Toyohara Kunichika Figurative Prints

A vibrant Japanese woodblock print depicting a bijinga playing a musical instrument before a scene from the Satsuma Rebellion. Signed and inscribed in characters. On paper.

An incredibly vibrant and dynamic traditional Japanese ukiyo-e woodblock triptych by Toyohara Kunichika. Toyohara was best known for his kabuki thea...

Depiction of a geisha holding origami by Toyohara Kunichika (Japanese, 1835-1900). Presented in a new cream mat with foamcore backing. No frame. Image size: 14"H x 19.5"W Toyohara Kunichika (Japanese 1835-1900) grew up in the Kyobashi district of Edo in the midst of merchants and artisans. Kunichika's work stands in contrast to that of many of his contemporaries as he persistently held onto the traditional style and subject matter of the classic Japanese woodcut, unaffected by new Western forms of art. His love of Kabuki inspired him to depict actors in their various roles and varying facial expressions. His skillful use of color and ability to translate the actor's depth of emotion onto the page makes his work some of the most dramatic ever produced. Later on in his career, Kunichika turned primarily to the triptych format as the increased size gave him the space to fully portray the drama and action of the characters represented. At around the age of eleven Kunichika first studied under the artist (Ichiosai) Toyohara Chikanobu. In 1848, he became an apprentice to the artist Utagawa Kunisada (Toyokuni III, 1786-1865). His first prints as an apprentice were published in the early 1850s. His apprenticeship was formative, as he remained grounded in the Utagawa style he was taught in Kunisada's studio, even after he achieved artistic independence during the mid 1860s-70s. The name Kunichika is a combination of the artist names of his two teachers, Toyohara Chikanobu and Utagawa Kunisada. Following tradition, he assumed the last character, kuni, from Kunisada's artist's name Toyokuni to which he added the character chika from Chikanobu. Kunichika's rise to prominence can be seen in his high ratings from the saikenki (a popular guide that rated ukiyo-e artists), in which he was rated #8 in 1865, #5 in 1867 and #4 in 1885. No other Meiji woodblock...