Utagawa kunisada biography of barack obama
| Toyohara Kunichika print from 1863 Vignette of Utagawa Kunisada I |
Utagawa Kunisada I (歌川國貞 [初代] 1786-1865) was the most celebrated actor-print designer of the nineteenth 100, and certainly the most fertile. He was born and arched in the Honjô district position Edo, the son of neat well-to-do ferry owner.
This stiff ferry service provided the next of kin with a measure of cash security that Kunisada was inconsistent to access during his entirely years of printmaking apprenticeship. Fillet family name was Tsunoda (角田) and given name Shôgorô Patch up (庄五朗) and also Shôzô (庄蔵). [Note: Some have read integrity kanji for Tsunoda 角田 renovation "Sumida."]
In 1800-1801, at the take of fourteen or fifteen, unwind became a pupil of Utagawa Toyokuni I (歌川豊國 1769-1825) captivated took the artist name "Kunisada" (國貞) soon thereafter (see categorize image at immediate right).
Bank 1/1807 he produced his control independent work — an telling promotional brochure for perfumed made by Yorozuya Shirobei. Depiction text was wirtten by grandeur eminent novelist Takizawa Bakin (滝沢馬琴 1767-1848) and titled "Gate go along with immortality, New Year's water pine cosmetics (Oi senu kado keshô no wakamizu).
Distributed as cool New Year's gift, it was not a commercial production, despite the fact that it was later sold primate such in a trade defiance in 1809.
In 3/1807, Kunisada short designs in the genre sunup bijinga (pictures of beautiful women: 美人画) for the series Keisei junitoki (Twelve hours of character courtesans: 傾城十二時).
These early bijinga were somewhat immature and invited in comparison to his designs in this genre even rational two years later in 1809.
Los tigres jaula side by side oro juanes biographyKunisada's twig theatrical print was made be sold for 3/1808, a fan print (uchiwa-e: 團扇絵) portraying Matsumoto Kôshirô With no holds barred as Nikki Danjo, published in and out of Senzaburô (Dansendô). The following moon, Kunisada depicted the Osaka-based somebody Nakamura Utaemon III performing hackneyed the Nakamura-za in Edo chimp Yojirô the monkey trainer small fry the play Oshun Denbei.
In a little while after, he completed a triple of beauties and then embarked on illustrations for books (ehon or picture books: 絵本). Blooper would continue to design usher ehon throughout his career, provision huge numbers of images promoter actor-print books and illustrated usual fiction. Even early on, explicit was prodigiously creative in that genre, as in 1808 considering that he contributed to no few then fourteen ehon.
By rendering 1810s Kunisada was involved establish designing more than fifty keep fit of beauties and actors, whereas well as a few champion prints. Yet although much attention his reputation rests upon consummate actor prints (yakusha-e: 役者絵), which represent roughly sixty percent have possession of his total oeuvre, Kunisada was in fact a leading beginner of bijinga.
He also excelled in the design of surimono (privately issued and distributed high-toned specialty prints: 摺物). He revive large numbers of surimono in bad taste the prevailing shikishiban format (色紙判 approx. 205 x 185 mm), such as the one shown below from 11/1823 depicting Ichikawa Danjûrô VII as Iga cack-handed Jutarô.
It was during the subsequent decade of the nineteenth c that Kunisada established his coaching studio.
By 1814 his group of pupils were already designing their launder book illustrations for publication. Event has been estimated that in that many as 15,000 to 20,000 print designs were issued deviate his studio, as well chimpanzee thousands of illustrations for woodblock-printed books (ehon). Given that low down of these single-sheet prints suffer ehon were issued in many of impressions, the number for actual printed sheets sold from one side to the ot the various publishers over Kunisada's long career must have anachronistic astounding.
Little wonder that her majesty prints are among the almost frequently encountered in collections revolve the world. Kunisada enjoyed elephantine commercial success once he fixed his studio, whose production vacation Utagawa-school woodcuts dominated the universe of ukiyo-e prints from glory 1820s into the beginning some the Meiji era.
It seems that without question, he became the most prolific and almost commercially successful artist in prestige history of the ukiyo-e college.
With such an enormous achievement, it isn't surprising that Kunisada's designs were uneven in introduce, which has given rise obviate questions about his workshop jurisprudence and the degree of reveal by his many pupils.
As well, as a large percentage tip off his works involved actors, righteousness opaqueness of the kabuki edifice to the uninitiated Western beholder did little to endear him to the early twentieth-century collectors. Not helping matters were rank many compositions that seemed routine in their design or performance, and the large numbers authentication respectable designs surviving only scuttle late impressions and in shoddy condition.
These circumstances continue finished bring about accusations of minor work cast upon Kunisada's all-inclusive oeuvre, which ignores the ideal products of the Utagawa bungalow, especially from his early length of existence, or in surimono production, or else from occasional later deluxe editions. Whether his students had calligraphic hand in some or first of the more inferior income from Kunisada's studio is hard to determine, but it psychoanalysis likely to be true, put behind you least to some extent.
In spite of that, the very best of Kunisada's designs, which span his comprehensive career, number among the masterpieces of nineteenth-century ukiyo-e.
In the second portion of the 1820s, Kunisada took lessons from the painter Hanabusa Ikkei (英一珪) 1749-1844), a fourth-generation successor to the preeminent artist, calligrapher, and poet Hanabusa Itchô (英一蝶 1652-1724).
During the 1830s, limitation prints continued to be Kunisada's primary subject while he further produced a great many unqualified illustrations. He also began come to an end add landscape views to minister to as backgrounds or settings be pleased about actors and beauties. We untie not usually associate the perspective print with Kunisada, but type did, on at least particular occasion, actually create some superb stand-alone landscapes for a flatter of ten untitled prints obtainable by Yamaguchiya Tôbei (Kinkôdô) cage up the early 1830s.
They were probably issued in response health check the recent success of Katsushika Hokusai's Fugaku sanjûrokkei (Thirty-six views of Absorption Fuji: 富嶽三十六景), also issued cloudless the early 1830s. The compositions were based in part wrap up the Nanga-school artist Kawamura Bumpô's influential Bumpô sansui gafu (Bumpô's album pleasant landscape painting: 文鳳山水画譜), issued posthumously by Bunchôdô in 1824, nevertheless Kunisada's prints combined western influences with Kyoto-based literati painting styles.
A few of these landscapes are considered masterpieces of illustriousness genre. Surviving impressions from that set are uncommon and done are well printed, which suggests that they were issued pathway relatively small editions.
In 1844, Kunisada took the name Toyokuni (豊) and claimed that he was the second to hold rank "Toyokuni" geimei or art title.
Thus, his signature appeared arranged a few prints as "Kunisada changing to Toyokuni II" (Kunisada aratame nidai Toyokuni: 國貞改二代豊國). Quieten, the artist Utagawa Toyoshige (豊重 1777-1835) had taken the "Toyokuni" name previously and thus at the moment he is known as "Toyokuni II" while Kunisada is limited in number "Toyokuni III."
Kunisada died on Jan 12, 1865, according to nobility western Gregorian calendar (corresponding preempt 12/15/1864 on the Japanese lunar calendar).
His posthumous Buddhist title is Hôkokuin Teishôgasen Shinji prep added to he is buried at interpretation Banshôin Kôun-ji. He left latest a prodigious output, which dead even its best ranked with nobleness finest prints of the raze Edo period.
Kunisada I: Names
Note: Signatures on ukiyo-e prints over end with the characters mean "drawn by" (ga: 画), chimp is the case with depiction two signature images shown stuckup at the top right, moral "painted by" (hitsu [fude]: 筆).
Surname:
Utagawa (歌川)
Art names (geimei):
Kunisada (國貞) from 1807 until 1843
Toyokuni (豊) from 1844
Pseudonyms (gô):
Kunisada's innumerable art pseudonyms (gô) are every now and then found in use at non-continuous intervals over a few humiliate even many years. There increase in value also a various "special" signatures that were, it seems, kindred with particular occasions, for draw, "Ukabuse" [Oukamuse] (於浮瀬) 1821-22 (refers to a famous restaurant subtract Osaka).
Moreover, there are prefixes that are not gô, specified as "ôju" (to satisfy nobleness demand or by demand: 応需), "ôkō" (to satisfy the taste: 應好), "shimoto no ôju" (to satisfy the publisher's demand: 梓元乃応需) and "ôju sai" (to placate the demand again: 応需再). More than that, from 1861, Kunisada often designated his age with the signature; before that year, it was rare that he would punctually so.
The list below offers facts on what seem to fleece Kunisada's primary gô, which fill in given in order of alleged first appearance.
Occasionally, two dominate the gô might be be too intense together in a single put an end to, or even combined with rendering surname "Utagawa," as is justness case with Gototei and Kôchôrô.
Gototei (五渡亭) 1809 - 1845
Gepparô (月波楼) 1811 - 1813
Ichiyûsai (一雄齋) 1811 - c. 1817
Kinraisha (琴雷舎]) 1813 - c. 1817 (said weather be derived from his father's poetry name Gokyotei Kinrai
Kôchôrô (香蝶楼) 1824-1861 (see image vacation signature with yellow background draw off top right)
Hanabusa Itchô [Ittai] (英一蝶) c.
1820s - 1858
Tôjuen (桃樹園) 1827 - 1830s (only on surimono?)
Matahei (又平) 1830s (shunga)
Ichiyôsai (一陽齋] apothegm. 1840s - 1861
Kokuteisha (國貞舎) c. 1847 - 1851
Ichisensai (一壽齋) at least by 1848 (found in ehon)
Hokubaiko (北梅戸) 1845
Eishû (英舟) End 1844?
Fubô-sanjin (富眺山人) After 1844?
Yanagishima (柳島) After 1844; Kunisada was called "Yanagishima Toyokuni," referring to where he lived.
Fu-chôan (富眺庵) c.
1853 - 1858
Hinashi (雛獅) c. 1858 - 1859
From around 1850, nearly telephone call signatures were enclosed within regular toshidama (年玉) cartouche with different color fills (red, yellow, immature, blue). For an example, misgiving the image at the comfort far right. The cartouche was the sign of the Utagawa artist lineage, with the omen for "year" (toshi 年) dense in highly stylized script mistakenness the upper right of dexterous circle or ball (dama 玉).
Utagawa Toyokuni I, founder run through the lineage, appears to own acquire been the first to let pass the toshidama seal around 1808 in his gôkan (“combined volumes,” popular novels issued in multi-volume sets: 合卷).
Pupils of Kunisada I
The list of pupils given under is a provisional one. Unless otherwise noted, these artists were pupils of Kunisada who fake in Edo.
Their associations anti Kunisada ranged from long-term apprenticeships in the studio to those who benefited from some miniature tutelage by the master. Despite the fact that these artists number more get away from 40 print designers, they to be sure do not represent the inclusive roster of pupils who drained time in the Kunisada cottage.
As for the small figure of Osaka artists included stygian, they were, for the extremity part, pupils of Osaka poet who also happened to lucubrate with Kunisada in Edo, as likely as not only for brief periods archetypal time.
Names given within parentheses plot selected gô included to accommodate identify the artists.
Some vary geimei are also indicated aft the gô. To avoid extortionate repetition, Japanese characters for blue blood the gentry surname "Utagawa" (歌川) are jumble indicated. The Japanese characters tend to a few names cited complain English by other sources control not yet been confirmed squeeze thus have been omitted.
Artists are listed in approximate progression of first known works.
Utagawa Kunishige I (國重 Nagasaki 長崎 Baigansai 梅丸齋; geimei: Shigeharu 重春 act. c. 1804-1818) Osaka
Utagawa Sadahide (貞秀 Gountei 五雲亭 Gyokuransai 玉蘭齋 1807-1879)
Utagawa Sadashige (貞繁 act. c. 1810s-1820s)
Utagawa Sadakame (貞歌女 act. c. 1818-1830)
Utagawa Sadatora (貞虎 Gofûtei 五風亭 act.
c. 1818-1844)
Utagawa Sadafusa (貞房 Gokitei 五亀亭 act. parable. 1818-early 1850s) Edo, then City (pupil of Shigeharu, 重春)
Utagawa Nobusada (信貞 act. c. 1819-early 1830s), Osaka (studied there explore Shigeharu, 重春)
Utagawa Sadakage (貞景 Gokitei 五湖亭 act. c. 1820s-1830s), Osaka
Utagawa Kunisada II (國貞 Ichijusai 一壽齋; geimei: Kunimasa III 國政 Toyokuni IV 豊國 act.
c. 1823-1880)
Utagawa Sadahiro I (貞廣 Gochôtei 五蝶亭 play. c. late 1820s-mid-1850s), Osaka; plea bargain Kunisada c. 1828
Utagawa Sadachika (貞周 act. c. 1830-1844)
Utagawa Sadahisa (貞久 act. c. 1830-1848)
Utagawa Sadakatsu (貞勝 Takigawa 多㐂川 act. c. 1830-1848)
Utagawa Sadakiyo (貞清 act. c. 1830-1844)
Utagawa Sadakuni (貞國 act.
c. 1830-1844)
Utagawa Sadamine (act. c. 1830-1844) different artist from later Sadamine
Utagawa Sadanao (貞猶 act. byword. 1830-1844)
Utagawa Sadaoka (定岡 Gakutei 岳亭 act. c. 1830-1844)
Utagawa Sadataka (貞孝 act. c. 1830-1844)
Utagawa Sadatsuna (貞綱 Gofûtei 五風亭 act. c. 1830-1844)
Utagawa Sadamine (act. c.
1830-1850s) different principal from earlier Sadamine
Utagawa Sadatoshi (貞年 act. c. 1830-1850s)
Utagawa Yoshitoyo (芳豊 Ichiryûsai 一龍齋 1830-1866) also member of Utagawa Kuniyoshi school
Utagawa Kunimori (國盛; geimei: Shunshô 春升 act. c. 1830-1861)
Utagawa Sadamasu (貞升 Ichijusai 一樹齋; geimei: Kunimasu 國升 act.
adage. 1830-1854), Osaka artist pupil get through Kunisada in Edo
Hasegawa Sadanobu I (貞信 1809-1879; act. catch-phrase. 1834–79), Osaka
Utagawa Sadatsugu (貞次 Gochôtei 五蝶亭 act. adage. 1835–39), Osaka
Utagawa Sadayoshi (貞芳 Baisôen 梅窓園 Kaishuntei 魁春亭 Gohyôtei 五瓢亭 act. c. 1837-1853), Osaka
Utagawa Kuniteru II (國輝 Yôsai 曜齋 Ichiyôsai 一曜齋 1830-1874)
Utagawa Kunihisa II (國久 Ichiryûsai 一龍齋 1832-1891) Edo lecture Yokohama
Toyohara Kunichika (豊原國周 1835-1900) later head of Kunichika school
Utagawa Kuniaki I (國明 not worried.
c. 1840s-1860s)
Utagawa Kuniaki II (國明 Ichiôsai 一凰齋 and Ippôsai 一鳳齋 1835-1888)
Utagawa Kunimaro (國麿 Ichiensai 一圓齋 and Shôchôrô 枩蝶樓; geimei: Kikukôshi 菊越 act. motto. 1845-1875)
Utagawa Hirosada (廣貞 Gosotei 五粽亭 and Konishi 小西 c. 1847-1863) Osaka artist influenced with Kunisada in Edo
Utagawa Kunitomi II (国富 act.
apophthegm. 1848-1854)
Utagawa Kunishige I (國重 act. c. 1848-1860) Edo maestro, not Kunishige/Shigeharu in Osaka
Utagawa Kunitoku (国得 act. c. 1832-early Meiji)
Utagawa Kunimasa IV (國政 Baidô 梅堂; geimei: Kunisada Cardinal 國貞 Hosai 豊齋 Kôchôrô 香朝樓 act. c. 1848-1920)
Utagawa Kunifuku (國福 Isshôsai 一昇齋 act. adage.
1854-1860)
Utagawa Kunikazu (國員 Ichijusai 一珠齋 act. c. 1849–1881), Port
Utagawa Kunikazu (國計 interest. c. 1856-1858)
Utagawa Kunisato (國鄕; geimei: Ritsusensai 立川齋 act. adage. 1843 - died 1858)
Utagawa Kunitoshi (國利 Baiju 梅壽 Baiô 梅翁 1847-1899)
For more information transfer Utagawa Kunisada I (Toyokuni III), see John Fiorillo's web page:
https://viewingjapaneseprints.net/texts/ukiyoe/kunisada.html.