Torii kiyonaga biography of rory
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Since TORII Kiyomitsu's son died young, and Kiyotsune (KIYONAGA's senior in the TORII school) was a less promising artist, KIYONAGA was the obvious choice to succeed Kiyomitsu to leadership of the TORII school. He became pupil and was adopted by TORII Kiyomitsu, head of the TORII school. He also produced a number of shunga, or erotic images.
In the field of bijin-ga, only the works of Suzuki Harunobu and a handful of others are generally regarded comparable with those of KIYONAGA.
They are characterized by, among other things, an appealing rhythm among the figures, with varying amplitudes and postures. The sheets do not have publisher seals. Kiyonaga's drawing of women in the 1780s is decidedly different from earlier typologies, such as the child-like beauties of Suzuki Harunobu (鈴木春信 c. This is evident in Kiyonaga's portrayal of two geisha and an attendant from a chûban-format design titled the "Ninth Month" (Kikuzuki: きく月) in the series Fûryû jûni kikô (Fashionable scenes from the twelve months: 風流十二気候), circa 1779 (see image below).
Ukiyo-e taikei (Great Collection of Prints from the Floating World — Kiyonaga: 浮世絵大系 ), vol. The images from his ôban series of degatari-zu ("pictures of narrators' appearance": 出語り図), numbering more than 40 designs portraying actors in performance accompanied by chanters and musicians, were especially favored by the print-buying public and represent a significant contribution to the development of ukiyo-e actor prints (yakusha-e: 役者絵).
In regard to bijinga, Kiyonaga, at first, rendered his beauties in a manner remiscent of Isoda Kôryûsai.
Two years after TORII Kiyomitsu's death in 1785, Torii KIYONAGA succeded him as head of the TORII school. Torii KIYONAGA died in the age of 64 on June 28th 1815 and was buried in the Sumitaku ward of Ryōkoku under his posthomous Buddhist name "Nagarin Hideki" ("は長林英樹"). The group of four women and a male attendant are said to be approaching a teahouse near a shrine to conduct an interview on temple grounds for the purpose of working out a marriage arrangement.
By the early 1790s, Kiyonaga's production of prints fell precipitously.
From 1782-1789, he designed around thirty-four prints depicting shosagoto, actors in dancing scenes.
He continued to serve as head of the Torii school and generate prints over the next thirteen years until retiring from active production in 1800. "excellent master"), and became the fourth generation head of the TORII school after the death of his adoptive father and teacher TORII Kiyomitsu.
Besides the seemingly "true to life" faces, the mon (acting crests: 紋) on their robes were unique to each of the stage idols.
Kiyonaga has long been considered one of the masters of the full-color woodblock print (nishiki-e: 錦絵) and, in particular, of bijinga (pictures of beautiful women: 美人画).
Another influence on the early works of Kiyonaga was the oeuvre of Kitao Shigemasa (北尾重政 1739-1820). These women symbolized an up-to-date iki (refinement: 粋 or 粹) — they were the smart, sexy, chic, and spirited women of the day.
| Torii Kiyonaga: Visiting a teahouse near a shrine to arrange a marriage, c.
Some scholars point out the beauty of his paintings as being particularly exceptional given his commoner heritage and upbringing. His tompstone got lost due to earthquake and war damage, but a memorial monument was erected in 2013 near the supposed site of his grave in the "Eko Hospital" grounds. Copyright 2008 ff: Hans P. Boehme . However, he delayed this for two years, likely devoting time to his bijin-ga and realizing the immense responsibility that would fall on his shoulders once he took over the school. Genoa: Edoardo Chiossone Civic Museum of Oriental Art, 1980.Kiyonaga was also profoundly influenced by the works of Harunobu Suzuki, Isoda Koryusai, and Nishimura Shigenaga. From 1781 to 1785, Kiyonaga developed a style of bijin-ga, which quickly became the preferred form of the genre for the remainder of the century: tall, elegant women of every societal stratum, engaging in gentle, yet social behavior. |