Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/290

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JAPANESE COLOUR-PRINTS

  • Dozi gamatsu (?), the story of a child named Maruko, small size, in black and white.
  • A reproduction in Strange at page 26. Cp. supra, p. 95.

Of Torii Kiyohiro[1] Bing cites some sheets (Catalogue, No. 29).

As contemporaries of Kiyonaga we may further mention: Torii Kiyomasa (a sheet in Bing's Catalogue, No. 72), who is called the son of Kiyonaga in the Hayashi Catalogue (No. 736 and illustration), and Utagawa Kunimasa, a member of the painter-family founded by Shunsho, and a pupil of Toyokuni, q.v., of whom Bing (Catalogue, No. 231) cites:—

  • Half figures of three actors.
  • Saint praying before a waterfall.

With Kiyonaga's pupil, Kiyomine, who styled himself fifth of the Torii, and with Kiyomitsu, the Torii line, that great school of actor representation, comes to an end after an existence of a hundred years. Kiyomine (Shonosuke), who married the granddaughter of the old Kiyomitsu, began his activity in the beginning of the nineteenth century. He was still living in 1830, and apparently died at the beginning of the forties.[2] He worked in a style that reminds us of Toyokuni and Utamaro, and is at times very elegant, but often lacking in animation of expression. He also produced copies, e.g., after Kiyonobu and Kiyomasu. A print in five divisions, Imayo Gonin Bayashi, represents five female musicians (Hamburg). Strange reproduces, at page 28, a woman in half length. Another print is reproduced in the Hayashi Catalogue (No. 739). Kiyoyasu was one of his pupils (illustration, ibid., No. 740).

The following appear to be connected with Kiyonaga: Santoun (illustration, ibid., No. 765); Riuunsai (ibid., No. 767); Gentei Munataka, late (ibid., No. 768).

  1. Anderson Cat., p. 342.
  2. Strange, p. 27; Fenollosa Cat., No. 304; Bing Cat., No. 73.