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Taiso YoshitoshiThirsty: The Appearance of a Town Geisha - a So-Called Wine-Server - in the Anse1888
1888
About the Item
Thirsty: The Appearance of a Town Geisha - a So-Called Wine-Server - in the Ansei Era
Color woodcut, 1888
Signed; Seal: Taiso (see photo)
Plate 22 from the series "Thirty-two Aspects of Customs and Manners" (Fuzoku Sanjuniso)
Format: Oban
Publisher: Tsunashima Kamekichi
Carver: Hori Yu
A first edition with tricolor cartouche, and black lacquer highlights
Yoshitoshi's "Thirty-two Aspects" depicts women of different social classes during the previous 100 years. The Ansei Era was 1854-1860.
Condition: Excellent
Image/Sheet size: 14 1/8 x 9 5/8 inches
Reference: Beauty and Violence 63.22
Stevenson, Yoshitoshi's Women, No. 22, pp. 72-73, reproduced in color
TAISO YOSHITOSHI
(1839-1892)
Taiso Yoshitoshi was born in the city of Edo (now Tokyo) just before Japan’s violent transformation from a medieval to a modern society. In the mid 19th century pressures from the United States and Europe brought an end to Japan’s two hundred years of self-imposed isolation. In 1868 a pivotal period began known as the Meiji Restoration. It was marked by the return of Imperial power, heightened militarism, a new constitution and industrial advancement, as well as social and political reform. In the midst of shifting values, woodblock print artists like Yoshitoshi struggled to create images that would satisfy the public’s changing tastes.
During the Edo period (1600-1868) woodblock prints, or Ukiyo-e (literally “pictures of the floating world”), became one of the most popular and inexpensive visual art forms in Japan. Published in the cities, visitors bought them as souvenirs and gifts from markets and street peddlers and returned with them to remote villages. From the time the first monochrome prints were published in the 1600s, Ukiyo-e represented a unique collaboration between the publisher, the artists and the public. The rising or diminishing interests of the urban merchant class largely dictated the choice of subject matter in woodblock prints.
Yoshitoshi’s confrontation with the savagery and violence of his times, especially early on in his career, was exorcised through a prolific and bloody series of prints depicting battling warriors, demons and murderers. Later in his career, however, Yoshitoshi’s work took on a distinctive stylistic change. By the 1880s, he was experimenting freely with western concepts of space, perspective and dissonant color combinations. His treatment of movement and facial features reflected a more studied and quiet observation of the human form and emotions. While continuing to choose native themes for his prints, Yoshitoshi’s approach to creating individualized portraits of townspeople, farmers, courtesans and warriors was innovative and groundbreaking. However, by the end of the Meiji Period (1868-1912), the increasing popularity of photography and lithography nearly eclipsed the public’s interest in woodblock prints. Yoshitoshi stood alone as the last great master of Ukiyo-e.
Biography courtesy International Folk Art
- Creator:Taiso Yoshitoshi (1839-1892, Japanese)
- Creation Year:1888
- Dimensions:Height: 14.13 in (35.9 cm)Width: 9.63 in (24.47 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Fairlawn, OH
- Reference Number:Seller: UK16981stDibs: LU14015404882
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