Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/289

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series of pictures from woman's life from childhood to motherhood (Berlin Kunstgewerbemuseum).

Of Shuncho's single sheets, the following may be mentioned:—

  • Pictures of wrestlers.
  • Triptych (about 1790, according to Fenollosa, No. 272), women stepping out of a boat; one of his most beautiful things.
  • A little girl journeying on horseback.
  • Promenades and feasts.
  • Young prince taking riding exercise.
  • Two princes shooting with the bow.
  • A print in five sections: travellers, with Fuji in the background.

Katsukawa Shunzan also began as a pupil of Shunsho, and later followed closely Kiyonaga; nor was he either lacking in force and originality.[1] He worked from the middle of the eighth decade till the end of the century. Of his triptychs, one which represents a scene at the gate of a temple is cele­brated. Reproduction in Strange, page 80; a triptych in the Hayashi Catalogue (No. 772). Fenollosa (Outline, pl. xiii.) reproduces a print of about 1777.

Fellow-pupils of Kiyonaga were the following artists: Torii Kiyotsune, who is wrongly cited by Burty (Catalogue, No. 148) as a pupil of Kiyonaga.[2] On the contrary, he betrays every­where his descent from Kiyomitsu by the graceful formation of his figures and by their very small feet and hands; he also exhibits the influence of Harunobu. Besides actor prints he produced book-illustrations; one of his books, in two volumes, appeared in Yedo in 1774 (Duret). There are mentioned as being by him:—

  • Twenty-four examples of filial love; from the Chinese.

  1. Fenollosa Cat., Nos. 275-278; Bing Cat., No. 297; Strange, p. 81. In the Hayashi Cat. (No. 772) he is called a pupil of Shunsho and Shunyei.
  2. Anderson Cat., p. 342; Fenollosa Cat., No. 168; Burty Cat., No. 150; Bing Cat., No. 33; Strange, p. 24.