At the end of the 19th century the first Japanese woodblock prints came to Europe as cheap packaging material for imports. The artistic avant-garde was inspired, just think of the brightly colored works of Edgar Degas or Henri de Toulouse-Lautrec, which are characterized by radical room layout and immediacy. But the influence was mutual: even the famous ukiyo-e artist Torii Kiyonaga had his Japanese beauties perform in front of a landscape that shows a horizon and also perspective in a typically Western manner. The ukiyo-e movement wanted to celebrate the fleeting life and pleasures of the day in the sense of a "carpe diem!
Torii Kiyonaga was one of the great masters of his craft. He studied with his stepfather Torii Kiyomitsu and created expressive images of actors of the Kabuki theatre with their mask-like distorted, heavily made-up faces. But unlike his teacher, he mainly showed the everyday pleasures of the upper middle-class society of Tokyo, then Edo, and other up-and-coming Japanese cities. He was born in Edo in 1752 as the son of a bookseller. Kiyonaga did not belong to the better society he wanted to portray, but he was far more talented than the natural son of his teacher, so that he was to follow in his teacher's footsteps. In his woodblock prints he presents us the daily tasks of the fine and fine-tuned society. Thus we become witnesses of a bathhouse scene in which clothed, but also naked women seem to be unobserved. A mother dries her baby - a scene of hitherto unknown realism. Are we perhaps the voyeur who seems to be looking through a hidden hatch? So are the women portrayed courtesans putting themselves on display? Well, the man could also be a sansuke who was a common masseur in Japanese bath houses. However, Kiyonaga also has more chaste scenes, for example of women in kimonos who are surprised by a shower and seek shelter under a temple roof or take a boat trip on a lake. Torii Kiyonaga also created a picture cycle over the twelve months, which shows us a lot about the Japanese society of the time and its refined customs. But playing children can be found all over the world, and these here from Japan are given in the most dynamic and vivid way. However, the children here seem to be barefoot in a snowball fight, which does not quite fit in with his reputation as a particularly realistic artist.
Torii Kiyonaga took over the Torii School from his teacher and passed on his knowledge and innovations to a younger generation of artists. To this day he is still considered the great master of bijin-ga, the depiction of beautiful styled women in exquisite settings - that's what you would say today. The master died in Edo in 1815, but his work still indirectly influenced the Japan-loving circles of the European art avant-garde almost a hundred years later.
At the end of the 19th century the first Japanese woodblock prints came to Europe as cheap packaging material for imports. The artistic avant-garde was inspired, just think of the brightly colored works of Edgar Degas or Henri de Toulouse-Lautrec, which are characterized by radical room layout and immediacy. But the influence was mutual: even the famous ukiyo-e artist Torii Kiyonaga had his Japanese beauties perform in front of a landscape that shows a horizon and also perspective in a typically Western manner. The ukiyo-e movement wanted to celebrate the fleeting life and pleasures of the day in the sense of a "carpe diem!
Torii Kiyonaga was one of the great masters of his craft. He studied with his stepfather Torii Kiyomitsu and created expressive images of actors of the Kabuki theatre with their mask-like distorted, heavily made-up faces. But unlike his teacher, he mainly showed the everyday pleasures of the upper middle-class society of Tokyo, then Edo, and other up-and-coming Japanese cities. He was born in Edo in 1752 as the son of a bookseller. Kiyonaga did not belong to the better society he wanted to portray, but he was far more talented than the natural son of his teacher, so that he was to follow in his teacher's footsteps. In his woodblock prints he presents us the daily tasks of the fine and fine-tuned society. Thus we become witnesses of a bathhouse scene in which clothed, but also naked women seem to be unobserved. A mother dries her baby - a scene of hitherto unknown realism. Are we perhaps the voyeur who seems to be looking through a hidden hatch? So are the women portrayed courtesans putting themselves on display? Well, the man could also be a sansuke who was a common masseur in Japanese bath houses. However, Kiyonaga also has more chaste scenes, for example of women in kimonos who are surprised by a shower and seek shelter under a temple roof or take a boat trip on a lake. Torii Kiyonaga also created a picture cycle over the twelve months, which shows us a lot about the Japanese society of the time and its refined customs. But playing children can be found all over the world, and these here from Japan are given in the most dynamic and vivid way. However, the children here seem to be barefoot in a snowball fight, which does not quite fit in with his reputation as a particularly realistic artist.
Torii Kiyonaga took over the Torii School from his teacher and passed on his knowledge and innovations to a younger generation of artists. To this day he is still considered the great master of bijin-ga, the depiction of beautiful styled women in exquisite settings - that's what you would say today. The master died in Edo in 1815, but his work still indirectly influenced the Japan-loving circles of the European art avant-garde almost a hundred years later.
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