. Chats on Japanese prints. me hi^ to this theory all the prints were thework of his followers, who signed the nameKwaigetsudo with various additions. This view isprobably the correct one. The names of the Kwaigetsudo group of print-designers that have so far come to light are— Kwaigetsudo Anchi (or Yasutomo);Kwaigetsudo Dohan (or Norishige);Kwaigetsudo Doshu (or Norihide) ;Kwaigetsudo Doshin (or Noritatsu). The Kwaigetsudo work is perhaps the mostpowerful and imposing in the whole range ofJapanese prints. The sheets, of large size, generallyrepresent the single figure of a stan
. Chats on Japanese prints. me hi^ to this theory all the prints were thework of his followers, who signed the nameKwaigetsudo with various additions. This view isprobably the correct one. The names of the Kwaigetsudo group of print-designers that have so far come to light are— Kwaigetsudo Anchi (or Yasutomo);Kwaigetsudo Dohan (or Norishige);Kwaigetsudo Doshu (or Norihide) ;Kwaigetsudo Doshin (or Noritatsu). The Kwaigetsudo work is perhaps the mostpowerful and imposing in the whole range ofJapanese prints. The sheets, of large size, generallyrepresent the single figure of a standing woman cladin flowing robes. So much for the theme; it isnothing. But the treatment consists of a storm ofbrush-strokes whose power of movement is like thatof writhing natural forces ; out of this seething whirlof lines is built up the structure of the monumentalfigure. The Kwaigetsudo reproduced in Plate 3 exhibitsthese qualities. The body is merely suggested, butwith complete effectiveness, under the great swirls of. KWAIGETSUDO : COURTESAN ARRANGING HER COIFFURE. Black and white. Size 24^ x 12. Signed Nippon Kigwa Kwai^eisn Matsuyo Norisliige. Spaulding Collection. Plate 3. 81 FIRST PERIOD: THE PRIMITIVES 83 the robes. The dominance of the main curves, thevigour of the blacks, and the importunate life thatvitalizes every touch and line, give Kwaigetsudoa place as high as the greatest contemporaries orsuccessors. All the Kwaigetsudo work was printed in blackand white; sometimes the print was hand-colouredby the application of spots of tan, or red full-size reproductions of several of themare obtainable. With these reproductions theordinary collector will be obliged to content him-self, for the whole number of Kwaigetsudo printsin existence can scarcely be more than a score ortwo. They are perhaps the rarest of all prints. The First Kiyonobu. Kiyonobu Speaks. The actoi on his little stageStruts with a mimic my pageMy passion in his form shall t
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License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidcu3192402333, bookyear1915
