Toyoharu utagawa biography of martin

Japanese artist (1735–1814)

In this Nipponese name, the surname is Utagawa.

Utagawa Toyoharu (歌川 豊春, c. 1735 – 1814) was a Japanese creator in the ukiyo-e genre, block out as the founder of goodness Utagawa school and for sovereignty uki-e pictures that incorporated Western-style geometrical perspective to create undiluted sense of depth.

Born inferior Toyooka in Tajima Province,^[1] Toyoharu first studied art in Metropolis, 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 famed sites, as well as copies of Western and Chinese point of view prints.

Though his were whoop the first perspective prints unveil ukiyo-e, they were the chief to appear as full-colour nishiki-e, and they demonstrate a unwarranted greater mastery of perspective techniques than the works of realm predecessors. Toyoharu was the precede to make the landscape ingenious subject of ukiyo-e art, quite than just a background rescind figures and events.

By birth 1780s he had turned basically to painting. The Utagawa college of art grew to eclipse ukiyo-e in the 19th c with artists such as Utamaro, Hiroshige, and Kuniyoshi.

Life become peaceful career

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

He studied in Kyoto err Tsuruzawa Tangei [ja] of the Kanō school of painting. It may well have been around 1763 desert he moved to Edo (modern Tokyo), where he studied get somebody on your side Toriyama Sekien. The Toyo (豊) in the art name Toyoharu (豊春) is said to scheme come from Sekien's personal title Toyofusa (豊房).

Some sources drop he also studied under Ishikawa Toyonobu and Nishimura Shigenaga. Newborn art names Toyoharu went slip up 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 cursory in the Shiba district force Edo.

His common name was Tajimaya Shōjirō (但馬屋庄次郎), and settle down also used the personal take advantage Masaki (昌樹) and Shin'emon (新右衛門).

Toyoharu's work began to appear around 1768. His earliest work includes woodblock prints in a sophisticated delicate, delicate style of beauties contemporary actors. Soon he began assume produce uki-e "floating picture" standpoint prints, a genre in which Toyoharu applied Western-style one-point point of view to create a realistic intuition of depth.

Most were wear out famous sites, including theatres, temples, and teahouses. Toyoharu's were quite a distance the first uki-e—Okumura Masanobu esoteric made such works since loftiness early 1740s, and claimed character genre's origin for himself. Toyoharu's were the first uki-e infant the full-colour nishiki-e genre depart had developed in the 1760s.^[6] Several of his prints were based on imported prints immigrant the West or China.

From interpretation 1780s Toyoharu appears to be endowed with dedicated himself to painting, captain also produced kabuki programs deliver billboards after 1785.^[9] He sure the painters involved in representation restoration of Nikkō Tōshō-gū ready money 1796.

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

• Western influence challenge Toyoharu
• The Canal Grande from Santa Croce to the East
  Canaletto, lubricate on canvas, 18th century

• The Channel Grande from Santa Croce damage the East
  Antonio Visentini, copperplate woodcut, 1742

• The Bell which Resounds lend a hand Ten Thousand Leagues in honesty Dutch Port of Frankai
  Toyoharu, woodblock print, c. 1770s

Style

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

Harunobu pioneered the full-colour nishiki-e hand and was particularly popular person in charge influential in the 1760s, during the time that Toyoharu first began his career.

Toyoharu produced a number of resilient, graceful bijin-ga portraits of beauties in hashira-e pillar prints.

Matchless about fifteen examples of culminate bijin-ga are known, almost entitle from his earliest period. Subject of the better-known examples swallow Toyoharu's work in this accept is a four-sheet set depiction the Chinese ideal of excellence four arts. Toyoharu produced a-one small number of yakusha-e matter prints that, in contrast face the works of the chief Katsukawa school, are executed overlook the learned style of block up Ippitsusai Bunchō.

While Toyoharu trained retort Kyoto he may have antediluvian exposed to the works admire Maruyama Ōkyo, whose popular megane-e were pictures in one-point prospect meant to be viewed detect a special box in significance manner of the French vue d'optique.

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

Early remit his career, Toyoharu began opus the uki-e for which crystal-clear is best remembered. Books unrest geometrical perspective translated from Country and Chinese sources appeared crush the 1730s, and soon aft, ukiyo-e prints displaying these techniques appeared first in the productions of Torii Kiyotada [ja] and proof of Okumura Masanobu.

These inauspicious examples were inconsistent in their application of perspective techniques, dispatch the results can be unconvincing; Toyoharu's were much more master, though not strict—he manipulated give rise to to allow the representation be in the region of figures and objects that differently would have been obscured.

Toyoharu's works helped pioneer the vista as an ukiyo-e subject, to a certain extent than merely a background get into human figures or events, type in Masanobu's works. Toyoharu's primitive uki-e cannot be reliably decrepit, but are assumed to keep appeared before 1772: early down that year^[c] the Great Meiwa Fire [ja] in Edo destroyed honourableness Niō-mon gate in Ueno, loftiness subject of Toyoharu's Famous Views of Edo: Niō-mon in Ueno.^[d]

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

Character titles were often fictional: The Bell which Resounds for Considerable Thousand Leagues in the Land Port of Frankai is trivial imitation of a print promote to the Grand Canal of City from 1742 by Antonio Visentini, itself based on a portrait by Canaletto. Toyoharu titled in the opposite direction A Perspective View of Gallic Churches in Holland, though powder based it on a enter of the Roman Forum.

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

In fillet nikuhitsu-ga paintings the influence hegemony Toyonobu can seem strong, on the other hand in his seals on these paintings Toyoharu proclaims himself capital pupil of Sekien.^[e] His efforts contributed to the development clone the Rinpa school.

His paintings have joined the collections celebrate foreign museums such as rank British Museum, Museum of Slender Arts, Boston, and the Emancipator Gallery of Art. His paintings include byōbu folding screens—a lesson in which ukiyo-e is whispered to have its origins, on the contrary was rare in ukiyo-e afterwards the development of nishiki-e misplace.

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

• The Four Arts by Toyoharu
• Shamisen

• Painting

• Calligraphy

• Playing Go

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

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

• Momotarō deliver his Animal Friends Conquer magnanimity Demons, c. 1770s

Legacy

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

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

The Utagawa school that Toyoharu supported was to become one match the most influential, and descend upon works in a far more advantageous variety of genres than circle other school.

His students specified Toyokuni and Toyohiro; Toyohiro attacked in the style of potentate master, while Toyokuni, who scheduled the school from 1814, became a prominent and prolific maker of yakusha-e prints of kabuki actors. Other well-known members leverage the school were Utamaro, Hiroshige, Kuniyoshi, and Kunisada.

Though Altaic art schools, such as description Katsukawa in ukiyo-e and interpretation Kanō in painting, emphasized unornamented uniformity of style, a popular style in the Utagawa kindergarten is not easy to declare aside from a concern condemn realism and facial expressiveness. Ethics school dominated ukiyo-e production vulgar the mid-19th century, and summit of the artists—such as Kobayashi Kiyochika—who documented the modernization time off Japan during the Meiji generation during ukiyo-e's declining years belonged to the Utagawa school.

The Torii school lasted longer, but goodness Utagawa school had more approach.

It fostered closer master–student marketing and more systematized training mystify in other schools. Excepting put in order few prominent examples, such restructuring Hiroshige or Kuniyoshi, the ulterior generations of artists tended subsidy lack stylistic diversity, and their work has become emblematic wear out ukiyo-e's decline in the Nineteenth century.

Toyoharu also taught painting.

Emperor most prominent student was Sakai Hōitsu.

As of 2014, studies have a break Toyoharu's work have not anachronistic carried out in depth. Naming and analyzing his work extort his and his publishers' seals was still in its youth. However, his work is aloof in a variety of museums, including the Carnegie Museum be frightened of Art,^[32]National Museum of Asian Art,^[33] the Maidstone Museum,^[34] the Metropolis Art Museum,^[35] the Fine Covered entrance Museum of San Francisco,^[36] class Minneapolis Institute of Art,^[37] loftiness Portland Art Museum,^[38] the Museum of Fine Arts, Boston,^[39] greatness Metropolitan Museum of Art,^[40] interpretation University of Michigan Museum surrounding Art,^[41] the Princeton University Entry Museum,^[42] and the Asian Exit Museum in San Francisco.^[43]

• Members give a miss the Utagawa school
• Ichikawa Komazo II, Toyokuni, c. 1797

• Woman Wiping Sweat, Utamaro, c. 1790s

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

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

• Mitsukuni and authority Skeleton Specter (one of clean up triptych), Kuniyoshi, c. 1840s

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

• Courtesans engage in the Tamaya House
  Toyoharu, byōbu advertise painting, c. 1770s–80s

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

See also

Notes

References

Works cited

Further reading

External links