If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
In pencil, on backing, top center: 361 L.R.: Pietro Longhi U.L.: 3 or 4 numbers neatly obliterated Watermark on backing: large fleur-de-lis within a shield, crowned, and 1 vertical line depending below.
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Notes in ink on back of drawing: A Portrait of the King / A Portrait of Master Pretyman in the Character of a shepards Boy -- / A Portrait of Miss Ormeby Followed by notation in pencil: Autg of Gainsborough
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One of a small group of artists to work in the studio of Kaigetsudô Andô. He did paintings and prints; twelve of his print designs (all in the large "kakemono e" format) are known today.
This is a large monochrome print of a courtesan wearing kimono with iris design. The courtesan is standing with her right hand in the sleeve that she raises to her chin and left hand gathering up her kimono; Her cloak with bamboo leaf and gentian flower design is slipping off her shoulder and revealing her dark kimono with iris roundels. She has long hair; her hair is tied and draped on the back. She is looking toward the right side. There is the artist’s signature and seal, and publisher’s seal on the right.
Subject Matter
This extravagantly large print is one of a very rare series issued in Edo in the 1710s by the Kaigetsudô School of artists. Perhaps designed as inexpensive substitutes for paintings, Kaigetsudô prints invariably depict courtesans swathed in magnificent bold-patterned robes, against a plain ground. The typical Kaigetsudô courtesan is a full-bodied woman who is both seductive and yet somehow beyond our reach; for all that she is on display, she remains in her own closed-off world of reveries.
(M. Graybill, Senior Curator of Asian Art, March, 2002)
Label Copy
This large print is one from a very rare series issued in Edo in the 1710s by the Kaigetsudô school of artists. Perhaps designed as inexpensive substitutes for paintings, Kaigetsudô prints invariably depict courtesans swathed in magnificent bold-patterned robes, against a plain ground.
Here the courtesan has allowed her cloak to slip off her shoulder, displaying her iris-patterned kimono to dramatic effect. She coyly hides her right hand in the sleeve she raises to her chin, while she gathers up her robes with her left hand. The typical Kaigetsudô courtesan is a full-bodied woman who is both seductive and yet somehow beyond our reach—on display, yet in her own closed-off world.
(Label for UMMA Japanese Gallery Opening Rotation, March 2009)
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Ishikawa Toyonobu, the noted ukiyo-e artist, is said to be a late name of the artist Nishimura (Magosaburo) Shigenobu. His teacher was supposed to be the distinguished artist Nishimura Shigenaga, who is listed in some sources as a student of Torii Kiyonobu I. Nevertheless, Toyonobu owed as much to Masanobu as he did to his teacher. Again, in the grand impassivity of his female figures there is something of the Kaigetsudo manner. His prints, like those by Masanobu, are remarkable for the richness of effect produced with the use of only two colors in addition to the black of the outline block. These early two-color prints are always in green and red, but the latter color is liable to turn a yellowish tint in the course of time. Toyonobu’s later work carries us into the second period when ukiyo-e artists made full use of improvements discovered in the art of color printing and brought into being the true polychrome print.
Technically, this print was made in the same way as the monochrome print by Kaigetsudô Dohan of circa 1714 (1955/1.128); both were printed from a single block, with black ink. The contrast between the two works shows how the printing process, artistic style, and women’s fashion had changed in thirty years. By the 1740s, wood blocks were carved with greater detail and delicacy of line, and we can see the impact of Nishikawa Sukenobu’s style in the way the subject is presented as self-absorbed, in a private moment. Kimono designs have evolved from bold overall motifs to a busy, patchwork-like combination of small patterns. The most striking change, of course, is the addition of color, in hand-applied vegetable pigments of pink and yellow; here the colors are still quite fresh. The tasteful furnishings in the room where the courtesan stands further emphasize an overall effect of sumptuous luxury.
M. Graybill
"Courtesans, Cross-Dressers, and the Girl Next Door Images of the Feminine in Japanese Popular Prints"
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Ishikawa Toyonobu, the noted ukiyo-e artist, is said to be a late name of the artist Nishimura (Magosaburo) Shigenobu. His teacher was supposed to be the distinguished artist Nishimura Shigenaga, who is listed in some sources as a student of Torii Kiyonobu I. Nevertheless, Toyonobu owed as much to Masanobu as he did to his teacher. Again, in the grand impassivity of his female figures there is something of the Kaigetsudo manner. His prints, like those by Masanobu, are remarkable for the richness of effect produced with the use of only two colors in addition to the black of the outline block. These early two-color prints are always in green and red, but the latter color is liable to turn a yellowish tint in the course of time. Toyonobu’s later work carries us into the second period when ukiyo-e artists made full use of improvements discovered in the art of color printing and brought into being the true polychrome print.
A color woodblock print of a young woman hanging a paper with poem on a cherry tree. The woman is in a kimono with intricate design of cherry blossom, hemp leaves, birds and swirls, pine trees and diamond patterns. She also wears broad obi (sash) in checkerboard patterns, which is bow- tied on her back. There is also a white sash underneath the obi, which supports her long kimono. Her hair is tied on the back and adorn with tortoise-shell comb and pin. The cherry tree is in full bloom; there is a curtain with a family crest behind the woman and the tree; a certain kind of platform with swirling vine pattern is peaking below the curtain. The overall color scheme is in yellow, orange, black and white (the color of the paper). There are artist’s signature and two seals on the right bottom corner, and smaller seal on the left bottom corner.
Subject Matter
During the Edo period, cherry blossom season was one of the few times of year when women of upper class households were permitted to enjoy outdoor amusements. The ladies and their servants would gather under the blossoms to feast on elaborate picnics and play courtly games, all concealed from public view by large curtains. In this print, the artist allows us the voyeuristic pleasure of an unhindered view of a beautiful young woman. From her gorgeous kimono of intricate patterns and expensive tortoise-shell hair accessories, it is clear that she is a daughter of a samurai family. She is shown hanging a poem card (tanzaku) on a tree just outside the curtain—perhaps a love poem intended for someone she expects to pass by.
The verse may be translated as
Once more again in love,
Once more regret--as fleeting
(Adopted from: Maribeth Graybill
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels
July 5, 2003-January 4, 2004)
Label Copy
During the Edo period (1615–1867), cherry blossom season was one of the few times of year when women of upper class households were permitted to enjoy outdoor amusements. The ladies and their servants would gather under the blossoms to feast on elaborate picnics and play courtly games, all concealed from public view by large curtains.
In this print, the artist Ishikawa Toyonobu allows us the voyeuristic pleasure of an unhindered view of a beautiful young woman. From her gorgeous kimono of intricate patterns and expensive tortoise-shell hair accessories, it is clear that she is a daughter of a samurai family. She is shown hanging a poem card (tanzaku) on a tree just outside the curtain—perhaps a love poem intended for someone she expects to pass by.
The verse may be translated as
Once more again in love,
Once more regret--as fleeting
Ishikawa Toyonobu is known for his elegant depiction of beautiful women and vigorous design sense. In this print, the bold black lines of the family crest in the curtain and the checkered patterns of the girl’s sash create strong geometric patterns that work wonderfully with the sweeping curves of her kimono and the organic shape of the cherry tree.
The technique used in this print classifies it an an urushi-e, literally meaning "lacquer painting." In reality, the term indicates extra glue in the black pigment, giving it a lustrous quality. While subtle pink pigment has been applied to the cherry blossoms and the woman’s cheek on this edition, it is missing on many of the other extant versions of this print.
Maribeth Graybill
“Four Seasons In Japanese Art”: Special Installation of Japanese Gallery at UMMA: Object Labels
July 5, 2003-January 4, 2004
In this print, the artist Ishikawa Toyonobu allows us the voyeuristic pleasure of an unhindered view of a beautiful young woman. From her gorgeous kimono and expensive tortoise-shell hair accessories, it is clear that she is a member of a wealthy family. She is shown hanging a poem card on a tree—perhaps a love poem intended for someone she expects to pass by. The verse may be translated as:
Once more again in love,
Once more regret—as fleeting
Toyonobu is known for his elegant depiction of beautiful women and vigorous design sense. In this print, the bold black lines of the family crest in the curtain and the checkered patterns of the girl’s sash create strong geometric patterns that work wonderfully with the sweeping curves of her kimono and the organic shape of the cherry tree.
(Label for UMMA Japanese Gallery Opening Rotation, March 2009)
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
Maruyama Okyo was one of the most famous and commercially successful painters of the eighteenth-century. He pioneered a new naturalism that was perfectly in accord with the no-nonsense taste of an inceasingly secular society and his merchant patrons. This large scroll, attributed to Ôkyo but more likely by a follower, depicts two immortals playing go (Chinese chess) within a mountain setting, attended by a boy-servant. While the white deer grazing nearby suggests a wilderness atmoshpere, the floating mists denote the mystery of the immortal land.
Inscription
Signed and dated, r.c.: Okyo, the fourth month of 1778 (attributed later); Seals: Okyo no in, Chusen.
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Signed, l.l. margin: Cavalier Piranesi F. Watermark: Hind, p. 34, Pl. I, 3 Title on stone towards l. below: Avanzi d'un portico coperto, o criptoportico in una Villa di Domiziano cinque miglia lontan da Roma su la via di Frascati.
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Signature and inscription, in plate, in lower margin: title as above plus additional inscription, and Piranesi Archit. dis. et inc. In plate, u.r.: Tom. III. V
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If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
This performance is set in the residence of the Prince de Rohan-Soubise in Paris, now home of the National Archives. Famous for the elegance of its appointments, the circular concert room of the Hôtel Soubise embodies the height of Rococo decoration and is reflected in the refinement of the assembled group.
Duclos engraved the work of a number of draftsmen, including Charles-Nicolas Cochin, Charles Eisen, and Jean-Michel Moreau. Two of his most important engravings, Le concert and its pendant portraying a masked ball, were executed after drawings by his teacher Augustin de Saint-Aubin. Saint-Aubin was from an influential family of artists and member of the Académie Royale. His original drawings were exhibited at the Louvre in 1773; Duclos’ print was executed in the same year and published in 1774.
Exhibition label copy from "Eighteenth Century French Prints and Drawings," February 1 - May 4, 2003 by Curator Carole McNamara
This concert was performed in the circular salon of the Rohan-Soubise house in Paris. This building presently houses the National Archives of France.
Inscription
In plate, l.c.: Le Concert / A Madame La Comtesse de Saint Brisson; and l.r.: Par son très humble et très obéissant / Serviteur Duclos In plate, in lower margin, l.l.: Dessiné par Aug. de St. Aubin. Graveur du Roi; abd l.c.: A Paris chés Chereau Graveur rue St. Jacques près les Mathurins / Avec Privilége du Roi; and, l.r.: Gravé par A.J. Duclos Collector's stamp, l.r. recto, and on back:
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
If you are interested in using an image for a publication, please fax a request to the attention of Orian Neumann, Assistant Registrar, at 734-474-7643. For other queries, email orian@umich.edu.edu.
