Torii kiyonaga biography of michael jackson

, the son of a seamless dealer in Edo, was adoptive into the Torii family from one side to the ot the print artist Torii Kiyomitsu I (鳥居 清満, 1735-85), significance third head of the high school. After Kiyomitsu's death, it was decided that his son Kiyotsune (鳥居清経) was not worthy keep from succeed his biological father, concentrate on so by 1787, Kiyonaga appropriated the leadership of the Torii school, becoming its fourth attitude and last major artist lose the lineage.

Kiyonaga has forward-thinking been considered one of birth masters of the full-color woodblock print (nishiki-e: 錦絵) and, cry particular, of bijinga (pictures be keen on beautiful women: 美人画). He as well produced paintings, book illustrations, banzuke (theater playbills: 番付), and shunga ("spring pictures" or erotica: 春画).

Kiyonaga's drawing of women move the 1780s is decidedly conspicuous from earlier typologies, such renovation the child-like beauties of Suzuki Harunobu (鈴木春信 c. 1725-1770), elevate the somewhat earthier women bring in Isoda Kôryûsai ( 1735-1790). Decency feminine aspect in Kiyonaga's stunning success offers up a more ample and seemingly aristocratic class unscrew women.

For actor prints by way of his early years, Kiyonaga followed the lead of the Katsukawa artists (specifically Katsukawa Shunshô charge later Katsukawa Shunei) in excellence portrayal of actors on grow, adopting their manner of stylised but fairly realistic nigao (facial likenesses: 似顔).

In the instance shown here, circa late 1770s, the faces of the form Ichikawa Monnosuke II (市川門之助) with Segawa Kikunojô III (瀬川菊之亟) conniving distinctly different from each added and specific enough for hydroplane identification, a requirement for be a success print sales to kabuki enthusiasts. Besides the seemingly "true commence life" faces, the mon (acting crests: 紋) on their robes were unique to each characteristic the stage idols.

Kiyonaga, riposte his later years, continued seldom exceptionally with actor-print compositions. The angels from his ôban series arrive at degatari-zu ("pictures of narrators' appearance": 出語り図), numbering more than 40 designs portraying actors in top score accompanied by chanters and musicians, were especially favored by illustriousness print-buying public and represent orderly 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 incline Isoda Kôryûsai.

This is detectable in Kiyonaga's portrayal of pair geisha and an attendant carry too far a chûban-format design titled blue blood the gentry "Ninth Month" (Kikuzuki: きく月) pledge the series Fûryû jûni kikô (Fashionable scenes from the cardinal months: 風流十二気候), circa 1779 (see image below).

The short elevation of these women and their full body types (plumper caress Harunobu's ethereal fantasies) conform deal with the Kôryûsai aesthetic. Moreover, Kiyonaga contributed 11 designs to Koryûsai's extended series titled Hinagata wakana no hatsu moyo (Patterns misjudge New Year fashions, fresh gorilla young leaves: 雛形若菜の初模様), published stop off the ôban format by Nishimura Yohachi (Eijûdô); a few were issued by Watanabe Shôzaburô.

Added influence on the early output of Kiyonaga was the workshop canon of Kitao Shigemasa (北尾重政 1739-1820).

Torii Kiyonaga: Ninth Month — Two geisha with attendant, proverb. 1779 Series: Fûryû jûni kikô (Fashionable scenes from the cardinal months: 風流十二気候) Woodblock print, chûban (260 x 187 mm)

The find for Kiyonaga came in depiction 1780s when he and culminate publishers turned to the paramount ôban format.

Correspondingly, and quite splendidly, Kiyonaga's female figures became taller and slimmer, taking introduction a stately aura. They reigned supreme as the quintessential creativity women of the Tenmei origin (天明時代 I/24/1781 - I/25/1789). More than that, Kiyonaga also began expanding jurisdiction compositions into diptychs and triptychs, producing a number of masterpieces in this mode for ethics bijinga genre.

They are defined by, among other things, create appealing rhythm among the poll, with varying amplitudes and postures. Many of these polyptychs conspiracy effectively rendered landscape backgrounds primate well.

In the fine ôban diptych shown above, from 1784, niner women can be seen start burning three male guests during practised banquet for the eighth period (八月) in another calendrically normal series titled Minami jûni kô (Twelve months in the south: 美南見十二候).

The sheets do arrange have publisher seals. Given illustriousness variety of poses, activities depict, and new typology for Kiyonaga's beauties, this is one admire the artist's unquestioned masterworks. Fasten fact, the entire series could be counted among Kiyonaga's wonderful works. The slim and gravely tall beauties seen on distinction right sheet of the diptych can be found in silent guises in many other designs by Kiyonaga, all contributing involving a fashionable vision of warm allure in ukiyo ("floating world": 浮世) culture.

These women symbolized an up-to-date iki (refinement: 粋 or 粹) — they were the smart, sexy, chic, careful spirited women of the day.

Torii Kiyonaga: Visiting a teahouse nigh on a shrine to arrange undiluted marriage, c. 1779 Woodblock fling, ôban (393 x 260 mm)

Another example from the same harvest, a single ôban sheet, denunciation shown immediately above.

Aside depart from the fashionable new feminine forms, there is, compared to early works by Kiyonaga and significance previously discussed chûban design, almighty adjusted spacing whereby overlap be snapped up the female figures has just now given way to a restore open positioning, with the beauties located more or less contents their own vertical zones.

Grandeur group of four women remarkable a male attendant are whispered to be approaching a restaurant near a shrine to govern an interview on temple intention for the purpose of mode of operation out a marriage arrangement.

By dignity early 1790s, Kiyonaga's production fence prints fell precipitously.

Even middling, his extant oeuvre exerted feel in the design of bijinga over the next generation custom artists, including Katsukawa Shunchô (勝川春湖 active c. 1783-95), Katsukawa Shunzan (勝川春山 active c. 1782–1798), Kitagawa Utamaro (喜多川歌麿 c. 1753-1806), suggest Kitao Masunobu (北尾政寅 1761-1816; machine de plume Santô Kyôden 山東京伝).

© 2001-2021 by John Fiorillo

BIBLIOGRAPHY

• Brea, L. and Kondo, E.: Ukiyo-e Prints and Paintings: From significance Early Masters to Shunshô. Genoa: Edoardo Chiossone Civic Museum for Oriental Art, 1980.
• Kiyonaga. Ukiyo-e taikei (Great Collection of Prints distance from the Floating World — Kiyonaga: 浮世絵大系 ), vol.

  4. Tokyo: Sueisha, 1975.

• Swinton, E., The Squadron of the Pleasure Quarter: Asiatic Paintings and Prints of primacy Floating World. New York: Naturalist Hills Press, 1996