Torii kiyonaga biography of michael jackson

, the son of a game park dealer in Edo, was adoptive into the Torii family harsh the print artist Torii Kiyomitsu I (鳥居清満, 1735-85), integrity third head of the faculty. After Kiyomitsu's death, it was decided that his son Kiyotsune (鳥居清経) was not worthy get at succeed his biological father, soar so by 1787, Kiyonaga pretended the leadership of the Torii school, becoming its fourth sense and last major artist love the lineage.

Kiyonaga has extensive been considered one of interpretation masters of the full-color woodblock print (nishiki-e: 錦絵) and, layer particular, of bijinga (pictures avail yourself of beautiful women: 美人画). He besides produced paintings, book illustrations, banzuke (theater playbills: 番付), and shunga ("spring pictures" or erotica: 春画).

Kiyonaga's drawing of women unplanned the 1780s is decidedly unlike from earlier typologies, such translation the child-like beauties of Suzuki Harunobu (鈴木春信 c. 1725-1770), put away the somewhat earthier women incessantly Isoda Kôryûsai ( 1735-1790). Justness feminine aspect in Kiyonaga's workshop canon offers up a more helpless and seemingly aristocratic class misplace women.

For actor prints away his early years, Kiyonaga followed the lead of the Katsukawa artists (specifically Katsukawa Shunshô increase in intensity later Katsukawa Shunei) in justness portrayal of actors on grade, adopting their manner of stylised but fairly realistic nigao (facial likenesses: 似顔).

In the context shown here, circa late 1770s, the faces of the dash Ichikawa Monnosuke II (市川門之助) turf Segawa Kikunojô III (瀬川菊之亟) hold distinctly different from each irritate and specific enough for time out identification, a requirement for thriving affluent print sales to kabuki enthusiasts. Besides the seemingly "true put on life" faces, the mon (acting crests: 紋) on their robes were unique to each decompose the stage idols.

Kiyonaga, hub his later years, continued hardly ever with actor-print compositions. The copies from his ôban series remind you of degatari-zu ("pictures of narrators' appearance": 出語り図), numbering more than 40 designs portraying actors in account accompanied by chanters and musicians, were especially favored by honesty print-buying public and represent grand significant contribution to the operation of ukiyo-e actor prints (yakusha-e: 役者絵).

In regard to bijinga, Kiyonaga, at first, rendered his beauties in a manner remiscent stop Isoda Kôryûsai.

This is apparent in Kiyonaga's portrayal of connect geisha and an attendant escape a chûban-format design titled loftiness "Ninth Month" (Kikuzuki: きく月) suggestion the series Fûryû jûni kikô (Fashionable scenes from the dozen months: 風流十二気候), circa 1779 (see image below). The short altitude of these women and their full body types (plumper already Harunobu's ethereal fantasies) conform down the Kôryûsai aesthetic.

Moreover, Kiyonaga contributed 11 designs to Koryûsai's extended series titled Hinagata wakana no hatsu moyo (Patterns receive New Year fashions, fresh because young leaves: 雛形若菜の初模様), published trudge the ôban format by Nishimura Yohachi (Eijûdô); a few were issued by Watanabe Shôzaburô.

Substitute influence on the early productions of Kiyonaga was the plant of Kitao Shigemasa (北尾重政 1739-1820).

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Torii Kiyonaga: Ninth Period — Two geisha with aide, c. 1779
Series: Fûryû jûni kikô (Fashionable scenes from rank twelve months: 風流十二気候)
Woodblock feature, chûban (260 x 187 mm)

The breakthrough for Kiyonaga came encompass the 1780s when he contemporary his publishers turned to magnanimity larger ôban format.

Correspondingly, flourishing rather splendidly, Kiyonaga's female gallup poll became taller and slimmer, compelling on a stately aura. They reigned supreme as the necessary fantasy women of the Tenmei era (天明時代 I/24/1781 - I/25/1789). Moreover, Kiyonaga also began distending his compositions into diptychs person in charge triptychs, producing a number magnetize masterpieces in this mode let somebody see the bijinga genre.

They pour out characterized by, among other belongings, an appealing rhythm among representation figures, with varying amplitudes streak postures. Many of these polyptychs have effectively rendered landscape backgrounds as well.

Torii Kiyonaga: Courtesans, woman, and male patrons at practised moonlit banquet (月見の宴)
Series: Minami jûni kô (Twelve months clear up the south: 美南見十二候), 1784
Woodblock print, ôban diptych (390 check up on 525 mm)

In the fine ôban diptych shown above, from 1784, nine women can be freaky entertaining three male guests mid a banquet for the 8th month (八月) in another calendrically arranged series titled Minami jûni kô (Twelve months in integrity south: 美南見十二候).

The sheets accomplishments not have publisher seals. Noted the variety of poses, activities portrayed, and new typology funding Kiyonaga's beauties, this is reminder of the artist's unquestioned masterworks. In fact, the entire convoy may be counted among Kiyonaga's finest works. The slim take up exceedingly tall beauties seen heap the right sheet of illustriousness diptych can be found tier similar guises in many molest designs by Kiyonaga, all tributary to a fashionable vision clean and tidy feminine allure in ukiyo ("floating world": 浮世) culture.

These squad symbolized an up-to-date iki (refinement: 粋 or 粹) — they were the smart, sexy, dressy, and spirited women of high-mindedness day.

Torii Kiyonaga: Visiting a teashop near a shrine to acquire a marriage, c. 1779
Woodblock print, ôban (393 x 260 mm)

Another example from the unchanged year, a single ôban crib-sheet, is shown immediately above.

Put to one side from the fashionable new womanly forms, there is, compared ruse earlier works by Kiyonaga esoteric the previously discussed chûban mould, an adjusted spacing whereby crease of the female figures has now given way to spick more open positioning, with honourableness beauties located more or relaxed within their own vertical zones.

The group of four corps and a male attendant complete said to be approaching exceptional teahouse near a shrine dissertation conduct an interview on house of god grounds for the purpose oppress working out a marriage arrangement.

By the early 1790s, Kiyonaga's barter of prints fell precipitously. Collected so, his extant oeuvre exerted influence in the design have a hold over bijinga over the next propagation of artists, including Katsukawa Shunchô (勝川春湖 active c.

BIBLIOGRAPHY

Brea, L. and Kondo, E.: Ukiyo-e Prints and Paintings: Outsider the Early Masters to Shunshô.

Genoa: Edoardo Chiossone Civic Museum of Oriental Art, 1980.
Kiyonaga. Ukiyo-e taikei (Great Collection of Chase from the Floating World — Kiyonaga: 浮世絵大系 ), vol. 4. Tokyo: Sueisha, 1975.
Swinton, E., The Women of the Pleasure Quarter: Japanese Paintings and Prints disagree with the Floating World.

New York: Hudson Hills Press, 1996