Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/351

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THE PERIOD OF UTAMARO

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mentioned later, attained the widest celebrity. Pupils of his early period were Kunimasa (see above) and Kuniyasu (Hayashi Catalogue, No. 1092), who produced especially actor prints, but whose works are rare. Kunimasa lived from 1773 to 1810; he also signed himself Ichiyusai. Illustrated in Hayashi Catalogue, No. 1088; Duret (No. 267) mentions one book. His son, Naajiro, was also his pupil; he first took the name Toyoshige, but later adopted his father's name, so that he must be carefully distinguished from Toyokuni II.; sometimes he signs himself Gosotei Toyokuni. His style is reminiscent rather of Yeisen than of his father.

(Uta­) (gawa ) (Toyo­) (hiro) Utagawa Toyohiro, also called Ichiriusai, the brother of Toyokuni, was his pupil, but also studied as the pupil of Toyoharu.[1] He was born in 1773; his ordinary name was Okajima Tojiro (Hayashi Catalogue, No. 1051). He began his career about the middle of the tenth decade, reminding us at first of Shunsho, then, in 1800, collaborating with Toyokuni. In the first two decades of the nineteenth century he illustrated many books, in which to a certain extent he approached the style of Hokusai. He died in 1828. His pupil was Hiroshige, who likewise called himself Ichiriusai.

Toyohiro's chief single sheets are:—

  • The abduction of Otoku by Fukusuke; medium size.
  • A young girl in the snow; dated by Fenollosa (No. 350) about 1801; his most beautiful and characteristic work.
  • An actor in the rôle of a Kashira, with a large umbrella.
  • A branch of blossoms in wicker basket on lacquer stand.

Triptychs:—

  • Gathering persimmons in the presence of a young prince; dark tones.
  • The crossing in a ferry-boat, containing several blind people.
  • Supper on a terrace facing the river.

  1. Anderson Cat., p. 347; id., Japanese Wood-Engraving; Fenollosa Cat., Nos. 344a, 350; Cat. Burty, No. 182 ff.; Bing Cat., No. 183 ff.

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