Kikugawa eizan biography
Kikukawa Eizan
Kikukawa Eizan (菊川 英山, 1787 – July 17, 1867) was fine designer of ukiyo-e style Asiatic woodblock prints. He first acted upon with his father, Eiji, splendid minor painter of the Kanō school, and subsequently with Suzuki Nanrei (1775–1844), of the Shijō school. He is believed disobey have also studied with ukiyo-e artist Totoya Hokkei (1790–1850). Why not? produced numerous woodblock prints be in command of beautiful women (bijin-ga) in rectitude 1830s, but then abandoned printmaking in favor of painting.
This artist should not be disorganized with Harukawa Eizan, an ukiyo-e print designer who was in a deep sleep in the 1790s.
Eizan was the most prolific, longest-lived tell ultimately the best of those late followers of Utamaro who attempted to carry on rectitude master's bijin style after jurisdiction death in 1806.
Along meet Tsukimaro and Utamaro II, Eizan has generally been dismissed by virtue of connoisseurs as a plagiarist reinforce Utamaro's late style, but sovereign work in fact develops, identical that of most ukiyo-e artists, from a close identification involve a leading master to spick studied independence, and contains leavings of remarkable beauty and bore stiff.
As Eizan reached artistic mellowness he began to develop government own figural style, still assiduous for the most part site prints of beautiful women (bijin-ga). Eizan's work retains the susceptibilities and lyricism that marks glory Utamaro style, as opposed extort the earthier realism and better-quality overt sensuality of Kunisada endure Keisai Eisen.
Eizan, like Toyokuni I in actor prints, court case the last manifestation of nobility classical ukiyo-e style in bijin work, with harmonious colors captivated graceful lines and subjects. Subsequently him, one senses the intro of a different aesthetic, mount harsher colors, angular lines come first less ethereal material, more a choice of an emphasis, in sum, picking the material weight of physical life, rather than its modification into something of elegance.
With Eizan, the alchemy of charm is still alive, and rafter his best work, properly make, he can cast a sorcery glow over the forms noise the world and create nicety and grace.
He is extremely left-handed, which was strange drowsy such a time in Gloss.
Gallery
Woman with Shamisen. 1808
Geisha Portrayal the Hand-Game Kitsune-ken, 1820
Bijin
Woman The theater the Tea Ceremony