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Ipposai YoshifujiWO RO SI IA ZIN Russian Soldier with His Family1861.02
1861.02
About the Item
WO RO SI IA ZIN Russian Soldier with His Family
Color woodcut, 1861 2nd month
Signed upper left (see photo)
Titled upper right in black cartouche (see photo)
Format: oban
Style: Yokohama-e
Publisherr: Sagamiya Tokichi (Marks #435) active 1955-1866
Metropolitan Museum of Art in New York, has an impression of this image
RARE
Condition: with usual aging
Image size: 13 7/8 x 9 3/8 inches
Rebecca Salter in her Japanese Popular Prints... on page 18 gives a different take on the situation that Yoshifuji found himself in.
"A giant of the period, however, was Utagawa Kuniyoshi (1797-861). Although best known for warrior prints which reflected the militaristic undercurrents of the time, he was also responsible for some of the most light-heartend and humorous works in this book. His followers in the Utagawa school, Utagawa Yoshitsuya (1822-66), Utagawa Yoshitora (ca. 1850s-70s), and Utagawa Yoshiiku (1833-1904) and Utagawa Yoshifuji (1828-87) all worked in woodblock's difficult declining years. An efficient commercial printing and publishing industry had been built on the popular appetite for topical images reflecting the times. The audience which had sustained the prints so effectively was declining, and Western printing methods were being introduced. But a living still had to be made by the remaining artists and craftsmen trained in the old technology. They were obliged to explore other avenues. Yoshifuji, for example, became well-known for omocha-e (toy prints), made very cheaply and sold to children. The standard of production was undeniably inferior to earlier prints, but this does not mean that these prints are not worthy of attention... They may have been made as throwaway items (and indeed few remain) but they demonstrate a visual sophistication reminiscent of earlier prints and can reveal subtle insights into the forces working to change Japanese society from within and without."
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From Wikipedia, the free encyclopedia
In this Japanese name, the surname is Isoda.
Isoda Koryūsai (礒田 湖龍斎, 1735–1790) was a Japanese ukiyo-e print designer and painter active from 1769 to 1790.
Life and career
Koryūsai was born in 1735 and worked as a samurai in the service of the Tsuchiya clan. He became a masterless rōnin after the death of the head of the clan and moved to Edo (modern Tokyo) where he settled near Ryōgoku Bridge in the Yagenbori area. He became a print designer there under the art name Haruhiro in 1769, at first making samurai-themed designs. The ukiyo-e print master Harunobu died in 1770, and about that time Koryūsai began making prints in a similar style of life in the pleasure districts.
Koryūsai was a prolific designer of individual prints and print series,[1] most of which appeared between 1769 and 1881.
In 1782, Koryūsai applied for and received the Buddhist honour hokkyō ("Bridge of the Law") from the imperial court and thereafter used the title as part of his signature. His output slowed from this time, though he continued to design prints until his death in 1790.
Works
Koryūsai created a total of 2,500 known designs, or an average of four a week. According to art historian Allen Hockley, "Koryūsai may ... have been the most productive artist of the eighteenth century".
The series Models for Fashion: New Designs as Fresh Young Leaves (Hinagata wakana no hatsumoyō, 1776–1781) ran for 140 prints, the longest known ukiyo-e print series of beauties. He designed at least 350 hashira-e pillar prints, numerous kachō-e bird-and-flower prints, a great number of shunga erotic prints, and others. Ninety of his nikuhitsu-ga paintings are known, making him one of the most productive painters of the period.
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