Реклама. ООО «ЛитРес», ИНН: 7719571260.
Foreword
I. The Art of Utamaro
Ukiyo-e, the schools of Kanō and Tosa
II. The Pictorial Works
1. Prints (Nishiki-e)
2. Albums (series of prints in colour)
3. Kakemonos*
4. Surimonos*
5. E-makimonos*
III. The Books
1. Little Yellow Books (Kibyōshi)
2. Small books (Mangas)
3. Erotic Books (Shungas)
4. Books in Colour
Bibliography
Glossary
Hanaōgi of the Ōgiya [kamuro: ] Yoshino, Tatsuta (Ōgiya uchi Hanaōgi), 1793–1794.
Ōban, nishiki-e, 36.4 × 24.7 cm.
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Utamaro must have had a good many imitators during his lifetime, whether they were trained under him or elsewhere, and there were undoubtedly many more after his death. Among them, the new husband of Utamaro’s wife figured prominently. After Utamaro’s death, she married one of his pupils, Koikawa Harumachi II, who took the name of Utamaro II and continued, under that name, to fill orders taken by the late artist. Many prints bearing the signature of the master, with unimaginative compositions, expressionless heads, and jarring colours came to be included in the work of Utamaro. One must not only deal with the prints of his widow’s husband and with the imitations which were being turned out during the peak of the artist’s popularity, leading him at one point to sign his prints as “the real Utamaro”, but one must also exclude a certain number of prints done in his own atelier by his pupils Kikumaro, Hidemaro, Takemaro and others, who had his permission to sign using his name. However, they were pale imitators and plagiarists.
Yūgiri and Izaemon (Yūgiri Izaemon), from the series “Love Games with Musical Accompaniment” (Ongyoku koi no ayatsuri), 1801–1802. Ōban, nishiki-e, 37.3 × 25.3 cm. Staatliche Museen, Preussischer Kulturbesitz, Museum für Asiatische Kunst, Berlin.
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