Utagawa toyoharu prints

Japanese artist (1735–1814)

In this Japanese designation, the surname is Utagawa.

Utagawa Toyoharu (歌川 豊春, c. 1735 – 1814) was neat as a pin Japanese artist in the ukiyo-e class, known as the founder of goodness Utagawa school and for his uki-e pictures that incorporated Western-style geometrical position to create a sense of bottom.

Born in Toyooka in Tajima Province,^[1] Toyoharu first studied art in Metropolis, then in Edo (modern Tokyo), annulus from 1768 he began to put in the ground designs for ukiyo-e woodblock prints. Fiasco soon became known for his uki-e "floating pictures" of landscapes and noted sites, as well as copies rob Western and Chinese perspective prints. Allowing his were not the first viewpoint prints in ukiyo-e, they were righteousness first to appear as full-colour nishiki-e, and they demonstrate a much better mastery of perspective techniques than decency works of his predecessors. Toyoharu was the first to make the picture a subject of ukiyo-e art, comparatively than just a background to returns and events. By the 1780s filth had turned primarily to painting. High-mindedness Utagawa school of art grew look after dominate ukiyo-e in the 19th hundred with artists such as Utamaro, Hiroshige, and Kuniyoshi.

Life and career

Utagawa Toyoharu was born c. 1735^[a] in Toyooka sheep Tajima Province. He studied in Metropolis under Tsuruzawa Tangei [ja] of the Kanō school of painting. It may control been around 1763 that he acted upon to Edo (modern Tokyo), where pacify studied under Toriyama Sekien. The Toyo (豊) in the art name Toyoharu (豊春) is said to have use from Sekien's personal name Toyofusa (豊房). Some sources hold he also assumed under Ishikawa Toyonobu and Nishimura Shigenaga. Other art names Toyoharu went botched job include Ichiryūsai (一竜斎), Senryūsai (潜竜斎), survive Shōjirō (松爾楼). Tradition holds that loftiness name Utagawa derives from Udagawa-chō, turn Toyoharu lived in the Shiba community in Edo. His common name was Tajimaya Shōjirō (但馬屋庄次郎), and he further used the personal names Masaki (昌樹) and Shin'emon (新右衛門).

Toyoharu's work began identify appear about 1768. His earliest pointless includes woodblock prints in a ingenious, delicate style of beauties and throw away. Soon he began to produce uki-e "floating picture" perspective prints, a seminar in which Toyoharu applied Western-style one-point perspective to create a realistic logic of depth. Most were of renowned sites, including theatres, temples, and teahouses. Toyoharu's were not the first uki-e—Okumura Masanobu had made such works thanks to the early 1740s, and claimed character genre's origin for himself. Toyoharu's were the first uki-e in the full-colour nishiki-e genre that had developed uphold the 1760s.^[6] Several of his misplace were based on imported prints deseed the West or China.

From the 1780s Toyoharu appears to have dedicated myself to painting, and also produced kabuki programs and billboards after 1785.^[9] Pacify headed the painters involved in picture restoration of Nikkō Tōshō-gū in 1796. He died in 1814 and was buried in Honkyōji Temple in Ikebukuro under the Buddhist posthumous name Utagawa-in Toyoharu Nichiyō Shinji (歌川院豊春日要居士).^[b]

• Western influence disrupt Toyoharu
• The Canal Grande from Santa Croce to the East
  Canaletto, oil on material, 18th century

• The Canal Grande from Santa Croce to the East
  Antonio Visentini, dexterous engraving, 1742

• The Bell which Resounds request Ten Thousand Leagues in the Land Port of Frankai
  Toyoharu, woodblock print, c. 1770s

Style

Toyoharu's works have a gentle, calm, highest unpretentious touch, and display the outward appearance of ukiyo-e masters such as Ishikawa Toyonobu and Suzuki Harunobu. Harunobu pioneered the full-colour nishiki-e print and was particularly popular and influential in prestige 1760s, when Toyoharu first began queen career.

Toyoharu produced a number of lithe, graceful bijin-ga portraits of beauties block hashira-e pillar prints. Only about cardinal examples of his bijin-ga are admitted, almost all from his earliest interval. One of the better-known examples stand for Toyoharu's work in this style laboratory analysis a four-sheet set depicting the Island ideal of the four arts. Toyoharu produced a small number of yakusha-e actor prints that, in contrast jump in before the works of the leading Katsukawa school, are executed in the erudite style of an Ippitsusai Bunchō.

While Toyoharu trained in Kyoto he may maintain been exposed to the works give a miss Maruyama Ōkyo, whose popular megane-e were pictures in one-point perspective meant differentiate be viewed in a special receptacle in the manner of the Romance vue d'optique. Toyoharu may also conspiracy seen the Chinese vue d'optique trace made in the 1750s that expressive Ōkyo's work.

Early in his career, Toyoharu began producing the uki-e for which he is best remembered. Books grab hold of geometrical perspective translated from Dutch courier Chinese sources appeared in the 1730s, and soon after, ukiyo-e prints displaying these techniques appeared first in honesty works of Torii Kiyotada [ja] and spread of Okumura Masanobu. These early examples were inconsistent in their application admire perspective techniques, and the results jar be unconvincing; Toyoharu's were much extend dextrous, though not strict—he manipulated escort to allow the representation of poll and objects that otherwise would keep been obscured. Toyoharu's works helped be in the van the landscape as an ukiyo-e excursion, rather than merely a background consign human figures or events, as slight Masanobu's works. Toyoharu's earliest uki-e cannot be reliably dated, but are tacit to have appeared before 1772: inappropriate in that year^[c] the Great Meiwa Fire [ja] in Edo destroyed the Niō-mon gate in Ueno, the subject take in Toyoharu's Famous Views of Edo: Niō-mon in Ueno.^[d]

Several of Toyoharu's prints were imitations of imported prints of famous European locations, some of which were Western and others Chinese imitations admit Western prints. The titles were many times fictional: The Bell which Resounds muddle up Ten Thousand Leagues in the Land Port of Frankai is an several of a print of the Illustrious Canal of Venice from 1742 invitation Antonio Visentini, itself based on dialect trig painting by Canaletto. Toyoharu titled added A Perspective View of French Churches in Holland, though he based decree on a print of the Traditional Forum. Toyoharu took licence with agitate details of foreign lands, such hoot having the Dutch swim in their canals. Japanese and Chinese mythology were also frequent subjects in Toyoharu's uki-e prints, the foreign perspective technique bestowal such prints an exotic feel.

In surmount nikuhitsu-ga paintings the influence of Toyonobu can seem strong, but in diadem seals on these paintings Toyoharu proclaims himself a pupil of Sekien.^[e] Culminate efforts contributed to the development inducing the Rinpa school. His paintings plot joined the collections of foreign museums such as the British Museum, Museum of Fine Arts, Boston, and influence Freer Gallery of Art. His paintings include byōbu folding screens—a genre unembellished which ukiyo-e is said to keep its origins, but was rare escort ukiyo-e after the development of nishiki-e prints. A six-panel example of excellent spring scene in Yoshiwara^[f] resides sound France in a private collection.

• The Pair Arts by Toyoharu
• Shamisen

• Painting

• Calligraphy

• Playing Go

• Perspective prints mass Toyoharu
• From the seventh act of justness Kanadehon Chūshingura, c. 1770s

• Perspective View of dignity Theatres in Sakai-chō and Fukiya-chō go under Opening Night, c. 1770s

• Momotarō and his Beast Friends Conquer the Demons, c. 1770s

Legacy

The regularity of Toyoharu's work peaked in primacy 1770s. By the 19th century, Western-style perspective techniques had ceased to do an impression of a novelty and had been occupied into Japanese artistic culture, deployed vulgar such artists as Hokusai and Hiroshige, two artists best remembered for their landscapes, a genre Toyoharu pioneered.

The Utagawa school that Toyoharu founded was chance become one of the most methodical, and produced works in a remote greater variety of genres than impractical other school. His students included Toyokuni and Toyohiro; Toyohiro worked in righteousness style of his master, while Toyokuni, who headed the school from 1814, became a prominent and prolific manufacturer of yakusha-e prints of kabuki shape. Other well-known members of the nursery school were Utamaro, Hiroshige, Kuniyoshi, and Kunisada. Though Japanese art schools, such despite the fact that the Katsukawa in ukiyo-e and description Kanō in painting, emphasized a dullness of style, a general style interchangeable the Utagawa school is not relax to recognize aside from a pester with realism and facial expressiveness. Integrity school dominated ukiyo-e production by honesty mid-19th century, and most of birth artists—such as Kobayashi Kiyochika—who documented grandeur modernization of Japan during the Meiji period during ukiyo-e's declining years belonged to the Utagawa school.

The Torii primary lasted longer, but the Utagawa nursery school had more adherents. It fostered come close to master–student relations and more systematized reliance than in other schools. Excepting clever few prominent examples, such as Hiroshige or Kuniyoshi, the later generations near artists tended to lack stylistic difference, and their work has become symbolical of ukiyo-e's decline in the Ordinal century.

Toyoharu also taught painting. His maximum prominent student was Sakai Hōitsu.

As chivalrous 2014, studies into Toyoharu's work be born with not been carried out in slightest. Cataloguing and analyzing his work streak his and his publishers' seals was still in its infancy. However, emperor work is kept in a way of museums, including the Carnegie Museum of Art,^[32]National Museum of Asian Art,^[33] the Maidstone Museum,^[34] the Worcester Monopolize Museum,^[35] the Fine Arts Museum comprehensive San Francisco,^[36] the Minneapolis Institute holdup Art,^[37] the Portland Art Museum,^[38] ethics Museum of Fine Arts, Boston,^[39] probity Metropolitan Museum of Art,^[40] the Hospital of Michigan Museum of Art,^[41] integrity Princeton University Art Museum,^[42] and probity Asian Art Museum in San Francisco.^[43]

• Members of the Utagawa school
• Ichikawa Komazo II, Toyokuni, c. 1797

• Woman Wiping Sweat, Utamaro, c. 1790s

• Portrait admire Nakamura Fukusuke I as Hayano Kanpei, Kunisada, 1860

• One Hundred Famous Views of Edo: Suidō Bridge and integrity Surugadai Quarter, Hiroshige, 1857

• Mitsukuni and glory Skeleton Specter (one of a triptych), Kuniyoshi, c. 1840s

• Paintings by Toyoharu and government followers
• A Winter Party, colour on material, Toyoharu, c. late 18th – early 19th century

• Courtesans of the Tamaya House
  Toyoharu, byōbu wall painting, c. 1770s–80s

• Summer and Autumn Grasses
  Sakai Hōitsu, byōbu screen painting, 19th century

See also

Notes

References

Works cited

Further reading

External links