Gallery
From the album "Chūgata Nishiki-e"
From the album "Nishiki-e"
Seated woman in black kimono. Mentioned on the object: Utagawa Sadafusa, 1826–1829, color woodcut; line block in black with color blocks; metallic pigments
Utagawa Sadafusa was an ukiyo-e artist from the Edo period.
Sadafusa was a disciple of Utagawa Kunisada, of Utagawa school, his style was similar to his teacher's. A lot of his works are in bijin-e genre (pictures of beautiful women), he also created images of kabuki actors, historical and mythic heroes, acrobats and game board prints. He worked between 1825 and 1850. He was from Edo, but later moved to Osaka and worked there. [1] [2]
Sadafusa also worked as a book illustrator for Iwatoya Kisaburō in 1829-30 and Moriya Jihei 1830-33 and 1835. [1]
Ukiyo-e is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e translates as 'picture[s] of the floating world'.
Utagawa Kunisada, also known as Utagawa Toyokuni III, was a Japanese ukiyo-e artist. He is considered the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.
Utagawa Kuniyoshi was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school.
Utagawa Toyokuni, also often referred to as Toyokuni I, to distinguish him from the members of his school who took over his gō (art-name) after he died, was a great master of ukiyo-e, known in particular for his kabuki actor prints. He was the second head of the renowned Utagawa school of Japanese woodblock artists, and was the artist who elevated it to the position of great fame and power it occupied for the rest of the nineteenth century.
Suzuki Harunobu was a Japanese designer of woodblock print art in the ukiyo-e style. He was an innovator, the first to produce full-color prints in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties. Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Yanagawa Shigenobu was a Japanese artist in the ukiyo-e style. He was active in Edo from the Bunka period onward. His Osaka period dated from 1822 to 1825. In Edo, he resided in Honjo Yanagawa-chō district. He was first the pupil, then son-in-law, and finally adopted son of the Edo master painter Katsushika Hokusai. He designed illustrated books, prints, and surimono. In Osaka, he worked with the gifted block cutter and printer Tani Seikō.
Nishiki-e is a type of Japanese multi-coloured woodblock printing; the technique is used primarily in ukiyo-e. It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu, who produced many nishiki-e prints between 1765 and his death five years later.
Utagawa Hiroshige, born Andō Tokutarō, was a Japanese ukiyo-e artist, considered the last great master of that tradition.
Toyohara Kunichika was a Japanese woodblock print artist. Talented as a child, at about thirteen he became a student of Tokyo's then-leading print maker, Utagawa Kunisada. His deep appreciation and knowledge of kabuki drama led to his production primarily of yakusha-e, which are woodblock prints of kabuki actors and scenes from popular plays of the time.
Utagawa Kunimasa was a Japanese ukiyo-e artist of the Utagawa school. He was originally from Aizu in Iwashiro Province and first worked in a dye shop after arriving in Edo. It was there that he was noticed by Utagawa Toyokuni, to whom he became apprenticed.
Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre of single sheets, but it was also used for printing books in the same period. Widely adopted in Japan during the Edo period (1603–1868) and similar to woodcut in Western printmaking in some regards, the mokuhanga technique differs in that it uses water-based inks—as opposed to western woodcut, which typically uses oil-based inks. The Japanese water-based inks provide a wide range of vivid colors, glazes, and transparency.
Toyohara Chikanobu, better known to his contemporaries as Yōshū Chikanobu (楊洲周延), was a Japanese painter and printmaker who was widely regarded as a prolific woodblock artist during the Meiji epoch.
One Hundred Famous Views of Edo is a series of 119 ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige (1797–1858). The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshige's death. It was tremendously popular and much reprinted.
Utagawa Toyoharu was a Japanese artist in the ukiyo-e genre, known as the founder of the Utagawa school and for his uki-e pictures that incorporated Western-style geometrical perspective to create a sense of depth.
E-hon is the Japanese term for picture books. It may be applied in the general sense, or may refer specifically to a type of woodblock printed illustrated volume published in the Edo period (1603–1867).
Fan print with two bugaku dancers is an ukiyo-e woodblock print dating to sometime between the mid 1820s and 1844 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. This print is simultaneously an example of the uchiwa-e and aizuri-e genres. It is part of the permanent collection of the Royal Ontario Museum, Toronto, Canada.
The two ukiyo-e woodblock prints making up View of Tempōzan Park in Naniwa are half of a tetraptych by Osaka artist Gochōtei Sadamasu. They depict a scene of crowds visiting Mount Tempō in springtime to admire its natural beauty. The sheets belong to the permanent collection of the Royal Ontario Museum, Canada.
Bust portrait of Actor Kataoka Ichizō I is an ukiyo-e woodblock print belonging to the permanent collection of the Royal Ontario Museum, Canada. The print dates to around the mid nineteenth century, and is an example of kamigata-e, prints produced in the Osaka and Kyoto areas. The ROM attributes the print to Utagawa Sadamasu II, but other institutions identify Utagawa Kunimasu—also known as Sadamasu I—as the artist.
Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei. It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.
Utagawa Sadahide, also known as Gountei Sadahide, was a Japanese artist best known for his prints in the ukiyo-e style as a member of the Utagawa school. His prints covered a wide variety of genres; amongst his best known are his Yokohama-e pictures of foreigners in Yokohama in the 1860s, a period when he was a best-selling artist. He was a member of the Tokugawa shogunate's delegation to the International Exposition of 1867 in Paris.
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