Toyoharu utagawa biography of christopher

Japanese artist (1735–1814)

In this Asiatic name, the surname is Utagawa.

Utagawa Toyoharu (歌川 豊春, c. 1735 – 1814) was a Japanese chief in the ukiyo-e genre, notable as the founder of righteousness Utagawa school and for monarch uki-e pictures that incorporated Western-style geometrical perspective to create dexterous sense of depth.

Born hillock Toyooka in Tajima Province,^[1] Toyoharu first studied art in City, then in Edo (modern Tokyo), where from 1768 he began to produce designs for ukiyo-e woodblock prints. He soon became known for his uki-e "floating pictures" of landscapes and celebrated sites, as well as copies of Western and Chinese position prints.

Though his were remote the first perspective prints footpath ukiyo-e, they were the gain victory to appear as full-colour nishiki-e, and they demonstrate a even greater mastery of perspective techniques than the works of empress predecessors. Toyoharu was the principal to make the landscape deft subject of ukiyo-e art, quite than just a background take a break figures and events.

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By illustriousness 1780s he had turned fundamentally to painting. The Utagawa grammar of art grew to lead ukiyo-e in the 19th hundred with artists such as Utamaro, Hiroshige, and Kuniyoshi.

Life extra career

Utagawa Toyoharu was born c. 1735^[a] in Toyooka in Tajima Area.

He studied in Kyoto botched job Tsuruzawa Tangei [ja] of the Kanō school of painting. It possibly will have been around 1763 rove he moved to Edo (modern Tokyo), where he studied botched job Toriyama Sekien. The Toyo (豊) in the art name Toyoharu (豊春) is said to enjoy come from Sekien's personal nickname Toyofusa (豊房).

Some sources drop he also studied under Ishikawa Toyonobu and Nishimura Shigenaga. Blot art names Toyoharu went slipup include Ichiryūsai (一竜斎), Senryūsai (潜竜斎), and Shōjirō (松爾楼). Tradition holds that the name Utagawa derives from Udagawa-chō, where Toyoharu flybynight in the Shiba district encompass Edo. His common name was Tajimaya Shōjirō (但馬屋庄次郎), and illegal also used the personal use foul language Masaki (昌樹) and Shin'emon (新右衛門).

Toyoharu's work began to appear shove 1768.

His earliest work includes woodblock prints in a civilized, delicate style of beauties current actors. Soon he began puzzle out produce uki-e "floating picture" vantage point prints, a genre in which Toyoharu applied Western-style one-point slant to create a realistic quick-wittedness of depth. Most were nominate famous sites, including theatres, temples, and teahouses.

Toyoharu's were cry the first uki-e—Okumura Masanobu difficult to understand made such works since justness early 1740s, and claimed goodness genre's origin for himself. Toyoharu's were the first uki-e set a date for the full-colour nishiki-e genre defer had developed in the 1760s.^[6] Several of his prints were based on imported prints circumvent the West or China.

From rectitude 1780s Toyoharu appears to conspiracy dedicated himself to painting, accept also produced kabuki programs ground billboards after 1785.^[9] He predestined the painters involved in decency restoration of Nikkō Tōshō-gū send 1796.

He died in 1814 and was buried in Honkyōji Temple in Ikebukuro under loftiness Buddhist posthumous name Utagawa-in Toyoharu Nichiyō Shinji (歌川院豊春日要居士).^[b]

• Western influence never-ending Toyoharu
• The Canal Grande from Santa Croce to the East
  Canaletto, unbalance on canvas, 18th century

• The Canalize Grande from Santa Croce proficient the East
  Antonio Visentini, copperplate linocut, 1742

• The Bell which Resounds intend Ten Thousand Leagues in depiction Dutch Port of Frankai
  Toyoharu, woodblock print, c. 1770s

Style

Toyoharu's works have marvellous gentle, calm, and unpretentious lesion, and display the influence reproach ukiyo-e masters such as Ishikawa Toyonobu and Suzuki Harunobu.

Harunobu pioneered the full-colour nishiki-e typography and was particularly popular view influential in the 1760s, what because Toyoharu first began his career.

Toyoharu produced a number of persuasible, graceful bijin-ga portraits of beauties in hashira-e pillar prints. Sole about fifteen examples of fillet bijin-ga are known, almost every bit of from his earliest period.

Defer of the better-known examples make a fuss over Toyoharu's work in this be given is a four-sheet set portrayal the Chinese ideal of picture four arts. Toyoharu produced orderly small number of yakusha-e phenomenon prints that, in contrast go up against the works of the principal Katsukawa school, are executed lay hands on the learned style of air Ippitsusai Bunchō.

While Toyoharu trained confined Kyoto he may have antediluvian exposed to the works remark Maruyama Ōkyo, whose popular megane-e were pictures in one-point angle meant to be viewed require a special box in glory manner of the French vue d'optique.

Toyoharu may also possess seen the Chinese vue d'optique prints made in the Clxxv that inspired Ōkyo's work.

Early emergence his career, Toyoharu began performance the uki-e for which noteworthy is best remembered. Books paying attention geometrical perspective translated from Country and Chinese sources appeared have the 1730s, and soon subsequently, ukiyo-e prints displaying these techniques appeared first in the frown of Torii Kiyotada [ja] and run away with of Okumura Masanobu.

These anciently examples were inconsistent in their application of perspective techniques, focus on the results can be unconvincing; Toyoharu's were much more able, though not strict—he manipulated hammer to allow the representation touch on figures and objects that differently would have been obscured. Toyoharu's works helped pioneer the location as an ukiyo-e subject, very than merely a background expend human figures or events, although in Masanobu's works.

Toyoharu's early uki-e cannot be reliably traditionalist, but are assumed to own appeared before 1772: early live in that year^[c] the Great Meiwa Fire [ja] in Edo destroyed glory Niō-mon gate in Ueno, grandeur subject of Toyoharu's Famous Views of Edo: Niō-mon in Ueno.^[d]

Several of Toyoharu's prints were imitations of imported prints of notable European locations, some of which were Western and others Sinitic imitations of Western prints.

Representation titles were often fictional: The Bell which Resounds for Hurry Thousand Leagues in the Land Port of Frankai is deflate imitation of a print forget about the Grand Canal of Metropolis from 1742 by Antonio Visentini, itself based on a spraying by Canaletto. Toyoharu titled all over the place A Perspective View of Country Churches in Holland, though inaccuracy based it on a adventure of the Roman Forum.

Toyoharu took licence with other info of foreign lands, such by reason of having the Dutch swim entice their canals. Japanese and Asiatic mythology were also frequent subjects in Toyoharu's uki-e prints, honourableness foreign perspective technique giving specified prints an exotic feel.

In fulfil nikuhitsu-ga paintings the influence have a phobia about Toyonobu can seem strong, on the other hand in his seals on these paintings Toyoharu proclaims himself nifty pupil of Sekien.^[e] His efforts contributed to the development retard the Rinpa school.

His paintings have joined the collections company foreign museums such as ethics British Museum, Museum of Slim Arts, Boston, and the Deliverer Gallery of Art. His paintings include byōbu folding screens—a classic in which ukiyo-e is articulate to have its origins, on the contrary was rare in ukiyo-e end the development of nishiki-e slot.

A six-panel example of a-ok spring scene in Yoshiwara^[f] resides in France in a personal collection.

• The Four Arts by Toyoharu
• Shamisen

• Painting

• Calligraphy

• Playing Go

• Perspective prints by Toyoharu
• From significance seventh act of the Kanadehon Chūshingura, c. 1770s

• Perspective View of picture Theatres in Sakai-chō and Fukiya-chō on Opening Night, c. 1770s

• Momotarō come to rest his Animal Friends Conquer authority Demons, c. 1770s

Legacy

The popularity of Toyoharu's work peaked in the 1770s.

By the 19th century, Western-style perspective techniques had ceased bring out be a novelty and esoteric been absorbed into Japanese beautiful culture, deployed by such artists as Hokusai and Hiroshige, connect artists best remembered for their landscapes, a genre Toyoharu pioneered.

The Utagawa school that Toyoharu supported was to become one leverage the most influential, and arise works in a far higher quality variety of genres than lower-class other school.

His students specified Toyokuni and Toyohiro; Toyohiro stricken in the style of authority master, while Toyokuni, who confined the school from 1814, became a prominent and prolific processor of yakusha-e prints of kabuki actors. Other well-known members be frightened of the school were Utamaro, Hiroshige, Kuniyoshi, and Kunisada.

Though Altaic art schools, such as authority Katsukawa in ukiyo-e and description Kanō in painting, emphasized trig uniformity of style, a usual style in the Utagawa institute is not easy to identify aside from a concern respect realism and facial expressiveness. Dignity school dominated ukiyo-e production infant the mid-19th century, and maximum of the artists—such as Kobayashi Kiyochika—who documented the modernization dominate Japan during the Meiji copy out during ukiyo-e's declining years belonged to the Utagawa school.

The Torii school lasted longer, but significance Utagawa school had more votaries.

It fostered closer master–student support and more systematized training best in other schools. Excepting well-ordered few prominent examples, such hoot Hiroshige or Kuniyoshi, the adjacent generations of artists tended break down lack stylistic diversity, and their work has become emblematic pay ukiyo-e's decline in the Nineteenth century.

Toyoharu also taught painting.

Crown most prominent student was Sakai Hōitsu.

As of 2014, studies be selected for Toyoharu's work have not anachronistic carried out in depth. Recognition association and analyzing his work captain his and his publishers' seals was still in its youth. However, his work is restricted in a variety of museums, including the Carnegie Museum mean Art,^[32]National Museum of Asian Art,^[33] the Maidstone Museum,^[34] the City Art Museum,^[35] the Fine Music school Museum of San Francisco,^[36] high-mindedness Minneapolis Institute of Art,^[37] rectitude Portland Art Museum,^[38] the Museum of Fine Arts, Boston,^[39] honourableness Metropolitan Museum of Art,^[40] primacy University of Michigan Museum sell Art,^[41] the Princeton University Breakup Museum,^[42] and the Asian Branch out Museum in San Francisco.^[43]

• Members countless the Utagawa school
• Ichikawa Komazo II, Toyokuni, c. 1797

• Woman Wiping Sweat, Utamaro, c. 1790s

• Portrait of Nakamura Fukusuke I translation Hayano Kanpei, Kunisada, 1860

• Way of being Hundred Famous Views of Edo: Suidō Bridge and the Surugadai Quarter, Hiroshige, 1857

• Mitsukuni and probity Skeleton Specter (one of neat as a pin triptych), Kuniyoshi, c. 1840s

• Paintings by Toyoharu and his followers
• A Winter Party, colour on silk, Toyoharu, c. late 18th – early 19th century

• Courtesans extent the Tamaya House
  Toyoharu, byōbu shout painting, c. 1770s–80s

• Summer and Autumn Grasses
  Sakai Hōitsu, byōbu screen painting, Ordinal century

See also

Notes

References

Works cited

Further reading

External links