. Chats on Japanese prints. llel with that of Kiyomitsu,and he seems frequently to imitate that artist. Theperiod of his greatest prominence was between 1745and 1758 ; his work is all in two or three colours. 124 CHATS ON JAPANESE PRINTS A delicate draughtsman, his figures have markedgrace of poise and firmness of design. His man-nerism is less stereotyped thanKiyomitsus; some of his printshave great beauty, but he neverreaches certain heights which Ki-yomitsu attained. Prints by himare uncommon. Kiyotsune produced deli-cate and distinguished prints in—? -r- two or three colour
. Chats on Japanese prints. llel with that of Kiyomitsu,and he seems frequently to imitate that artist. Theperiod of his greatest prominence was between 1745and 1758 ; his work is all in two or three colours. 124 CHATS ON JAPANESE PRINTS A delicate draughtsman, his figures have markedgrace of poise and firmness of design. His man-nerism is less stereotyped thanKiyomitsus; some of his printshave great beauty, but he neverreaches certain heights which Ki-yomitsu attained. Prints by himare uncommon. Kiyotsune produced deli-cate and distinguished prints in—? -r- two or three colours, much like y C3 those of Kiyomitsu. Most of his 1 figures are characterized by a .__ftMk curious slenderness and exquisite- /^j ness ; but they are somewhat lack- -*^ ing in vigour. After 1764 he fell under the influence of Harunobuand adopted full-colour printing,still retaining, however, that veryindividual type of face—a little scornful, a littlefastidious in expression—which marks his work is TORII KIYOHIRO. Pupils of Kiyomitsu and Toyonobu. Among the pupils of Kiyomitsu may be notedTorii Kiyosato, Torii Kiyoharu, Morotada, Kiyotoshi,Torii Kiyomoto, and Torii Kiyohide. Their workwas almost contemporaneous with that of the master. Amano Toyonaga, Ishikawa Toyomasu, and Ishi-kawa Toyokuma were probably pupils of Toyonobu. IV THE SECONDPERIOD:THE EARLYPOLYCHROMEMASTERS FROM THE INVENTION OF POLYCHROME PRINTING TO THE RETIREMENT OF SHUNSHO (1764-80) CHAPTER IV THE SECOND PERIOD : THE EARLY POLYCHROMEMASTERS From the Invention of Polychrome Printing to theRetirement of Shunsho (1764-80) The transition from primitive to sophisticated art isvery like the progression of a race from its heroicyouth to its elaborately gifted maturity. Lifegrows more complex, the material riches and themachinery of living become more diversified; but itis still to the early days that one looks for thestrongest development of personality and the mostdaring achievement in the
Size: 956px × 2613px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidcu3192402333, bookyear1915
