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Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a Famous to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. All 104 prints are included here. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856 1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.
Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a Famous to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. All 104 prints are included here. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856 1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections.
Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a "Famous" to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856-1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections. Hiroshige I had done his own series Famous Views of Naniwa (Osaka), 10 prints, as early as 1834, but it was his 100 Famous Views of Edo that caused the significant copy production. Copying ideas and prints was quite normal in the Edo Period Japan print business. Utagawa Yoshitaki Utagawa Yoshitaki (歌川芳滝, April 13, 1841 - June 28, 1899), was is also known as Ichiyōsai Yoshitaki (一養斎芳滝). Yoshitaki was a Japanese designer of ukiyo-e woodblock prints who was active in both Edo (Tokyo) and Osaka. He was also a painter and newspaper illustrator. His father was a paste merchant, and Yoshitaki became a student of Utagawa Yoshiume (1819-1879). Yoshitaki was the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors. Judging from archives of sold prints since 2001, most of Kunikazu's output were actor and kabuki theater subjects. But he also made a few landscape series. One is titled Hundred Views of Naniwa - Naniwa Hyakkei published by Wataki. Naniwa is another name for Osaka. After the success of Hiroshige Ando (Hiroshige I) in the landscape genre, these Views of ... series had gained some popularity among the Japanese print buying public. His earliest prints were published when he had barely entered his teens. In 1855 he left Yoshiume to be an independent artist. For a period of twenty years, Yoshitaki was the most prolific of Osaka print artists, producing more than 1,200 designs, nearly all yakusha-e (actor pictures.) In addition to creating woodblock prints of actors and of landscapes1, Yoshitaki, using the artist names Sasaki Yoshitaki 笹木芳瀧 (starting in 1875) and Nakai Yoshitaki 中井芳瀧, created (wrote and illustrated) specialized woodblock prints called nishki-e shinbun for several Osaka newspapers including the Osaka nishikiga shinbun, Osaka nishikie shinwa, Kanzen choaku nishikiga shinbun, and Shinbun zue. Yoshitaki also remained active as a painter, exhibiting both in Japan and internationally, winning bronze medals at the first two Naikoku Kaiga Kyoshin Kai (National Paintings Fair) in 1882 and 1884 and a meritorious mention at the fourth Naikoku Kangyo Hakurankai (National Expo for the Promotion of Industry.) As with many woodblock artists he also worked as a commerical artist, creating theater billboards and illustrations for a sake company.In 1880, he moved to Kyoto and in 1885 he moved to Sakai where he died in 1889. He is buried at Nanshuji on Ryukozan in Sakai.
Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a "Famous" to the title. This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki. Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856-1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists. The book here is based mainly on prints in the Museum of Fine Arts in Boston and Osaka Municipal Museum collections. Hiroshige I had done his own series Famous Views of Naniwa (Osaka), 10 prints, as early as 1834, but it was his 100 Famous Views of Edo that caused the significant copy production. Copying ideas and prints was quite normal in the Edo Period Japan print business. Utagawa Yoshitaki Utagawa Yoshitaki (歌川芳滝, April 13, 1841 - June 28, 1899), was is also known as Ichiyōsai Yoshitaki (一養斎芳滝). Yoshitaki was a Japanese designer of ukiyo-e woodblock prints who was active in both Edo (Tokyo) and Osaka. He was also a painter and newspaper illustrator. His father was a paste merchant, and Yoshitaki became a student of Utagawa Yoshiume (1819-1879). Yoshitaki was the most prolific designer of woodblock prints in Osaka from the 1860s to the 1880s, producing more than 1,200 different prints, almost all of kabuki actors. Judging from archives of sold prints since 2001, most of Kunikazu's output were actor and kabuki theater subjects. But he also made a few landscape series. One is titled Hundred Views of Naniwa - Naniwa Hyakkei published by Wataki. Naniwa is another name for Osaka. After the success of Hiroshige Ando (Hiroshige I) in the landscape genre, these Views of ... series had gained some popularity among the Japanese print buying public. His earliest prints were published when he had barely entered his teens. In 1855 he left Yoshiume to be an independent artist. For a period of twenty years, Yoshitaki was the most prolific of Osaka print artists, producing more than 1,200 designs, nearly all yakusha-e (actor pictures.) In addition to creating woodblock prints of actors and of landscapes1, Yoshitaki, using the artist names Sasaki Yoshitaki 笹木芳瀧 (starting in 1875) and Nakai Yoshitaki 中井芳瀧, created (wrote and illustrated) specialized woodblock prints called nishki-e shinbun for several Osaka newspapers including the Osaka nishikiga shinbun, Osaka nishikie shinwa, Kanzen choaku nishikiga shinbun, and Shinbun zue. Yoshitaki also remained active as a painter, exhibiting both in Japan and internationally, winning bronze medals at the first two Naikoku Kaiga Kyoshin Kai (National Paintings Fair) in 1882 and 1884 and a meritorious mention at the fourth Naikoku Kangyo Hakurankai (National Expo for the Promotion of Industry.) As with many woodblock artists he also worked as a commerical artist, creating theater billboards and illustrations for a sake company.In 1880, he moved to Kyoto and in 1885 he moved to Sakai where he died in 1889. He is buried at Nanshuji on Ryukozan in Sakai.
Famous prints from the Osaka School. Viewing Osaka through the series 100 Views of Naniwa (Osaka) is an amazing experience. It is a well executed repetition over a format by Hiroshige. Some add a "Famous" to the title.This series is by three artists, Utagawa Yoshitaki, Utagawa Kunikazu and Nansuitei Yoshiyuki.Hiroshige I created his revolutionary series 100 Famous Views of Edo over three years, 1856-1859. This led to the publishing of copy series 100 Views of Naniwa (Osaka) by other artists.
Visit Edo, modern day Tokyo, as experienced by Utagawa Hiroshige in this wonderful tourist guide from the 1850s. Experience Edo as the Japanese loved it, a sophisticated city catering to a wealthy elite of daimyo, local rulers that regularly had to spend time away from their lands, in Edo, where the shogun could keep an eye on them. The 100 Famous Views of Edo was one of the popular print series made in Japan, like Hokusais series Thirty-six Views of Mount Fuji, which had been published earlier in the 1830s and which influenced Hiroshige tremendously (ISBN ES 978-8-411-744-935). But much more important is the influence the 100 Famous Views of Edo had on European impressionists like Van Gogh, Degas, Manet and Monet. Hiroshige impressed with cropped items to create focus and with his horizontal format.
Keisai Eisen (1790 -1848) is especially known for his bijin-ga, pretty women, and landscapes. He is well known for his participation in the series 69 stations of the Nakasendo together with Hiroshige. The series A Tokaido Board Game of Courtesans, Fifty-three Pairings in the Yoshiwara use the Tokaido with landscape inserts as an excuse for showing courtesans and geisha, bijin-ga, to skirt the censorship. It was published 1821-1823. His bijin-ga are considered to be masterpieces of the "decadent" Bunsei Era (1818-1830). Most of them have impressive hairdo with many ornamental hairpins and combs. Their dress is extravagant with beautiful patterns and sublime embroideries. Their faces are elongated squares with long noses and small pouted painted mouths. Courtesans were desirable for their rich and splendid attire, not so much for their beauty and their names were actually like trademarks for a series of girls performing the same name role with the brothel in question.
Hokusai ́s 53 Stations of the Tokaido 1806 Horizontal is the last known full Tokaido series by Hokusai. It is different from his famous 36 Views of Mt Fuji, which are sublime artistic expressions distilling a long life ́s work. It is different from much of Hokusai ́s other well known work, like his 100 Views of Mt Fuji. But in that series Hokusai still retained a lot of the humor and the caricature found here. It is different from the many other well known 53 Stations of the Tokaido in that Hokusai explores novel ways of designing the print, further developing what he started in the 1804 Horizontal Tokaido. Hokusai experiments with person themes, voids and white space but also do great full landscapes and humorous encounters on the road.
All the way through Hiroshige follows certain design principles of proportion of elements, arranging elements and views by diagonals and parallels and balancing of color elements. Compared to most of his other Tokaido series Hiroshige in Aritaya focus on letting the landscape tell the story instead of letting people or legend do that, although this is not followed through completely.