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Review of Fujisawa Akane, Kobayashi Tadashi, Ellis Tinios, Laura J. Mueller (Eds.), Competition and Collaboration: Japanese Prints of the Utagawa School

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Review of Fujisawa Akane, Kobayashi Tadashi, Ellis Tinios, Laura J. Mueller (Eds.), Competition and Collaboration: Japanese Prints of the Utagawa School University of Pennsylvania ScholarlyCommons Departmental Papers (History of Art) Department of the History of Art 12-2008 Review of Fujisawa Akane, Kobayashi Tadashi, Ellis Tinios, Laura J. Mueller (Eds.), Competition and Collaboration: Japanese Prints of the Utagawa School Julie Nelson Davis University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/histart_papers Part of the Asian Art and Architecture Commons Recommended Citation Davis, J. N. (2008). Review of Fujisawa Akane, Kobayashi Tadashi, Ellis Tinios, Laura J. Mueller (Eds.), Competition and Collaboration: Japanese Prints of the Utagawa School. Print Quarterly, 25 (4), 453-456. Retrieved from https://repository.upenn.edu/histart_papers/10 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/histart_papers/10 For more information, please contact [email protected]. Review of Fujisawa Akane, Kobayashi Tadashi, Ellis Tinios, Laura J. Mueller (Eds.), Competition and Collaboration: Japanese Prints of the Utagawa School Disciplines Arts and Humanities | Asian Art and Architecture | History of Art, Architecture, and Archaeology This review is available at ScholarlyCommons: https://repository.upenn.edu/histart_papers/10 The Utagawa School JulieNelson Davis FujisawaAkane, Kobayashi Tadashi and Ellis Tinios. edit- printsin theChazen Museum of Artat theUniversity of ed byLaura J. Mueller, Competition andCollaboration : Japanese Wisconsin. With more than 4,000 prints by about 140 artists, Printsof theUtagawa School , Madison, Wisconsin, Chazen thisis theeighth largest collection of Japanese prints in the Museumof Art and Hotei Publishing, 2007, 232 pp., 253 col. UnitedStates, and by virtue of being at a universitymuseum and10 b. & w.ills., €84, $120. is consideredone of the most importantteaching collectionsin theworld (p. 6). The collectionwas formed Thisbook is an impressive study of one of the most impor- byEdward Burr Van Vleck, Professor of Mathematicsat tantschools working inukiyo-e from the late eighteenth tothe UniversityofWisconsin-Madison (1909-26). A savvycollec- mid-nineteenthcenturies. The projectwas organizedby tor,Van Vleck acquired two collections toform the centre of LauraJ. Muelleras an exhibition(Madison, WI, Chazen his own;these included the holdings of Thomasand J. Museum,3 November 2007-6 January 2008, and New York, HarrietGoodell and, more famously, that of FrankLloyd TheBrooklyn Museum, 21 March-i5june 2008) and accom- Wright.This was acquiredafter Wright, having used the paniedby this catalogue. With essays by Mueller, Akane, printsas collateral,defaulted on a bankloan and the bank Tadashiand Tinios, and an extensive set of catalogue entries, sold the prints to recoup its investment. In the 1980s the Van CompetitionandCollaboration takes a seriousand scholarlyVleck family donated the collection to theUniversity of approachto the study of the Utagawa school of ukiyo-e artists. Wisconsin-Madison. Ukiyo-e, the 'images of floating world', were classed as com- Muellerleads offthe cataloguewith 'Establishing a mercialworks in their time, and by and large these printed Lineage:The Utagawa School and Japan's Print Culture', a materialsdisplay the fashions and entertainments available fineessay describing the emergence ofthe Utagawa house in inthe major cities of the early modern period, in which the thedog-eat-dog market of ukiyo-e.The school'sfounder, Utagawaschool was one of its most successful lineages. UtagawaToyoharu (1735-1814), designed a number of ukiyo-e The printsselected for the exhibition and catalogueall ('floatingpictures') that adapted one-point perspective to comefrom the Van Vleck Collection ofJapanese woodblock depictthe famous sites around Edo (as well as fantasticalrep- 199.Utagawa Toyokuni, Interiore f theKawarazakiya Theatre , 1794, woodcut, óban triptych, 356 x 717 mm (Madison, WI, Chazen Museumof Art, Bequest of John H. VanVleck). PRINTQUARTERLY, XXV,2008, 4 This content downloaded from 165.123.108.243 on Tue, 20 Oct 2015 20:13:31 UTC All use subject to JSTOR Terms and Conditions 454 CATALOGUEAND BOOK REVIEWS resentationsofdistant places, including Holland and China). publisherscalled the shots. This overturns the too frequently Toyoharuestablished his own atelier and line, training two asserted,and ultimately incorrect, model wherein the artist artistswho in turn founded the most important branches of controlsthe print production and his market. Like cinema theschool, Utagawa Toyohiro (1773-1828) and Utagawa today,ukiyo-e was a for-profitventure, where the publisher as Toyokuni(1769-1825). Toyohiro and Toyokunilikewise producercontrolled the process and took carefully calculated traineddescendants. Toyohiro 's most famous student was risks. UtagawaHiroshige (1797-1858), and Toyokuni'swere the Kobayashialso notes that in thefurther stages of print- exceedinglysuccessful Utagawa Kunisada (1786- 1865) and making,after the design was accepted, the carver would pro- theever inventive Utagawa Kuniyoshi (1798-1861). Mueller ducethe key block and pull the test proof; the artist would rightlyextends the Utagawa legacy into the Meiji period thenadd coloursto theproof. Subsequent colour blocks (1868-1912),after Japan rapidly transformed itself into a wouldbe carvedto matchthe artist's designs. The prints Westernizedpower, to includeKunisada's best student, would be returnedto thepublisher for sale, as Kobayashi ToyoharaKunichika (1835-1900), and Kuniyoshi'smost states: innovativeones, Kawanabe Kyõsai (1831-89) and Tsukioka The finishedpolychrome print would normally be sent Yoshitoshi(1839-92). to thepublisher in batchesof twohundred sheets, the Theseare only the most prominent Utagawa artists in a approximatenumber of printsthat a printercould pro- schoolthat, as Muellerwrites, was 'responsible for over half ducein a singleday. The publisherwould then put the of all extantukiyo-e prints . and includedan extensive printson displayin thefront of hisshop, known as an rosterof hundredsof designerswho at sometime worked ezõshiya, which was similar to today's bookshops. He also underthe Utagawa name or claimedties to itsartistic lin- mighthave authorized other ezõshiya shops to sell the prints eage'(p. 13). To besure, the Utagawa school, on the strength (p-23)- of numbersalone, became a dominantpresence in ukiyo-e. Althoughthe number of prints produced per day as well Thiscatalogue's reappraisal of theschool gives them due as otherdetails probably varied over the period, this descrip- appreciation,but this need not be doneon quantityalone. tionprovides a good benchmark for the general process. The Fortunately,many of itsmembers were also very talented factthat the publisher might authorize another shop to dis- designers,worthy competitors toacclaimed masters such as tributehis product serves as anothermarker of his ownership KitagawaUtamaro (i753?-i8o6) and KatsushikaHokusai ofthe completed image. There was no official copyright law (1760-1849),among others. inEdo Japan; instead, the owner of the woodblocks, usually KobayashiTadashi raises important issues about the pro- thepublisher, 'owned' the content. Pirating designs and sto- ductionof imagesin theessay, 'Ukiyo-e Artists and Their rieswas not unusual in the cut-throat world of Edo publish- Patrons:The Case of Utagawa Kunisada (Toyokuni III) and ing;such disputes were settled by the publishing guilds and theWealthy Merchant Mitani Chõzaburõ'. Significantly, he owningthe blocks was vital to proving rights to content. describesthe printing process, placing not the artist but the Aftersetting up thisparadigm, Kobayashi considers the publisherat the place of itsorigin; this rightly acknowledges information that survives on a selectednumber of Kunisada thatprints were a commercialenterprise, underwritten bya designs.In theserare drawings the artist has included nota- merchantand designed to sell. Although somewhat lengthy, tions directed to the patron of the prints and to the publish- Kobayashi'sdescription of theprocess of makingprints is er.This evidence demonstrates that the publisher, Ebisuya worthquoting: Shöshichi,and a well-to-domerchant, Mitani Chõzaburõ, Theproduction ofthese prints during the Edo period fol- wereco-investors in a seriesof imagesby Kunisada that lowedan involvedprocess. The printpublisher {hanmoto) were never realized as completedpolychrome prints. The planneda new polychrome woodblock print as a commer- artist'snotations on theproof sheets request the services of cialproduct. He commissionedan artist or draftsman to themost highly regarded carver, Horitake, to transferthe createa preparatory drawing for the main image, made up detailsof theimage to the woodblocks, indicating his con- largelyof linesof blackink. If thepreparatory drawing cernsthat the prints should reflect his intentions. This case metwith the publisher's approval, he then sought permis- exemplifiesanunusual collaboration between publisher and sionfrom a sanctionedgovernment official or censorto investor,and it alsoindicates how an artist- evenone as the a of most famousas Kunisada- was to forthe con- publish design,receiving ' stamp ' approval' ' required appeal commonlyinthe form of kiwame(approved), or aratamesideration of thepublisher in thefinal production of his (examined).After the appropriate approval, production of images.Again, the artist-as-creator model is provenincon- theprint would commence (p. 23). sistentwith actual practice: the publisher remains at the Here,Kobayashi clearly states a facttoo often overlooked
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