1964 After Kiyonaga "Women in New Year's Toga", Full-Color Print From Japan

Description

A stunning large full-color Ukiyo-E Hanga print after original woodblock print "Women in New Year's Toga" by Kiyonaga (1752-1815). Comes … more A stunning large full-color Ukiyo-E Hanga print after original woodblock print "Women in New Year's Toga" by Kiyonaga (1752-1815). Comes from a rare Collection of 24 Masterpieces by Kiyonaga. Produced & published by Shuei-Sha, Tokyo, in July 1964. Printers: Toppan Printing Co., LTD. Printed on one side. Attached at the top to a board of heavy textured paper, covered with lighter sheet of paper for protection, numbered 1 on the label on the front of the cover. Excellent condition - minor edge wear on the board, minor age wear on the cover, never framed, ready to be framed. Copy of the commentary by Dr. Kiyoshi Shibui (below) in Japanese and English is included.

Overall (folded) 12.55"W x 18.20"H
Overall (unfolded) 25"W x 18.20"H
Image 10.25"W x 15.25"H

Commentary by Ukiyo-e Art consultant & editor Dr. Kiyoshi Shibui:
Signature: signed KIYONAGA
Printer: Nishimura Eijudo
Date: 1782
In the possession of Mr. Magozaemon Kashiwabara

Reality half buried in dreams is taking a material from here. Kiyonaga is the first Ukiyo-E artist who introduced real women to the art world. He started out as a commercial artist who worked in a highly competitive realm of theatre illustration and juvenile pictorials. This "Women in New Year's Toga" started the new tradition of the larger sheet brocade picture as standard practice for women's likenesses. This beauty series begun by Koryusai in Anei period (1770s) was an appetizing subject and many as rising printer such as Kosho-Do was strongly attracted to it, but Nishimura Eijudo firmly stood its ground and chose KIYONAGA, one of the rising artists of the time, to do the job. It turned out to be a highly successful enterprise.

The picture celebrates the reigning beauties in the New Yoshiwara. The freshness of the sprouting leaves is the theme of the picture held in double entendre celebrating the vitality of youth and the newly rising gay quarters.

Flanked by the house-matrons and little maids, the courtesan makes a formal appearance, dressed in layers of white silk and a silk wrap ornamented with peacock plumes. It is a dazzling outfit in a studied color scheme. The high black lacquer footwear brings out the white daintiness of her bare feet and the peculiar, lingering walk traditional to the courtesan's public progression on the streets is designed to enhance her seductive beauty. less