Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/347

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THE PERIOD OF UTAMARO

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followed the representations of women of all classes. Besides his numerous triptychs, the pleasing picture, in ten small sheets meant to be pasted side by side, of a rain shower driving a throng of people of every trade to seek shelter under a gigantic outspread tree, is particularly celebrated. His landscapes are rare. He also rendered flowers on a large oblong surimono. Illustrations in Strange: plate v., a garden scene, early; on page 48, an actor; on the same, a woman floating a little boat, reminding us of Utamaro. Gonse, i., p. 42: courtesans in a boat (part of a triptych). Fenollosa (Outline, pl. xvi.) reproduces a print of his decline.

Of his triptychs the following may be cited:—

  • Snow scene, a lady, of rank with her little daughter making snowballs; dated by Fenollosa (No. 348) about 1798; perhaps his most beautiful work of the kind.
  • A lady of rank on horseback with attendants, Fuji in background; a very beautiful composition, in subdued colours: yellow, violet, black, and a little green.
  • The ford, a lady of rank carried in a palanquin by eight men.
  • The gust of wind.
  • Women as gods of fortune in a ship, the prow of which has the shape of a white cock.
  • Actors and women in a boat on the river; dated by Fenollosa (No. 353) about 1805.
  • Washerwomen at the whirlpool.
  • Haul of fish on the shore.
  • The bath; according to Fenollosa (Nos. 351, 352) about 1803.
  • The banks of the Sumida River at the bridge of Riogoku.
  • A fan shop, in front a boy playing with five puppies; dated by Fenollosa (No. 338) about 1789; one of the best of his early period.
  • The rat-dream; according to Fenollosa, about 1794.
  • Three actors (Catalogue Duret, No. 91).
  • Scene in a temple garden, dated by Fenollosa (No. 342) about 1800. In collaboration with his pupil Toyohiro.
  • Pentaptych: main street of the Yoshiwara in cherry blossom time; dated by Fenollosa (No. 341) about 1792.