edo” paintings for patrons. 58). After this d disappeared Kiyochika passed away on November 28,ever in 1894, at the 1915, aged 69. His posthumous Buddhistnese War, Kiyochika name is Shinshōin Taigaku Kiyochika Koji. and became more g over seventyonally even a



Above 1879 “View of TakanawaUshimachi under a shrouded moon”(Takanawa Ushimachi oborozuki kei),from an untitled series of views of Tokyo.Ōban. Publisher: Fukuda Kumajirō. SantaBarbara Museum of Art, Gift of Mr. and Mrs.Roland A. Way. Smith 1988, fig. 42.Left 1894 “The bombardment of DalianBay by our fleet” (Waga kantaiDairenwan hōgeki no zu). Ōbanpentaptych. Publisher: Daikokuya Heikichi(Matsuki Heikichi). Santa Barbara Museumof Art, Gift of Mr. and Mrs. Roland A. Way.Smith 1988, fig. 94.KIYOCHIKA 169

Top 1902 (first ed. 1884) “Image of (Musashi hyakkei no uchi). Ōban. Sugawara Michizane expeled” Publisher: Maruya Tetsujirō (Kobayashi (Kankō haisei zu), from the series Tetsujirō). Santa Barbara Museum of “Ancient pictures” (Koga). Ōban Art, Gift of Mr. and Mrs. Roland A. Way. triptych. Publisher: Daikokuya Heikichi (Matsuki Heikichi). Collection Arendie Above right 1895 Top: “Chinese and Henk Herwig. black boat—Japanese white boat” (Sina kurofune nihon shirofune); Above left 1884 “Dōkan Hill” bottom: “The pig’s big wound” (Dōkanyama), from the series “One (Buta no taibyō). Two examples, Hundred Views of Musashi”170 artists

from the series “Laughs over the and Mrs. Roland A. Way. Smith 1988,Sino-Japanese War” (Nisshin sensō fig. 100.shōraku gakai). Ōban. Publisher:Fukuda Hatsujirō. Library of Congress. Opposite bottom 1887 “Jumping frogs, mind, don’t get hurt”, fromOpposite top 1895 “Imperial arrival the series “Marumaru chinbun”.at Shinbashi Station on triumphal Lithograph 30.8 x 41.9 cm. Publisher:return” (Gaisen Shinbashi steishon Tsuda Jinzaburō. Santa Barbaraonchaku no zu). Ōban triptych. Museum of Art, Gift of Henry D. SmithPublisher: Fukuda Hatsujirō. Santa II. Smith 1988, fig. 90.Barbara Museum of Art, Gift of Mr.



ARTIST / PUBLISHER 171

Gekkō1858–1920Family name: Nakagami, later Tai. Art surname: Ogata (from c.1881). Givenname: Masanosuke. Art names: Kagyōrō, Meikyōsai, Nen’yū, Rōsai.In 1859, Ogata Gekkō was born in Edo’s Kyōbashi Yazaemonchōas the son of the tradesman Nakagami Seijirō. His father passedaway in 1876 and Gekkō made a living with a lantern shop inKyōbashi Yumichō. At the same time he drew flyers for theYoshiwara pleasure quarter, decorated rickshaws and exportedporcelain. Gekkō was self-taught but his first works show theinfluence of the painter Kikuchi Yōsai (1781–1878). He quicklydeveloped his own style and became recognized for hiscraftsmanship as well as his paintings. A descendent of thefamous artist Ogata Kōrin (1658–1716) insisted that Gekkōinherit the Ogata family name. By at least 1883, Gekkō had designed prints and illustratedstory books and newspapers, like “Chōya Newspaper Illustrated”(Eiri chōya shinbun). He participated in the first exhibition ofthe Painting Appreciation Association (Kangakai; predecessorto today’s Nihon bijutsuin) in 1885 and made contact with thefounders Ernest F. Fenollosa (1853–1908) and Okakura Kakuzō(Okakura Tenshin; 1862–1913). In 1886, the first designs ofhis print series “Gekkō’s Random Sketches” (Gekkō zuihitsu)appeared. Two years later he married for the second time; thistime to his student Tai Kiku and changed his family name to Tai.In 1891, Gekkō participated in the foundation of the Japan YouthPainting Association (Nihon seinen kaiga kyōkai) and became ajudge there. In the following years, he won a number of prizesat national competitions. During the Sino-Japanese War of1894–95, Gekkō designed a number of unserialized war triptychs.At the exposition of the Japanese Art Association (Nihon bijutsukyōkai) in 1898, Emperor Meiji bought his painting “Nightattack of the Soga” (Soga youchi). Gekkō was among the first Japanese artists who receivedinternational fame. His works were included in several WorldExpositions/Fairs. In 1893, he received a prize at the World’sColumbian Exposition (aka The Chicago World’s Fair), Chicago,for his painting “Edo’s Sannō Festival” (Edo Sannō matsuri). Afterparticipating in the Paris Exposition in 1900, he received in 1904at the Louisiana Purchase Exposition (aka St. Louis World’sFair), in St. Louis, Missouri, the Gold Prize for selections ofhis series “One Hundred Views of Mount Fuji” (Fuji hyakkei).In 1910, his works were shown at the Japan-British Exhibitionin White City, UK. At the sixth Ministry of Education ArtExhibition (Monbushō bijutsu tenrankai; short Bunten; todayNitten), in 1912, he received the third prize. Gekkō passed away in Ushigome Shin’ogawamachi on Octoberfirst, 1920, aged 61. Amongst his few students was Kōgyo (1869–1927) who first studied under Yoshitoshi and became famous forhis series related to the Noh theater.172 artists



Left 1896 “The Ancient CherryTree on Mount Togakushi”(Togakushiyama noJindaizakura), from the series“Gathering of Pictures ofJapan’s Flowers” (Nihon hanazue). Ōban. Publisher: SasakiToyokichi. Collection Erich Gross,Switzerland.Left bottom 1899 Dragonflyand pumpkin from the album“Gekkō’s art field” (Gekkōgaho). 24.7 x 30.3 cm (9.7 x 11.9in.). Publisher: Daikokuya Heikichi(Matsuki Heikichi). Library ofCongress.Right 1897 (reprint from 1893)“Dragon rising to the heavens”(Ryū shōten), from the series“Gekkō’s Random Sketches”(Gekkō zuihitsu). Ōban. Publisher:Daikokuya Heikichi (MatsukiHeikichi). Library of Congress.