considering how shy our time is of colour, be a normal phenomenon. For that reason, painters will not easily be convinced that in neither case are the changes intentional.
2. Shigemasa.—In the year 1764, one year before the invention of the polychrome print, there first appear those artists whose vocation it was, as followers of Harunobu, to control and direct Japanese art in its further development: Shigemasa, Shunsho, and Kiyonaga. The first two of ⟨⟩ will be treated of in this chapter, as their principal ⟨⟩, like that of Koriusai, the immediate follower of Harunobu, falls in the seventies. Kiyonaga, however, whose full influence was not felt until the beginning of the eighties, simultaneously with that of Shunsho's pupils, will be discussed in a separate chapter, more especially as he represents, on his own merits, the high-water mark of Japanese wood-engraving.
Shunsho, like Hokusai, is apt to be overrated, as he is
better known and especially pleasing to the eye. The merit,
however, of having, after Harunobu, effected the transition
from the style of the old period to that of the new, belongs
undoubtedly to Shigemasa, who, besides, deserves especial attention
as one of the best draughtsmen among Japanese artists.
- Fenollosa Cat., Nos. 114, 204-216; Anderson Cat., p. 344; Cat. Burty, No. 197 ff.; Strange, p. 86.