The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023314747 N 7350.F3T'" ""'""""^ ^"""^ ^''*lllillffflliiiiiSLffima,,S°"'Pl«ehlstori The Masters of Ukioye A COMPLETE HISTORICAL DESCRIPTION OF JAPANESE PAINTINGS a^d COLOR PRINTS OF THE GENRE SCHOOL ERNEST FRANCISCO FENOLLOSA CURATOR OF THE JAPANESE DEPARTMENT OF THE BOSTON MUSEUM OF FINE ARTS FORMERLY IMPERIAL JAPANESE FINE ARTS COMMISSIONER AS SHOWN IN EXHIBITION AT THE FINE ARTS BUILDING 215 WEST 57TH STREET NEW YORK JANUARY, 1896 BY W. H. Ketcham 8 WEST 2gTH STREET, NEW YORK 3 h^^l'l^f (^ Copyright, 1896 BY W. H. KETCHAM Ube Iftnlcfierbocftet press, 'Bew 'Kocbelte, «. M. PREFACE. In arranging a chronological exhibition of works by the Masters of the XJkioye, or Popular School of Japanese Artists, Mr. Ketcham has rendered a service to students and lovers of Japanese Art for which they should be very grateful. That the exhibition has been undertaken partly for commercial reasons does not lessen the obligation. In addition to the selections made from Mr. Ketcham's extensive stock, it includes also, through the kindness of their owners in loaning them for the occasion, a large proportion of the finest and most beautiful works belonging to private collections in the United States. Nothing like it has ever been attempted before. For the first time does a connected series of paintings and prints by all of the leading artists of this school, hung together in proper sequence, make it possible to gain a comprehensive view of the history of Ukioye art through all the phases of its rise, development, and decay. Especially is this true as regards the Nishikiyi, or color prints from wood blocks, which are the most distinctive product of the school. Here may be seen rare proof-impressions from early blocks, which are printed in soUd black, with no attempt at gradations of tone. The several varieties of hand-colored prints are represented by many fine examples. Then in the Nishikiye proper may be traced the growing mastery of the artists over the resources of the printer's craft. The works of the earlier men are notable for combined vigor of conception and sweetness of line, rather than for especial beauty of color. There is, however, a charm in their quiet simplicity which is lacking in the works of later periods ; and some of the prints for which, in addition to the black outline, but two tint- blocks were used, are exquisitely lovely in color, as well as wonderful achievements in design. After Torii Kiyomitsu began the use of a third color-block, the rivalry between many able artists resulted in rapid prog- ress, imtil the art reached its highest development in strength and beauty of design, in richness and variety of color, and in perfection of printing, in the time of the great master Torii Kiyonaga and his contemporaries. The works shown in this exhibition make it possible to follow this development throughout, and to trace the subsequent decline of the art, at first gradual, then more rapid, as the creative impulse which stimulated the masters of the eighteenth century died out, and little was left beyond mere delight in iii technical proficiency. The brief renaissance due to the genius of Hokusai and Hiroshige is illustrated by some superb examples of their finest produc- tions. That few works of their contemporaries and followers are shown is not because the art became extinct after the death of these men, but for the reason that their aesthetic value is so small. It was a happy idea to show paintings and prints in connection with each other. Only by seeing both together is it possible to gain more than a one-sided and incomplete view of the aims and evolution of the school. Many of the Ukioye artists were both painters and designers of prints. Some of them were painters only ; others made but few drawings for repro- duction ; whilst others gave their attention so exclusively to print-designing, that few, and in some cases no, paintings by them are known to exist. Nor was it unusual even for some of the most renowned designers of Nishikiye to suddenly give up drawing for publishers and thereafter devote themselves to painting alone. In still another respect this exhibition is unique. Thanks to the able assistance of Mr. Ernest F. Fenollosa of the Boston Museum of Fine Arts, the pictures and prints are shown with the dates accurately ascribed to them. Of Mr. Fenollosa' s qualifications for this work it is scarcely necessary to speak, as he is well known as pre-eminently the most competent authority upon the history of Oriental Art in the Far West. But it may be of interest to state that the determination of dates has been reached by a most careful comparison of a very large number of works. To this task he brought the critical methods of the modem scientific investigator, the penetrative insight of the student of Oriental philosophy, the fine perception of the artist, and the intimate knowledge of Japanese manners and customs acquired during his twelve years' residence in Dai Nippon. Aside from the internal evidence of the changes in each artist's manner from year to year, the costumes depicted, taken in connection with records of contemporaneous events, and especially the history of the theatre, have furnished the most reliable index. For in Japan, no less than in the Occident, fashion has held tyrannical sway from time immemorial. The changes have, perhaps, been within a narrower range in Japan than in Europe during the last one hundred and fifty years, but they have been no less frequent. From the style of a woman's coifiiire alone it is often possible to determine the date of a print or painting ; and taken in con- nection with the fashion of the garments depicted, the manner of wearing the obi, and the patterns of the brocades, even the season of the year may some- times be arrived at with reasonable certainty. The Popular School of Japanese Art is different from all the other schools, in that it is the art of the common people. If it did not, even in its palmiest days, give to the world works which touch the highest note in the gamut of artistic production, or arrive at the dignity of the classical schools, we are indebted to it for the most beautiful specimens of the printers' art which have ever been executed in any land or at any time. To this state- ment the present exhibition bears eloquent testimony. And from it another IV valuable lesson may be gleaned by those who have eyes to see. And that is that even the most trivial and commonplace subject may be so presented as to invest it with aesthetic value. It would be difficult, indeed, to find more striking examples of the truth that Art lies in treatment, and that the real subject of the artist is not necessarily the nominal one, but what he expresses by means of it. Frkdkrick W. Gookin. CATALOGUE. i. IwASA Matahei About 1630. Painting on a screen of two panels. A lad}' with musical instrument and pupil. The Ukioye is a school of Japanese painting and print designing, which for the last three centuries has been the special organ of ex- pression for the common people. Its artists, sprung mostly from the ranks of the people, confined their subjects to the occupations and recreations of their class. Kvery change of fashion in the gay life of the capital at Yedo was faithfully followed in their drawings ; and thus the Ukioye, unlike the hieratic and idealistic schools of earlier days, has the charm of being a complete mirror of Japanese life. At first confined to painting, it soon spread with the discovery of block printing into book illustration ; and still later into the elaborate single sheet print which could be used on the wall for a cheap picture. When these prints, at first colored by hand, became embellished with flat tints printed from wooden blocks, the most splendid results of the school were reached. The founder of this school was Iwasa Matahei. Previous to his day, the end of the sixteenth century, Japanese art and civilization were dominated by Chinese ideals, as were the nations of mediaeval Europe by classic tradition. But the overthrow of the Ashikaga court, and the rise to power of upstarts like Hideyoshi, brought Jap- anese life and character again into the field of interest. It is true that scenes of native court life and of earlier dynastic wars had been occa- sionally painted by the court artists of the Kano and Tosa schools ; Taut with Matahei began the painting of contemporary life, or genre; and his are the first of the long and full series we possess of scenes in the life of Japanese women of the middle and lower classes. Matahei was first a pupil of the ancient Tosa school, later of the Kano. His third manner, of about 1620, fuses and enriches the two styles by a new line-drawing of expressive beauty and clinging grace. His fourth and last manner is a rise to complete realistic rendering, whose force absorbs, but does not destroy the grace of outline. His work is confined to painting, and is extremely rare. This specimen of Matahei is one of the finest and largest remaining' of his fourth manner. The easy pose of the large figures, the fine but not over-graceful flow of line, the careful drawing of details as in the hands, the breadth of the main masses, and especially the strong contrast of the black and white robes, all contribute to its striking- force. Nothing at once so simple, and yet so full of the feeling of real presence, occurs again in the course of Ukioye. 2. School of Matahei About 1650. Painting on a small panel. Female dancer. The new movement begun so brilliantly by Matahei found no worthy continuator for a generation. Whether the interest in Japanese sub- jects temporarily waned on the founding of the new tyranny at Yedo, whether the people of the new capital were yet unconscious of a life and standard apart from the nobility, or whether the genius of Matahei was too personal for transmission, it is clear that between 1630 and 1670 only a scattered series of weak imitations was produced, mostly unsigned, and with no common quality of style to merit the name of school. It is a sort of interregnum in Ukioye, with no dominant master. This painting is a good average specimen of the work. While far inferior to Matahei in drawing, in the large quality of the dress design and in the fine color it reminds of his day. 3. HiSHIGAWA MORONOBU. .... . About I675. I. Color print. Young girl and servant walking in the street. It seems as if the art could hardly achieve greater perfection. The gray ground is warmer, the architectural corner adds two more soft background tints. The willowy figures, unconsciously shy as flowers, are swathed in warm colors never before seen in Eastern art. Why should the servant's clothing be diversified by pattern ? What could be more chaste than a snow-covered willow for the design of her gen- tle mistress' robe? There are three quiet tints of warm olive, beside the striking orange citrine. Beni has been reserved for the finer pat- terns of the obi. Nine or ten blocks have been utilized here. It is a secret of the color-magician that the olive green of the lady's dress should carry at a distance as a chocolate red. 45 120. Harunobu 1766. Color print. Woman and child at a temple lavatory. Here the tones are stronger, and solid black unifies. The dark choco- late trunks of the sacred cryptomeria, and the dead green of their foli- age, are samples of the new opaques, here throwing forward the light gray of the granite block. Harunobu in this year sometimes uses solid rose for his skies. There is no color-thought he dares not attempt to express. 121. Harxjnobu Late in 1766. Color print. A belle at the door, with two child attendants and a dog. I/cnt by Clarence Buckingham of Chicago. In this wonderful print Harunobu about reaches the extreme possibil- ities of his experimental stage. There are foiirteen or fifteen distinct tones, lavished in a perfect shower of wealth on every part of the design. The background itself is a mosaic of light. But the most extraordinary thing is that they hold their place without undue confu- sion. This implies supreme mastery over two of the intrinsic dimen- sions of color, which are not always considered ; namely, the darkness and lightness of colors {notan), and the brilliancy and grayness of colors (seiutsu). He has now discovered how to use the very opaque- ness of tones over paper so as to give them transparency of effect. What could be more liquid or enamel-like than the cool blue of the hanging curtain ? How finely the yellow of the pillar cuts it ! Observe its texture, as painting ; the pigment, like spring frost, touching the hill- tops of the surface, but sparing the valleys. Thus is color physically diluted, as it cannot be in water-color wash, by letting the white %ht, held in solution by the paper's fibres, diffuse itself outward through the thin veil of the pigment. Need we wonder that the name nishi' kiye, or embroidery painting, was now bestowed upon this new art ? Harunobu Probably early in 1767. Color print. Girl discovering bamboo shoot in the snow. But Harunobu has satisfied himself at last with experiments. He has tried all materials, the most extravagant wealth of combinations. The problem now is to use these as wanted ; not as ends to be displayed for their own technical splendor, but as means to expression. Here is seen the largeness of Harunobu's soul. He deliberately returns for a moment to simpUcity of design, to the pure feeling for his subject. No matter if only seven blocks are used. In this very restraint of means shall lie the expression of perfect atmosphere, of out-door feel- ing. How beautifully the snow and the sky are rendered ; how soft and melting the total effect ! If we compare this with the fiiiest work of but three years ago, what a change ! 46 122 123- Harunobu Probably early in 1767. Color print. Girls catcbing minnows in a net. Here tbe out-door feeling and the tone are even a shade finer. The composition is supremely beautiful, though simple. The drawing of these slight innocent figures, wading with shortened skirts, is incom- parable in sweet sentiment. Here, as frequently elsewhere, Harunobu has borrowed, or adopted for color-filling, a delicate outline design from one of his earlier illustrated books. The water plants in the dis- tance are things almost as lovable as the children. Again, what could be more exquisite than the three tints of sky, earth, and water ? Against these the figures come out firmly in decidedly darker tones. These colors are hardly in the least faded. Here we have in all its flower-like freshness Harunobu's original color feeling. The print, too, is a proof. Mark the exquisite finish of the heads. There is no reason to assume anything like over significance in the absence of the artist's name. There was no ordinary practice in Japan of making "proofs before letters." Where names occur, they were ordinarily cut in the ink block from the first, as we shall afterwards see in the case of Kiyonaga. It is true that, in some of Harunobu's earliest work, he disdained signature. Who could mistake a Harunobu for the work of another hand ? And in these cases, it is true, that when, later in his career, or after his death, greedy publishers essayed to multiply cheap editions of his first works, for which a demand from the country had recently sprung up, they added for the uncritical masses a patent of the master's hand in a signature struck in where none had been before. In design, preservation, and perfect beauty, this may be regarded as the typical masterpiece of Harunobu's earlier Meiwa career. 124. Harunobu Probably late in 1767. Color print. Child playing with fish in a dish. This print is notable for its deliberately broad treatment of quiet, opaque tints ; about eight in aU. Every color, even the beni, has been thickened with a slight body. We first meet on the dress of the central figure a frank blue, which, as frequently in Harunobu's early prints, has been the first to fade. How cool the whole scheme is to the eye ! How finely disposed the relative unbroken masses ! Is it pos- sible that Harunobu, like the great Masanobu, after mastering all the problems of delicacy, is now aiming at strength ? 125. Harunobu Probably late in 1767. Kakemonoye. Young girl with a broom in snow. This form, used sporadically since 1750, now becomes in the hands of 47 Harunobu a key to some of his grandest compositions. Such tall narrow spaces are most difficult to handle. They stimulate what strength there is in a designer. This is indeed one of Harunobu' s most beautiful out-door subjects. The finely preserved tones of the figure are still opaque, but solid and dark, bringing it out in most splendid relief against the natural gray of a wintry sky. The irregular patches of thick snowflakes in the air, the drifts piled upon the fence, and, above all, the crystalline spears of the frosty plum branches, compose the most perfect rendering of winter in Japanese prints. It is all pure and keen as a blast firom the slopes of Fujiyama. But there is also an unexpected grandeur in the color- note. The fence, silver-crowned, blazes with Kiyomitsu's mag- nificent opaque red, thrown now into claret by the absorbing mass of the neighboring olives. It is the daring note of a supreme colorist. If we shut it out for a moment with the hand, we see how relatively commonplace the rest of the design becomes. Yes, indeed, Harunobu is capable of passing into a phase of very great strength. 126. .Harunobu Probably 1768, Kakemonoye. Yotmg girl and attendant. This is one of the most perfectly preserved specimens of Harunobu's coloring I have ever seen. It is not so strong as the preceding, but wonderfully graceful. Such a use in large mass of pure ethereal flat blue has never been known before. Kvetywhere is perfection of tex- ture. Here we must now notice, too, the typical hair arrangement of Meiwa. From the first of Horeiki onward, the helmet-shaped form left by Masanobu had been preserved with little change other than a periodical lifting and depressing of the tail. Toward the latter part of Horeiki the shell-like projection over the ears had been tempo- rarily fiattened somewhat close again to the head. But since 1767 it has been decidedly lifted up and widened, until now it gives a wide, expanded look to the top of the head, like a bird in flight ; a sort of efiect absolutely new, never once hinted at in all the styles of coiffure from Matahei downward. This is a most beautiful example of the Harunobu head with whose character fashion had so much to do. 127. Harunobu 1768. Color print. Two little girls at a temple gate. This is one of the most fascinating, girlish, ripely original, and deli- cately flower-like of all Harunobu's designs. The faint outlines stand for little, and let the tones melt into the ground. The head kerchiefs are merely embossed whites. The patterns and the obis continue the band of stars begun by the cherries. How far away the landscape lies folded in strata of blue mist ! That temple roof in the distance is an 48 island. The purple umbrella fairly floats in the air. The whole painting palpitates with the soft tremor of a spring atmosphere. This is perhaps Harunobu's supreme piece in the line of perfect sweetness. Pit}^ it is but a momentary note of perfect balance ; he will never try < it again. 128. Harunobu Probably 1768. Color print. Boy and girl fishing for fireflies at night. But there are compensations. Here is a glorious example of a new manner which Harunobu from now on more frequently adopts. The colors look more transparent. They seem to play over one another like veils. In this case the new purple splendidly renders the gauzy sum- mer covering of the little girl's bare arms. The soft blue of the water is fading away into a yellow, as is its wont. The stronger blue of the boy's dress seems elusive. Every color seems about to fly away, or pass over into some other ; all but the great solemn sky of black, which throws out the rest of nature's twilight tones into mysterious glory. Here is a perfect fusion of delicacy in detail and power of total conception. 129. Hahunobu Probably 1769. Color print. The cock-fight. I^ent by Clarence Buckingham of Chicago. In this beautiful piece Harunobu reasserts his tendency to design muck in beautifiil tones of green. The embossing on the print is superb. The birds are marvels of color printing. Here in the boy we have the transparent gauzy feeling. At this date Harunobu's figures tend to elongate, the heads to become an oval. Here on the verandah we notice for the first time the use of red lead, but in a quality different from that cheaper variety whose oxidizing has tarnished so many prints of Anyei. Haktjnobu Probably 1769. Kakemonoye. TaU standing girl. Here we notice the new features, the elongation of face, the willowy- thinness of the body, the use of soft unbroken green, the delicate red lead upon the woodwork. Strong notes of black, too, tend to come in as accent. The toning is exceptionally delicate and pure. Harunobu 1769- Color print. Boy leading girl on horseback. Lent by Frederick W. Gookin of Chicago. In some respects this must be considered the central triumph of all Harunobu's out-door pictorial designs. The colors are again opaque ; 49 130- 131- they fill tlie wtiole space perfectly with natural expression. We may also say that this is the most beautiful colored landscape in Ukioye. At a distance the elements of the composition show as flat masses, defined by their color values, rather than by their outlines. It is the most perfect use of the tones discovered in some of the earlier experi- ments. As a composition it is great. Compare it with a Kiyomitsu of the early sixties, and see the gap Harunobu has spanned. In some sense, as we shall see later, this may even be called the central point of all Ukioye. 132. Harunobu Probably 1769. Kakemonoye. "Woman petting a little dog. The beauty of this print lies in the fineness of the head, and in the perfect harmony of the soft dove tones, here largely diluted with white. 133. Harunobu Probably 1769. Color print. Girls at recreation. lycnt by Howard Mansfield of New York. This print is noticeable for its very large dilution of the coloring with white. For the first time white itself is used as the solid ground- color of a garment. It marks a practice which grows more and more upon Harunobu. 134. Harunobu Probably 1770. Kakemonoye. Very tall girl coming firom her bath. This is charming, simple, and naive. There is still greater elongation of proportion in body and head during this year. It is doubtless a temporary craze, this love for tallness, for we find it in all the other designers of this day. It particularly changes the expression of the face by elongating the nose. The pattern of the bath-robe is strikingly used ; the morning-glories beautifully drawn and set. A richer red lead orange on the woodwork has become a prominent note. 136. Harunobu Probably 1770. Color print. Young man before two girls at a window. Lent by Clarence Buckingham of Chicago. Mark here the long nose, the use of intense red lead ; also, what is strikingly new, the tendency to use solid black and white in opposing masses ; and the beauty of them here is enriched by a pale claret. But after all, the wonder of this print is its texture. Was there ever such delicious embossing as upon this white dress ? 50 137- Harunobu Probably 1770. Kakemonoye. Graceful, tall girl tuning a samisen. Ivcnt by Charles J. Morse of Chicago. This design is certainly one of Harunobu's later triumphs. We have spoken in the earlier days of Masanobu of a certain "classic " quality in the pure drapery. Here is Harunobu scaling a neighboring height. The pattern of flying storks and cloud is one of the most beautiftil in art. This is a typical head of 1770 to compare with Masanobu' s of 1750- 138. HARUNOBtr Probably 1770. Color print. I^ady at the entrance of a house. Here again is one of Harunobu's splendid creations, but now of his later mood. A great band of white wall dotted with painted pines runs across the back. The matted floor is the most magnificent example of Harunobu's later green, pure, delicious, emerald green. Against these two cuts the beautiful kneeling figure of a girl in solid black. Her obi is green lightened by white and pink. But the figure of the chief lady breaks against the green mats in a dress of Ha- runobu's darker beni claret. A small girl in plum purple brings a letter ; there is a curtain of plum blue behind at the right. The new types of face, so far firom seeming strange, appear wonderfully beauti- ftil. 139. Harunobu Probably 1771. Kakemonoye. Young gentleman with a football. It would be hard to find a more ts^pically splendid figure of Ha- runobu's latest manner. Was there ever a soft green garment more exquisite, more exquisitely combined with broken reds and whites, like claret and foam ? How aristocratic the head ! A most perfect type it is of the male head at the end of Meiwa. How large the con- ception under the delicate coloring ! The slender fence-work of bamboo rods adds dignity and color beauty. I