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The 25 Most Important Classical Shunga Artists (Vol Issue 04 12-2019 The 25 Most Important Classical Shunga Artists (Vol. 2) Issue 04 12-2019 The 25 Most The Important Classical Shunga 25 Most Artists (Vol. 2) Important Classical Shunga Artists (Vol. 2) On our forum (will be launched later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! Issue 04 12-2019 Contents The 25 Most The 25 Most Important Classical Shunga Artists (Vol. 2) 7 Important Chōbunsai Eishi (1756-1829) 9 Classical Shunga Chōkyōsai Eiri (act. c. 1789-1801) 11 Artists Kikugawa Eizan (1787-1867) 13 (Vol. 2) Keisai Eisen ((1790-1848) 15 Yanagawa Shigenobu (1787-1832) 17 Utagawa Toyokuni (1769-1825 19 Utagawa Kunisada (1786-1865) 21 Utagawa Kuniyoshi (1797-1861) 23 Kawanebe Kyosai (1831-1889) 25 Tomioka Eisen (1864-1905) 27 Ikeda Terukata (1883-1921) 29 Mission 31 Copyright © 2019 On our forum (will be launched later this year!) and Design and lay out: Haags Bureau blog you can find First print: december 2019 much more exciting info about Hokusai. You can also No part of this publication may be reproduced and/or check out other published by means of printing, photocopying, microfilm, free eBooks in the scan, electronic copy or in any other way, without prior following section! permission from the author and publisher. Issue 04 12-2019 The 25 Most Important Classical Shunga Artists (Vol. 2) The 25 Most In our previous volume (both can be downloaded in our eBooks section) Important we examined the first 15 of the 25 most important shunga artists Classical Shunga ending with Kitao Masanobu. Artists (Vol. 2) The next one in line is... On our forum (will be launched later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 7 Issue 04 12-2019 Chōbunsai Eishi (1756-1829) The 25 Most Eishi was of high-ranking samurai birth. He was a great rival of Important Utamaro and they were influenced by each other. Utamaro adopted Classical Shunga Eishi’s ethereal, exaggeratedly slender and elegant style of portraying Artists women. His major contribution to shunga can be found in his excellent (Vol. 2) scroll paintings) some nice examples were on display during the shunga exhibition at the British Museum in 2013/2014). These were lavishly executed paintings, using high-quality pigments, gold and gold-leaf, that show sexual couplings displayed in colorful settings and show Eishi’s fantastic eye for detail. Fig. 16. On our forum ‘Picture four from a scroll consisting of five paintings: Dutchman caressing the (will be launched private parts of a Japanese courtesan’ (c. 1800-20) by Chōbunsai Eishi later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 9 Issue 04 12-2019 Chōkyōsai Eiri (act. c. 1789-1801) The 25 Most Very little is known about Eiri. He was active in the last decade of the Important eighteenth century. Together with Chōkōsai Eisho (c. 1790-1800) he Classical Shunga was one of Eishi’s most famous students. Although he was a pupil of Artists Eishi he was heavily influenced by Utamaro and specialized in designs (Vol. 2) of female beauties (bijinga). His most famous prints are the male portraits of two Edo celebrities: the bon vivant and colleague Kitao Masanobu and the head of the Tomimoto school of music and dance, Tomimoto Bu-zendayu. His most celebrated work in the shunga genre is ‘Models of Calligraphy (Fumi no kiyogaki)’, released for the New Year in 1801. The album is inspired on Utamaro’s masterpiece ‘Poem of the Pillow (c. 1788)’ but really stands on his own. One of the masterpieces of the set is the opening image (Fig. 17) showing a Dutchman and a Japanese courtesan making love, framed by a window overlooking the garden. The design fully expresses the violent contrast between the elegant image of the youthful Japanese woman and the repellent Dutchman – a ‘Southern barbarian’, as mentioned in the text. In Utamaro’s ‘Poem of the Pillow’ the album ends with a design of a monstrous Dutch couple, depicted Fig. 17. On our forum clinging to each other in a ludicrous sexual embrace. ‘Dutchman with Japanese courtesan’ (c. 1801) from the series ‘Models of (will be launched Calligraphy’ by Chokyosai Eiri later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 11 Issue 04 12-2019 Kikugawa Eizan (1787-1867) The 25 Most Eizan was born in Edo in 1787 on the ninth day of the ninth month. Important His first teacher was his father Kikugawa Eiji. He was a painter himself Classical Shunga but he also was a creator of fans and artificial flowers. This had a major Artists impact on Eizan’s pictiorial style in shunga which were very colorful and (Vol. 2) full of flower patterns. He also studied with Suzuki Nanrei (1775-1844), an artisan of the realistic Shijo school. Through Totoya Hokkei (1780- 1850) he was also influenced by Hokusai, who was his pupil. Later Eizan founded the Kikugawa school where he trained the extraordinary artist Keisai Eisen. He had a great visual insight and sense of colour and he was a master in portraying the female figure. On a commercial level he learned a lot from his friend Toyokuni who was very successful exploiting his influential Utagawa school. A famous shunga series by him in the oban format is the ‘Spring Pleasures (Haro no raku)’ -series from c. 1815. Fig. 18. ‘Kimono patterns’ (c. 1815) from the series: ‘Haru no raku’ (Spring Pictures) ‘ On our forum (will be launched by Kikugawa Eizan later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 13 Issue 04 12-2019 Keisai Eisen ((1790-1848) The 25 Most Eisen had a distinguished artistic background. His father was a Important prominent calligrapher and poet. and so he got in touch with the arts Classical Shunga from an early age. Eisen’s artistic career began towards the end of Artists the 1810s. Like many painters and authors of his time he used various (Vol. 2) names according to the genre in which he was working. In the case of erotic art, his most used signatures were Insai 0r Insai Hakusui. Besides designing prints and paintings he also was a devoted writer of novels, plays, history books, legends and biographies. He also wrote ‘Ukiyo-e ruiko’, which is the most extensive collection of biographies of ukiyo-e artists. He excelled in shunga because he was a superb portraitist of the female figure. His women were vigorous and physically more realistic and solid. According to Richard Lane Eisen’s masterpiece in the shunga genre is the aiban series ‘Passion in the Snows of Spring (Haru no usuyuki)’ from 1822 (see Fig. 19). Despite Eisen’s aesthetic talent he was not very successful and died a poor man. Fig. 19. On our forum ‘The Distant Past of the Tenpyõ Era (Tenpyõ hõji no mukashi)’ (c. 1822) from the (will be launched series: ‘A Light Spring Snow (Haru no usuyuki)’ by Keisai Eisen later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 15 Issue 04 12-2019 Yanagawa Shigenobu (1787-1832) The 25 Most Hokusai’s most prominent pupil, Totoya Hokkei who was deeply Important impressed by Shigenobu’s skillful illustrations. The relationship between Classical Shunga Hokusai and Shigenobu did not proceed smoothly and he even got Artists expelled as Hokusai’s disciple. Although he later married Hokusai’s (Vol. 2) eldest daughter. Shigenobu produced relatively few works in general but he enriched the shunga genre with a masterpiece oban series that is unmatched in brutality and boldness. The title of this unrelenting work is ‘Willow Storm (Yanagi no arashi)’ and was published in the late 1820s (Fig. 20). The album is extraordinary for its eccentric designs and the sense of belligerent urgency that speaks through the compositions. There seems to be very little tenderness in the sexual encounters. Shigenobu used a more loving approach to erotic encounters in ‘The Floating Bridge of Heaven (Ama no ukibashi)’ Fig. 20. ‘Chinese couple’ (late 1820s) from the series: ‘Willow Storm (Yanagi no Arashi’)’ by On our forum Yanagawa Shigenobu (will be launched later this year!) and blog you can find much more exciting info about Hokusai. You can also check out other free eBooks in the following section! 17 Issue 04 12-2019 Utagawa Toyokuni (1769-1825 The 25 Most Son of an important carver of dolls in Edo. Toyokuni exhibited a gift for Important painting from a very early age. He served his education at the studio of Classical Shunga Utagawa Toyoharu (1735-1814), who was the founder of the dominating Artists Utagawa school. From Totoharu he assumed his professional surname (Vol. 2) and the first character, Toyo, that makes up his name. Toyokuni worked mainly in the kabuki-e (actor print) and he was, together with Toshusai Sharaku (act.c. 1794-1795), the supreme master of the genre. His work in the genre of shunga is scant but excelled when he did. Two nice examples are his book series ‘Picture Book: Mirror of the Vagina (Ehon kaichu kagami)’, published in c. 1823, and the groundbreaking ‘Call of Geese Meeting at Night (Ōyogari no koe)’, published in c.
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