Drawing on Japanese and Western-language sources, this work presents an overview of Toyohara Kunichika's life and his prints. The author provides a biographical sketch of Kunichika's life, which is followed by sections on the artist's prints of beautiful women and actors. Over 135 of Kunichika's prints are illustrated. The appendices contain carvers' seals and Kunichika's representative signature forms. The Japanese woodblock-print designer Toyohara Kunichika (1835-1900) was active during the second half of the 19th century when Japan experienced immense political, social and cultural changes following the restoration of imperial rule under the Meiji emperor. Many traditional arts were challenged by this "new" age and the art od the woodblock print (ukiyo-e), unable to continue as it once had, entered into its final period. Kunichika's importance lay in his role as a transitional "ukiyo-e" artist whose career spanned the feudalistic era of the Edo period (1600-1867) and the modern age of the Meiji (1867-1912). He studies with the well-known "ukiyo-e" master Utagawa Kunisada (Toyokuni III, 1786-1865) and Kunichika's art remained fundamentally grounded in the Utagawa style that he learnt in Kunisada's studio. Kunichika's designs were drawn from established "ukiyo-e" genres, ranging from "actor prints" (yakusha-e), "prints of beautiful women" (bijinga) to sumo and historical scenes. However, Kunichika was also a man of his time and this is reflected in his use of colour, composition and subjects. He was a versatile artist well capabl of working in different figure styles and print formats: his "bijinga" illustrated the more traditional image as well as the "modern" face of Meji-period Japan, his "yakusha-e" the demigods of the Kabuki stage in popular traditional and western-inspired roles.
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About the Author
Amy Reigle Newland received a Master of Arts degree in Art History from the University of Washington in Seattle and has since been active as a specialist editor and writer on Japanese prints. She is currently engaged for Hotei Publishing as General Editor of an academic encyclopaedia on Japanese prints.
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3 of 3 people found the following review helpful
5.0 out of 5 stars
The Forgotten Master - Remembered
6 Aug 2007
By Barbara White
- Published on Amazon.com
Format:Hardcover
Having now acquired quite a number of Kunichika woodblocks and taken the time to actually visit Kabuki Theatre in the Ginza of Tokyo, my fascination and interest in the Master's work has grown and the book gives great additional insights and history. Highly recommended for anyone interested in Japanese art and in particular the striking images of the Japanese theatre and life of the past. HIGHLY RECOMMENDED!
2 of 2 people found the following review helpful
4.0 out of 5 stars
a hidden gem
16 Sep 2008
By J. Deutmeyer
- Published on Amazon.com
Format:Hardcover|Amazon Verified Purchase
This book is exactly what you would expect. There are many of Kunichika's prints. There is a good history of his carreer. There is a reference section to identify the age of his prints, printer, carver and publisher, ect..
2 of 2 people found the following review helpful
5.0 out of 5 stars
Awesome prints!!
26 Jun 2008
By W. Chang
- Published on Amazon.com
Format:Hardcover
Brilliantly reproduced woodblock prints of Toyohara Kunichika, the last of the great Japansese print masters, dominate this marvelous book. Books on this late-19th century great masters are rare, especially in English. If you are loking for one book on the subject, this is the one to get. Accompanying the color plates, the book also has sections on Kunichika's biography, his arts in historical context, Kinichika's signatures and seals, his publishers' and carvers' seals, and a nice bibliography. If nothing else, marvel at the prints of Kunichika. Move over, Hiroshige and Hokusai! Make room for Kunichika's fearsome looking Kabuki actors and warriors!! Amy Reigle Newland has again added more chapters to the wonderful world of Japanese woodblock prints. Speaking for myself, I'm certainly grateful for her effort.
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