73436Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1930circa1900circaCVR-JP-B0001.jpgOntwerperCVR-JP-B 1CVR.JP-B0001Depot 3-lade 05ansichtkaartPrentbriefkaartvóórIngekleurde zwart-wit fotografie, prentbirefkaartEngelsWisteria Blossom Kameido, Tokyo2004-04Reek, J. vanAnoniemschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1110:12:0508:36:3213:10:43collect>internCOLLECT>interncollect>interncollect>intern 73437Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1930circa1900circaCVR-JP-B0002.jpgOntwerperUitgeverCVR-JP-B 2CVR.JP-B0002Depot 3-lade 05ansichtkaartStereofotovóórZwart-wit fotografie, stereoscopischEngelsRound Bridge at Kameido, Tokyo2004-04Reek, J. vanAnoniemYokohama: T. Enamischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1210:12:0908:36:3413:10:44collect>internCOLLECT>interncollect>interncollect>intern 73438Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1910circa1910circaCVR-JP-B0003.jpgOntwerperCVR-JP-B 3CVR.JP-B0003Depot 3-lade 05ansichtkaartPrentbriefkaart, poststempel 1910vóórIngekleurde zwart-wit fotografie, prentbirefkaartEngelsCherry Blossom at Horiwari Negishi, Yokohama2004-04Reek, J. vanAnoniemschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1210:12:0908:36:3413:10:44collect>internCOLLECT>interncollect>interncollect>intern 73439Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1930circa1900circaCVR-JP-B0004.jpgOntwerperCVR-JP-B 4CVR.JP-B0004Depot 3-lade 05ansichtkaartPrentbriefkaart, verzonden uit Manila 1930vóórIngekleurde zwart-wit fotografie, prentbirefkaartEngelsWisteria Blossom Kameido, Tokyo2004-04Reek, J. vanAnoniemschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1210:12:0908:36:3413:10:44collect>internCOLLECT>interncollect>interncollect>intern 73440Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1920circa1915circaCVR-JP-B0005.jpgOntwerperCVR-JP-B 5CVR.JP-B0005Depot 3-lade 05ansichtkaartVermoedelijk Matsukawa-ura, een door een landdam afgesloten lagune bij de stad Soma in de prefectuur Fukushima. Matsukawaura Bay. Matsukawaura Nature Park used to be Soma Feudal Clan's resort area and today, it is one of Top 100 Scenic Beauty Sites in Japan. The park is located within beautiful landscape and various activities to occupy the visitors' curiosity. The surrounding area is also good to enjoy driving in the nature and very popular. In Matsukawaura Bay, seaweed and clams are cultured and from middle of March to end of August, visitors can enjoy clam hunting. Fishing is available throughout the year.vóór2004-04Reek, J. vanAnoniemschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1310:12:0908:36:3413:10:44collect>internCOLLECT>interncollect>interncollect>intern 73441Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtVaria1961exact1961exactCVR-JP-B0006.jpgCVR-JP-VARIA1OntwerperUitgeverActeursCVR-JP-B 6CVR.JP-B0006Depot 3-lade 05postzegelEerste dag afgestempelde zegels, uitgegeven t.g.v. de International Letter-writing week 1961 ????vóóru:\adlib_beeldmateriaal\japanseprenten\CVR-JP-VARIA1.jpgEngelsSheet of postage stamps depicting prints of Kabuki actors and actresses by Sharaku, issued by Manama, a dependency of Ajman, one of the United Arab Emirates2004-04Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Verenigde Arabische Emiraten: Manama, Ajmanschenking2013-01-272015-05-272013-03-20Iesewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1315:41:3813:10:45collect>internCOLLECT>interncollect>intern 73442Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-VARIA1.jpgOntwerperCVR-JP-Varia 1CVR.JP-B0007Depot 3-lade 05prentVel van 16 ongebruikte postzegels van Manama, een onderdeel van het Sjeikdom Ajman, zelf onderdeel van de Verenigde Arabische Emiraten. Zij zijn gebaseerd op (een selectie uit) ? Sharaka's prenten van acteurs en actrices -c.q. acteurs die vrouwenrollen speelden. Elke postzegel 4,4 x 3,2 cm, het hele vel 17,8 x 12,2 cmexacteBlokdrukoverig2004-10-21Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1310:12:1008:36:3413:10:45collect>internCOLLECT>interncollect>interncollect>intern 138171CVR.JP.B0008.T.jpgCVR.JP-B0008jpeeters85Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272014-03-182014-03-182014-03-18jpeetersewfhelmesjpeetersjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:1320:32:4917:31:2317:28:38Maastricht17:21:51collect>internCOLLECT>interncollect>interncollect>interncollect>intern 138172CVR.JP.B0009.T.jpgCVR.JP-B0009jpeeters87Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272014-03-182014-03-18jpeetersewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:1317:31:3617:29:01Maastricht17:22:08collect>internCOLLECT>interncollect>interncollect>intern 138173CVR.JP.B0010.Tklein.jpgCVR.JP-B0010jpeeters86Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272014-03-182014-03-18jpeetersewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:1417:31:5017:29:16Maastricht17:23:08collect>internCOLLECT>interncollect>interncollect>intern 138174Depot 3-lade 01CVR.JP.B0011.T.jpgCVR.JP-B0011Depot 3-lade 01jpeeters89Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272015-05-272014-03-182014-03-18jpeetersjpeetersewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:09:0214:25:1417:32:1117:29:31Maastricht17:23:41collect>internCOLLECT>internCOLLECT>interncollect>interncollect>intern 138175CVR-JP-B0012.jpgCVR.JP-B0012jpeeters91Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272014-03-192014-03-182014-03-18jpeetersewfhelmesjpeetersjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:1410:44:2717:32:2417:29:49Maastricht17:24:02collect>internCOLLECT>internphotocollect>interncollect>intern 138176CVR.JP.B0013.T.jpgCVR.JP-B0013jpeeters88Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272014-03-182014-03-18jpeetersewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:1417:33:3917:30:04Maastricht17:25:02collect>internCOLLECT>interncollect>interncollect>intern 73443Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0001.jpgOntwerperCVR-JP-H 1CVR.JP-H0001Depot 3-lade 082kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-122013-03-20Iesewfhelmesjpeetersewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1410:12:1008:36:3415:38:3613:10:46collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73444Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0002.jpgOntwerperCVR-JP-H 2CVR.JP-H0002Depot 3-lade 064kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1510:12:1008:36:3413:10:46collect>internCOLLECT>interncollect>interncollect>intern 73445Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0003.jpgOntwerperCVR-JP-H 3CVR.JP-H0003Depot 3-lade 085kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1510:12:1008:36:3413:10:46collect>internCOLLECT>interncollect>interncollect>intern 73446Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0004.jpgOntwerperCVR-JP-H 4CVR.JP-H0004Depot 3-lade 066kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1510:12:1108:36:3513:10:47collect>internCOLLECT>interncollect>interncollect>intern 73447Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0005.jpgOntwerperCVR-JP-H 5CVR.JP-H0005Depot 3-lade 087kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1510:12:1108:36:3513:10:47collect>internCOLLECT>interncollect>interncollect>intern 73448Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0006.jpgOntwerperCVR-JP-H 6CVR.JP-H0006Depot 3-lade 088kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1108:36:3513:10:47collect>internCOLLECT>interncollect>interncollect>intern 73449Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0007.jpgOntwerperCVR-JP-H 7CVR.JP-H0007Depot 3-lade 069kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1108:36:3513:10:47collect>internCOLLECT>interncollect>interncollect>intern 73450Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0008.jpgOntwerperCVR-JP-H 8CVR.JP-H0008Depot 3-lade 0810kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1108:36:3513:10:47collect>internCOLLECT>interncollect>interncollect>intern 73451Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0009.jpgOntwerperCVR-JP-H 9CVR.JP-H0009Depot 3-lade 0811kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1208:36:3513:10:48collect>internCOLLECT>interncollect>interncollect>intern 73452Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0010.jpgOntwerperUitgeverCVR-JP-H 10CVR.JP-H0010Depot 3-lade 062kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1208:36:3513:10:48collect>internCOLLECT>interncollect>interncollect>intern 73453Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1902exact1902exactCVR-JP-H0011.jpgOntwerperUitgeverCVR-JP-H 11CVR.JP-H0011Depot 3-lade 064kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1610:12:1208:36:3513:10:49collect>internCOLLECT>interncollect>interncollect>intern 73454Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0012.jpgOntwerperUitgeverCVR-JP-H 12CVR.JP-H0012Depot 3-lade 066kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1710:12:1208:36:3513:10:49collect>internCOLLECT>interncollect>interncollect>intern 73455Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0013.jpgOntwerperUitgeverCVR-JP-H 13CVR.JP-H0013Depot 3-lade 067kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1710:12:1308:36:3513:10:49collect>internCOLLECT>interncollect>interncollect>intern 73456Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0014.jpgOntwerperUitgeverCVR-JP-H 14CVR.JP-H0014Depot 3-lade 068kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1710:12:1308:36:3613:10:49collect>internCOLLECT>interncollect>interncollect>intern 73457Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0015.jpgOntwerperUitgeverCVR-JP-H 15CVR.JP-H0015Depot 3-lade 089kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1710:12:1308:36:3613:10:49collect>internCOLLECT>interncollect>interncollect>intern 73458Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0016.jpgOntwerperUitgeverCVR-JP-H 16CVR.JP-H0016Depot 3-lade 082 ?kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1710:12:1308:36:3613:10:49collect>internCOLLECT>interncollect>interncollect>intern 73459Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1913exact1913exactCVR-JP-H0017.jpgOntwerperUitgeverCVR-JP-H 17CVR.JP-H0017Depot 3-lade 088 ?kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1810:12:1308:36:3613:10:49collect>internCOLLECT>interncollect>interncollect>intern 73460Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1916exact1916exactCVR-JP-H0018.jpgOntwerperUitgeverCVR-JP-H 18CVR.JP-H0018Depot 3-lade 067kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1810:12:1308:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73461Depot 3-lade 08Japanse PrentenCentre CéramiqueMaastrichtVaria1916exact1916exactCVR-JP-H0019.jpgOntwerperUitgeverCVR-JP-H 19CVR.JP-H0019Depot 3-lade 088kalenderserietitelvóórLithografie, kleur2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1810:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73462Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0020.jpgOntwerperUitgeverCVR-JP-H 20CVR.JP-H0020Depot 3-lade 062kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1810:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73463Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0021.jpgOntwerperUitgeverCVR-JP-H 21CVR.JP-H0021Depot 3-lade 065kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1810:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73464Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0022.jpgOntwerperUitgeverCVR-JP-H 22CVR.JP-H0022Depot 3-lade 067kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1910:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73465Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0023.jpgOntwerperUitgeverCVR-JP-H 23CVR.JP-H0023Depot 3-lade 068kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1910:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73466Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0024.jpgOntwerperUitgeverCVR-JP-H 24CVR.JP-H0024Depot 3-lade 069kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1910:12:1408:36:3613:10:50collect>internCOLLECT>interncollect>interncollect>intern 73467Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0025.jpgOntwerperUitgeverCVR-JP-H 25CVR.JP-H0025Depot 3-lade 0610kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1910:12:1408:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73468Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0026.jpgOntwerperUitgeverCVR-JP-H 26CVR.JP-H0026Depot 3-lade 0611kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:1910:12:1508:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73469Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0028.jpgOntwerperUitgeverCVR-JP-H 28CVR.JP-H0028Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2010:12:1508:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73470Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0029.jpgOntwerperUitgeverCVR-JP-H 29CVR.JP-H0029Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2010:12:1508:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73471Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0030.jpgOntwerperUitgeverCVR-JP-H 30CVR.JP-H0030Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2010:12:1508:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73472Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0031.jpgOntwerperUitgeverCVR-JP-H 31CVR.JP-H0031Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2010:12:1508:36:3713:10:51collect>internCOLLECT>interncollect>interncollect>intern 73473Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0032.jpgOntwerperUitgeverCVR-JP-H 32CVR.JP-H0032Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2010:12:1508:36:3713:10:52collect>internCOLLECT>interncollect>interncollect>intern 73474Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1918exact1918exactCVR-JP-H0033.jpgOntwerperUitgeverCVR-JP-H 33CVR.JP-H0033Depot 3-lade 06kalenderserietitelvóórLithografie, zwart-wit2004-04Reek, J. vanHoytema, Theo van (1863-1917)Amsterdam: Allert de Lange, Amsterdam, gedrukt door Tresling & Co.schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2110:12:1508:36:3713:10:52collect>internCOLLECT>interncollect>interncollect>intern 73475Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVariaCVR-JP-L0001.jpgOntwerperCVR-JP-L 1CVR.JP-L0001Depot 3-lade 06Okubi-e (grote hoofden)vóórZeefdruk, reproduktieHarde mannen, zachte vrouwenEngelsThat's the way -- it should have begun ! But it's hopeless !2004-04Reek, J. vanLichtenstein, Roy (1923-1997)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2110:12:1608:36:3713:10:52collect>internCOLLECT>interncollect>interncollect>intern 73476Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtVaria1965exact1965exactCVR-JP-L0002.jpgOntwerperCVR-JP-L 2CVR.JP-L0002Depot 3-lade 06Okubi-e (grote hoofden)vóór90Centre CéramiqueZeefdruk, reproduktieVerstilde schoonheidEngelsGirl with Hair Ribbon2004-04Reek, J. vanLichtenstein, Roy (1923-1997)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:2110:30:3511:40:2310:12:1608:36:38Maastricht13:10:52collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 131821Depot 3-lade 11Twee formaten aanwezig. Een hele grote in rek 24/25 en een ongeveer a4 formaat in doos 18Japanse PrentenCentre CéramiqueStortregen te ShonoMaastrichtJapanse prentenCVR-JP-nieuw1.jpgOntwerperCVR.JP-nieuw1Depot 3-lade 11prent18Bijschrift: Shono. Stortregen te Shono, een van 53 haltes van de Tokaido, van Ando Hiroshige. De vergrote houtsnede lijkt op een poster. Regen en wind teisteren de reizigers.Het WeerGoedEngelsReek, J. vanHasui, Kawase (1883-1957)schenking2013-06-052015-05-272015-05-272013-09-242013-09-242013-09-18jpeetersjpeetersewfhelmesjpeetersjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique15:38:0414:25:2110:58:2210:54:1611:40:23Maastricht17:07:56collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>intern 131822Depot 3-lade 07Japanse PrentenCentre CéramiqueHet is mistig bij het oversteken van een rivier.MaastrichtJapanse prentenCVR-JP-nieuw2.jpgOntwerperCVR.JP-nieuw2Depot 3-lade 07prent21Bijschrift: Mitsuke, een van de 53 haltes van de Tokaido, van Ando Hiroshige. Het is mistig bij het oversteken van een rivier.Het WeerGoedEngelsReek, J. vanHiroshige, Ando (1797-1858)schenking2013-06-052015-05-272013-09-1817971858jpeetersewfhelmesjpeetersNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2211:40:23Maastricht17:21:02collect>internCOLLECT>interncollect>intern 131823Japanse PrentenCentre CéramiquebergpasMaastrichtJapanse prentenCVR-JP-nieuw3.jpgOntwerperCVR.JP-nieuw3prent26Bijschrift: Oi, een van de 69 haltes van de Kisokaido, van Ando Hiroshige. Ze ploeteren door de pas.Het WeerGoedEngelsReek, J. vanHiroshige, Ando (1797-1858)schenking2013-06-052015-05-2717971858jpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:22Maastricht17:24:51collect>internCOLLECT>intern 131824Depot 3-lade 07Japanse PrentenCentre CéramiqueMensen in een besneeuwd dorpjeMaastrichtJapanse prentenCVR-JP-nieuw4.jpgOntwerperCVR.JP-nieuw4Depot 3-lade 07prent27Bijschrift: Kambara, een van de 53 haltes van de Tokaido, van Ando Hiroshige. Mensen komen aan in een dorp. In Kambara valt zelden sneeuw. Hiroshige heeft een romantische versie bedacht.Het WeerGoedEngelsReek, J. vanHiroshige, Ando (1797-1858)schenking2013-06-052015-05-272013-09-1817971858jpeetersewfhelmesjpeetersNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2211:40:24Maastricht17:27:16collect>internCOLLECT>interncollect>intern 1416332015-02-12Depot 4PRENT 1 Uitvoerder: Utagawa Hiroshige I (1797–1858) Handtekening: Hiroshige ga Titel: Camelia en goudvink Uit de serie: zes bloemen en vogels Datum: circa 1830 Type prent: aizuri-e, wat ‘blauwe drukprent’ betekent. Deze werd populair toen de overheid in Japan het aantal kleuren in een prent wilde beperken. Voor de prenten werd toen een nieuw geïmporteerde kleur blauw gebruikt die zeer populair was. Daarnaast is de prent ook een natuurtafereel, een Kacho-e. Onderwerp: te zien zijn twee goudvinken in een cameliaboom. Bij andere uitvoeringen van deze prent staat ook een gedicht waardoor de achterliggende betekenis duidelijk wordt: Hakisôji shite kara ochiru tsubaki ka na - はき除掃　してから落る　椿かな Vrij vertaald: nadat ik de tuin had schoon geveegd viel er een camelia omlaag. In Japan staat een camelia bekend als een winterbloem die plotseling op je hoofd kan vallen. In dit gedicht lijkt de bloem te wachten tot alles opgeruimd is om daarna eenzaam en alleen los te laten en omlaag te zweven. Het gedicht, maar ook het kleurgebruik, roept een gevoel van eenzaamheid en droefenis op.Japanse PrentenGelder, Jasper van2015-02-042015-02-12wall textwandteksttexte muralWandtextκείμενο τοίχουAarts, Sjoerd2015-02Centre CéramiqueTak van een camelia in bloei met twee goudvinken. Type prent: aizuri-e, wat ‘blauwe drukprent’ betekent. Deze werd populair toen de overheid in Japan het aantal kleuren in een prent wilde beperken. Voor de prenten werd toen een nieuw geïmporteerde kleur blauw gebruikt die zeer populair was. Daarnaast is de prent ook een natuurtafereel, een Kacho-e.Maastricht2030-02-122015-01-14Bruikleen van mevrouw J. FijnemanJapanse prentenaangekondigd1830circa1830circaDe prent blijft in zijn lijst en passepartout bewaardCVR.JP-nieuw5.jpgOntwerperflora en faunaFijneman, JohannaCVR.JP-nieuw5passe-partoutlijstpasse-partout is eigendom van J. Fijnemanlijst is eigendom van J. FijnemanFijneman, JohannaDepot 3prentjpeetersvertaalde titeloriginele titelserietitelMevrouw Fijneman kreeg de prent jaren geleden van haar toenmalige man cadeau. Hij verzamelde boeken en zij werd tijdens een van hun zoektochten betoverd door de schoonheid van een Japanse prent. Hanny Fijneman koos voor euthanasie. Ze wilde haar collectie graag bij elkaar houden. Minimaal 15 jaar (tot 2030) is de collectie in bruikleen bij Centre Céramique. Daarna kan de collectie geheel of gedeeltelijk terug gaan naar de (klein)kinderen of de overeenkomst wordt stilzwijgend verlengd.Centre CéramiqueAI NO KISO 愛の寄贈 met liefde geschonkenGoedJapansEngelsJapanese White-eye and Jade-woman CamelliaNederlandse serietitel: Zes bloemen en vogels. Engelse serietitel: Six Flowers and Birds€2015-02-04exclusief lijst en passepartoutDijkman, WimT054700002AONFijneman, JohannaHiroshige, Ando (1797-1858)langdurige bruikleen980commercialcommercieelcommercialeKommerziellN612015-02-192015-05-272015-02-242015-04-0617971858jpeetersewfhelmesjpeetersNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2015-02-1933332015-02-122015-04-03T2015-02Centre Céramique14:25:2211:12:36Maastricht16:15:21COLLECT>internCOLLECT>internCOLLECT>intern 1471042015-02-12Depot 4Uitvoerder: Utagawa Kunisada II (1823-1880) Handtekening: Kunisada Sude Titel: Acteur Bandō Hikosaburō V als ‘de courtisane van de hel’ Uitgever: Iseya Kanekichi Censor zegel: Deze censorzegel is uit de vijfde fase waarbij de stempel van aratame (gekeurd) is samengevoegd met een datum. Datum: 1865, derde maand Type prent: Yakusha-e, een prent van een acteur Onderwerp: afgebeeld is Jigoku dayu, een courtisane van de hel. Volgens de overlevering ontmoette de monnik Ikkyū haar tijdens zijn rondtochten in de 15de eeuw. Zij wisselden gedichten uit en uiteindelijk kwam ze tot inkeer en bereikte ze verlichting. Het verhaal was in de 19de eeuw populair in Japan en een geliefkoosd onderwerp in het theater (kabuki) en op prenten, mooi samenkomend in dit voorbeeld. Japanse PrentenGelder, Jasper van2015-02-042015-02-12wall textwandteksttexte muralWandtextκείμενο τοίχουAarts, Sjoerd2015-02Centre CéramiqueMaastricht2030-02-122015-01-14Bruikleen van mevrouw J. FijnemanCollectie Fijnemanaangekondigd1865-03Deze censorzegel bestaat uit het woord 'aratame' (gekeurd) en de datumKunisada Sude1865-03De prent blijft in zijn lijst en passepartout bewaardCVR.JP-nieuw6.jpgOntwerperYakusha-eFijneman, JohannaKunisada II, UtagawaIseya KanekichiUitgeverCVR.JP-nieuw6CensorzegelHandtekeningUitgeversstempel1865-03passe-partoutlijstpasse-partout is eigendom van J. Fijnemanlijst is eigendom van J. FijnemanFijneman, JohannaDepot 3prentjpeetersvertaalde titelMevrouw Fijneman kreeg de prent jaren geleden van haar toenmalige man cadeau. Hij verzamelde boeken en zij werd tijdens een van hun zoektochten betoverd door de schoonheid van een Japanse prent. Hanny Fijneman koos voor euthanasie. Ze wilde haar collectie graag bij elkaar houden. Minimaal 15 jaar (tot 2030) is de collectie in bruikleen bij Centre Céramique. Daarna kan de collectie geheel of gedeeltelijk terug gaan naar de (klein)kinderen of de overeenkomst wordt stilzwijgend verlengd.Centre CéramiqueAI NO KISO 愛の寄贈 met liefde geschonkenGoedEngels€2015-02-04exclusief lijst en passepartoutDijkman, WimT054700002AONFijneman, JohannaKunisada II, Utagawalangdurige bruikleen670commercialcommercieelcommercialeKommerziellN612015-03-032015-05-27Jigoku dayu2015-04-0618231880jpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2015-02-1933332015-02-122015-04-03T2015-02Centre Céramique14:25:22Maastricht15:53:01COLLECT>internCOLLECT>intern 1471052015-02-12Depot 4Uitvoerder: Utagawa Kuniyoshi (1797 –1861) Handtekening: Ichiyusai Kuniyoshi ga Titel: Nakamura Shikan II als de rover Kumasaka Uitgever: Kawaguchi-ya Chōzō Censor zegel: kiwame Datum: 1832-1833 Type prent: Yakusha-e, een prent van een acteur Onderwerp: Deze prent hoort oorspronkelijk bij een drieluik waarop het verhaal van de tragische held Ushiwaka (1159–1189) staat afgebeeld. Ushiwaka sloot zich aan bij de karavaan van de rijke handelaar Kichiji. De bandiet Kumasaka en zijn bende overvielen de herberg waar de karavaan gestopt was, maar alleen dankzij de vechttechnieken van Ushiwaka konden de belagers afgeslagen worden, waarbij Kumasaka gedood werd. Op het drieluik staat links Kichiji afgebeeld en rechts Kumasaka. Japanse PrentenGelder, Jasper van2015-02-042015-02-12wall textwandteksttexte muralWandtextκείμενο τοίχουAarts, Sjoerd2015-02Centre CéramiqueMaastricht2030-02-122015-01-14Bruikleen van mevrouw J. FijnemanCollectie Fijnemanaangekondigd1833Deze censorzegel bestaat uit het woord kiwame 'gezien'Ichiyusai Kuniyoshi ga1832De prent blijft in zijn lijst en passepartout bewaardCVR.JP-nieuw7.jpgOntwerperYakusha-eFijneman, JohannaKuniyoshi, UtagawaKawaguchi-ya ChōzōUitgeverCVR.JP-nieuw7CensorzegelHandtekeningUitgeversstempelpasse-partoutlijstpasse-partout is eigendom van J. Fijnemanlijst is eigendom van J. FijnemanFijneman, JohannaDepot 3prentjpeetersvertaalde titel3Mevrouw Fijneman kreeg de prent jaren geleden van haar toenmalige man cadeau. Hij verzamelde boeken en zij werd tijdens een van hun zoektochten betoverd door de schoonheid van een Japanse prent. Hanny Fijneman koos voor euthanasie. Ze wilde haar collectie graag bij elkaar houden. Minimaal 15 jaar (tot 2030) is de collectie in bruikleen bij Centre Céramique. Daarna kan de collectie geheel of gedeeltelijk terug gaan naar de (klein)kinderen of de overeenkomst wordt stilzwijgend verlengd.Centre CéramiqueAI NO KISO 愛の寄贈 met liefde geschonkenGoedEngels€2015-02-04exclusief lijst en passepartoutDijkman, WimT054700002AONFijneman, JohannaKuniyoshi, Utagawalangdurige bruikleen530commercialcommercieelcommercialeKommerziellN612015-03-032015-05-27Kumasaka2015-04-0617971861jpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2015-02-1933332015-02-122015-04-03T2015-02Centre Céramique14:25:23Maastricht16:31:27COLLECT>internCOLLECT>intern 72858Depot 3-lade 06Japanse PrentenCentre CéramiqueDame met parasol op rug gezien door de regen in de nacht op straat. Aan de rechterzijde staan huizen met rieten daken en verlichte vensters. De maan wordt weerspiegeld op de natte straat. Links struiken met boom.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36,2 x 24,036,2 x 24,0latere drukcmcmCVR-JP-P0001.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 1CVR.JP-P0001MargesweggesnedenDepot 3-lade 06prentDame met parasol op rug gezien door de regen in de nacht op straat. Aan de rechterzijde huizen met rieten daken en verlichte vensters. Maan wordt weerspiegeld op natte straat. Links struiken met boom. Zwart, geelWaarsch. posthume editie, door wegsnijden marge niet met zekerheid vast te stellen (JvR)vóórBlokdrukHoutsnede, kleurenDe vier jaargetijden2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2310:12:1608:36:3813:05:00collect>internCOLLECT>interncollect>interncollect>intern 72859Depot 3-lade 18Japanse PrentenCentre CéramiqueZeilboot, volle zeilen, steven naar rechts. Voorgrond: vanaf links klippen. Achtergrond: wazige bergen en wolken.MaastrichtJapanse prenten1940Lengte x BreedteLengte x BreedteBlokBlad11,9 x 17,812,8 x 19,5herdruk circa 1950circa1930circacmcmCVR-JP-P0002.jpgOntwerperZeegezichtenCVR-JP-P 2CVR.JP-P0002Depot 3-lade 18prentZeilboot, volle zeilen, steven naar rechts. Voorgrond: vanaf links klippen. Achtergrond: wazige bergen en wolken.vóórBlokdrukHoutsnede, kleurenEngelsSailboat at Yashima2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2310:12:1608:36:3813:05:07collect>internCOLLECT>interncollect>interncollect>intern 72860Depot 3-lade 18Japanse PrentenCentre CéramiqueIn zwart wit, sneeuw en bomen, met rood een gebouw rechts. links op de weg personen met besneeuwde parasols.MaastrichtJapanse prenten1951Lengte x BreedteLengte x BreedteBlokBlad8,2 x 12,98,9 x 13,4exact1951exactcmcmCVR-JP-P0003.jpgOntwerperUitgeverSneeuwCVR-JP-P 3CVR.JP-P0003Depot 3-lade 18prentUit serie prentbriefkaarten naar verschillende ontwerpers (zie beschrijving)Zwart wit, sneeuw bomen, rood gebouw rechts. links weg met personen met besneeuwde parasols.vóórBlokdrukHoutsnede, kleur2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-09-182013-06-1217971858IesewfhelmesjpeetersjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2311:40:2410:12:1708:36:3813:05:10collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72861Depot 3-lade 18Japanse PrentenCentre CéramiqueOp een blauwe zee een zeilboot met drogende zeilen, zijn steven naar links. Op de voorgrond een strand met opgetrokken boot en twee spelende kinderen. Op de achtergrond klippen met bomen. Een authentieke reproductie uit 1951MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad8,6 x 13,59,4 x 14,6cmcmCVR-JP-P0004.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 4CVR.JP-P0004Depot 3-lade 18prentUit serie prentbriefkaarten naar verschillende ontwerpers (zie beschrijving)Zeilboot met drogende zeilen, steven naar links. Blauwe zee. voorgrond strand met opgetrokken boot en twee spelende kinderen. Achtergrond klippen met bomen. Authentieke reproductie uit 1951. (bron JvR ), met CVR-JP - P 4-6 in envelop van Souvenir Woodcut Prints Pigeon Bus Co printed by S.WatanabevóórBlokdrukHoutsnede, kleuren2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2410:12:1708:36:3813:05:11collect>internCOLLECT>interncollect>interncollect>intern 72862Depot 3-lade 18Japanse PrentenCentre CéramiqueEen geheel besneeuwde berg Fuji met een vlucht vogels, op de voorgrond een moeras met bomen waar nog juist boven het riet uitkomend daken van 6 huisjes te zien zijn en drie roeibootjes met vissers. Een authentieke reproductie uit 1951.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad13 x 8,413,4 x 9,1cmcmCVR-JP-P0005.jpgOntwerperUitgeverLandschappenCVR-JP-P 5CVR.JP-P0005Depot 3-lade 18prentUit serie prentbriefkaarten naar verschillende ontwerpers (zie beschrijving)De berg Fuji geheel besneeuwd, op de voorgrond een moeras met bomen, daken van 6 huisjes, drie roeibootjes, een vlucht vogels. Naar een afbeelding uit een ??? horizontale Tokaido-reeks welke ? 110 gezichtenp de berg Fuji .? Authentieke reproductie uit 1951. bron JvR ), met CVR-JP - P 4-6 in envelop van Souvenir Woodcut Prints Pigeon Bus Co printed by S.WatanabevóórBlokdrukHoutsnede, kleuren2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2410:12:1708:36:3813:05:13collect>internCOLLECT>interncollect>interncollect>intern 72863Depot 3-lade 18Japanse PrentenCentre CéramiqueEen paarse tempel in de sneeuw gelegen aan een blauw water. Een authentieke reproductie uit 1951MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad13,4 x 8,514,4 x 9,3cmcmCVR-JP-P0006.jpgOntwerperUitgeverSneeuwCVR-JP-P 6CVR.JP-P0006Depot 3-lade 18prentUit serie prentbriefkaarten naar verschillende ontwerpers (zie beschrijving)Paarse tempel aan blauw water in de sneeuw. Het sneeuwt. Authentieke reproductie uit 1951. (bron JvR ), met CVR-JP - P 4-6 in envelop van Souvenir Woodcut Prints Pigeon Bus Co printed by S.WatanabevóórBlokdrukHoutsnede, kleuren2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2410:12:1708:36:3913:05:15collect>internCOLLECT>interncollect>interncollect>intern 72864Depot 3-lade 18Japanse PrentenCentre CéramiquePrent met een blauwe rand waar drie heren bij een kampvuurtje zitten, onder een boom met kleine rode blaadjes links. Op de achtergrond een muur van een gebouw.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad35 x 23,535 x 23,5circa1886circacmcmCVR-JP-P0007.jpgOntwerperCVR-JP-P 7CVR.JP-P0007Margesvolledig weggesnedenDepot 3-lade 18prentBlauwe rand, drie heren bij een kampvuurtje, onder een boom met kleine rode blaadjes links. Achtergrond muur gebouw.serietitelvóórBlokdrukHoutsnede, kleuren2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2410:12:1708:36:3913:05:16collect>internCOLLECT>interncollect>interncollect>intern 72865Depot 3-lade 11Japanse PrentenCentre CéramiqueOptocht van een daimyo of vooraanstaande samoerai met zijn gevolg, die een brug overtrekt en daar stuit op een andere krijger met enkele trawanten. Een conflict over de voorrang lijkt onafwendbaar. Deze scène wordt met enige zorg gadegeslagen door een tweetal hofdames in prachtige rijk geornamenteerde kimono's van zijdebrokaat, dat door Chikanobu gedetailleerd is weergegeven. Een ander grappig detail is het hondje dat haar twee puppies zoogt !MaastrichtJapanse prenten1892Lengte x BreedteBlok35,6 xexact1892exactcmCVR-JP-P0008.jpgOntwerperKrijgersCVR-JP-P 8CVR.JP-P0008MargesnauwelijksDepot 3-lade 11prentniet zeker of dit een deel is van edele vrouwen….Hier is het eigenlijke thema van de prent de optocht van een daimyo of vooraanstaande samoerai met zijn gevolg, die een brug overtrekt en daar stuit op een andere krijger met enkele trawanten. Een conflict over de voorrang lijkt onafwendbaar. Deze scène wordt met enige zorg gadegeslagen door een tweetal hofdames in prachtige rijk geornamenteerde kimono's van zijdebrokaat, dat door Chikanobu gedetailleerd is weergegeven. Een ander grappig detail is het hondje dat haar twee puppies zoogt ! Brug met soldaten. Verschrikte dames kijken ernaar van rechts. Origineel uit 1892, drieluik (triptych=) (bron Kh) LET OP: dit is een episode uit de geschiedenis van de 47 Ronin. Nog uitwerken. !! Op rug in potlood K 49967B . Papier maakt een versleten, gebruikte indruk, licht beschadigd. Drieluik, 3 vellen aan elkaar geplakt samen 700 x 350 mm. incl. rand. Gat rechtsonder.serietitelvóór34BlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsWomen at Bridge2003-09-30Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2410:12:1708:36:3913:05:17collect>internCOLLECT>interncollect>interncollect>intern 72866Depot 3-lade 02Japanse PrentenCentre CéramiqueSjoerd vertalen uit engels! Een thema uit het Kabuki-theater. Deze prent is een authentieke reproductie. Second state of the print originally titled Winter: Snowflowers (Fuyu, mutsu no hana), from the series Fahionable Flowers of the Four Seasons (Fûzoku shiki no hana). Scene of a kimono-clad woman in the snow, by Suzuki Harunobu. In the Japanese folk- tale of The Heron Maiden (also a theme from the Kabuki plays), a young man comes across a wounded heron, and he takes it in and nurses it back to health. When the heron has regained the use of its wings, he releases it, and the heron flies away. Time passes and the young man meets a beautiful young woman with whom he falls in love. They get married and begin living happily together. The young wife weaves a particular kind of silk brocade in which the designs appear in relief. The young man sells the fabric, and the two are able to support themselves in this way. But the young woman places a constraint upon the man: He must never observe her while she is weaving her fabric. Of course the young man cannot resist the temptation to look, and when he does he sees a heron at the loom. Under his gaze the heron is transformed into a beautiful woman – she is his wife. Now that the secret has been exposed, The heron Maiden’s happy life with the young man must come to an end. The young woman bids her husband a fond goodbye, and flies away with her heron companions.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0009.jpgOntwerperCVR-JP-P 9CVR.JP-P0009Depot 3-lade 02prentvóór02Centre CéramiqueBlokdrukVerstilde schoonheidThe Heron Maiden (Sagi musume)2003-09-30Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272015-05-272014-03-192014-03-192014-03-192014-03-182014-03-182014-01-162013-09-182013-09-182013-06-12Iesjpeetersewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0117:58:4714:25:2513:24:0413:21:4013:17:3418:48:1313:37:1110:16:4511:40:2610:12:1808:36:39Maastricht13:05:20collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72867Depot 3-lade 18Japanse PrentenCentre CéramiqueEen brandende vuurtoren in de nacht. Op de voorgrond drie personen, waaronder een met een riksha. Twee dragen er lantaarns.MaastrichtJapanse prentenlatere versieCVR-JP-P0010.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 10CVR.JP-P0010Depot 3-lade 18prentUitgave voor toeristen door Watanabe, begin 20ste eeuwvóórBlokdruk2003-09-30Reek, J. vanKiyochika, Kobayashi (1847-1915)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2510:12:1808:36:3913:05:20collect>internCOLLECT>interncollect>interncollect>intern 72868Depot 3-lade 18Japanse PrentenCentre CéramiqueStoomradarboot met gereefde zeilen en de boegspriet naar rechts afgewend. Op de voorgrond een rode boei. Op de achtergrond links een berg en avondrood (roze).MaastrichtJapanse prenten1879latere drukcirca1879circaCVR-JP-P0011.jpgOntwerperZeegezichtenCVR-JP-P 11CVR.JP-P0011Depot 3-lade 18prentAsian Collection , wwww.woodblockprint.comvóórBlokdrukEngelsShinagawa Sea2003-09-30Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2510:12:1808:36:3913:05:21collect>internCOLLECT>interncollect>interncollect>intern 72869Depot 3-lade 18Japanse PrentenCentre CéramiqueHoudt het midden tussen een kaart en een vogelvlucht-landschap. Landerijen, percelen in verschillende kleuren. Bomen en twee boerderijen. De wegen zijn roodgekleurd en de perceelscheidingen blauw (slootjes?)MaastrichtJapanse prenten1900circa1900circaCVR-JP-P0012.jpgOntwerperLandschappenCVR-JP-P 12CVR.JP-P0012Depot 3-lade 18prentOnbekend wie ontwerper isvóórBlokdruk2003-09-30Reek, J. vanAnoniemschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2510:12:1808:36:3913:05:22collect>internCOLLECT>interncollect>interncollect>intern 72870Depot 3-lade 06Japanse PrentenCentre CéramiqueDe binnenplaats van een boerderij. Boerengebouwen in vakwerkstijl met strooien daken. Drogend gewas en hoenders op de voorgrond. Doet denken aan een schoolplaat.MaastrichtJapanse prenten1946exact1946exactCVR-JP-P0013.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 13CVR.JP-P0013Depot 3-lade 06prentvóór6BlokdrukwinterDe vier jaargetijdenEngelsFarmhouse in autumn2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2610:12:1808:36:3913:05:23collect>internCOLLECT>interncollect>interncollect>intern 72871Depot 3-lade 17Japanse PrentenCentre CéramiqueZandbanken van de rivier op de voorgrond. Op de achtergrond links huizen aan de rivier, rechts parkachtig bos met borstwering en een laag paviljoen (?)MaastrichtJapanse prenten1933circa1933circaCVR-JP-P0014.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 14CVR.JP-P0014Depot 3-lade 17prentAsian Collection , wwww.woodblockprint.comvóórBlokdrukEngelsKamo River2003-09-30Reek, J. vanYoshida, Hiroshi (1876-1950)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2610:12:1808:36:3913:05:24collect>internCOLLECT>interncollect>interncollect>intern 72872Depot 3-lade 17Japanse PrentenCentre CéramiqueMeer bij sneeuw. Op de voorgrond gemeerde boten onder de sneeuw, loopplanken, visser in roeiboot. Op de achtergrond links een huis met verlichte vensters. Verder gelegen achtergrond: schimmen van huizen, vaag. Het sneeuwt. In de verte een roeibootje.MaastrichtJapanse prenten1931latere drukexact1931exactCVR-JP-P0015.jpgOntwerperSneeuwCVR-JP-P 15CVR.JP-P0015Depot 3-lade 17prentvóór31BlokdrukBijschrift: Sneeuw in Mukojima, van Kawase Hasui. De man meert aan bij een besneeuwd huis.Het Weer2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-122013-06-062013-05-29IesewfhelmesjpeetersewfhelmesJPeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2610:12:1908:36:3911:29:3715:30:59Maastricht13:05:24collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 72873Depot 3-lade 14Japanse PrentenCentre CéramiqueIn grijze en blauwgrijze tinten een meer, besneeuwde kust, bomen, daarachter een traditioneel Japans dorp (drie huizen). Verder afgelegen besneeuwde bomen en bergen in grijs.MaastrichtJapanse prentenPapierformaat oban1985exact1985exactCVR-JP-P0016.jpgOntwerperSneeuwCVR-JP-P 16CVR.JP-P0016Depot 3-lade 14prentvóór2410BlokdrukBijschrift: We bereiken een dorpje in de sneeuwwinterHet WeerDe vier jaargetijdenEngelsSnowy village2003-09-30Reek, J. vanMiyamoto, Shufi (1950-)schenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-05-29Iesewfhelmesjpeetersjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2611:40:2710:12:1908:36:4015:27:30Maastricht13:05:25collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 72874Depot 3-lade 06Japanse PrentenCentre CéramiqueTempelgebouwen die boven bomen uitkomen, waaronder een toren. Op de achtergrond bergen.MaastrichtJapanse prentenCVR-JP-P0017.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 17CVR.JP-P0017Depot 3-lade 06prentvóórBlokdruk2003-09-30Reek, J. vanKonishi, Seiichiro (1921-)schenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2711:40:2710:12:1908:36:4013:05:26collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72875Depot 3-lade 06Japanse PrentenCentre CéramiqueA young girl whose name is Osen is paying a visit of supplication to a Shinto shrine on a rainy night. The lantern that she holds tells us that it is night. This composition is impressive for its dynamism showing driving rain, trees waving in the wind and the ruffled skirt of her kimono.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0018.jpgOntwerperCVR-JP-P 18CVR.JP-P0018Lane, Richard (1962). Masters of the Japanese Print. New York: Doubleday & Company.Depot 3-lade 06prentvóór03Centre CéramiqueBlokdrukVerstilde schoonheidBeauty visiting a shrine on a rainy night2003-09-30Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272015-05-272014-03-182014-03-182014-03-052013-09-182013-09-182013-06-12Iesjpeetersewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0118:00:1614:25:2718:48:2113:37:2615:05:5211:40:2710:12:1908:36:40Maastricht13:05:26collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72876Depot 3-lade 05Japanse PrentenCentre CéramiqueRoze rode bloesem, met vlinder op een gele achtergrondMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0019.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 19CVR.JP-P0019Depot 3-lade 05prentvóórBlokdrukEngelsTree-peony and butterfly2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2710:12:1908:36:4013:05:27collect>internCOLLECT>interncollect>interncollect>intern 72877Depot 3-lade 10Japanse PrentenCentre CéramiqueEen Japans gezin zit in een prieel in een tuin met roze azalea's. Op de achtergrond bomen.MaastrichtJapanse prentenCVR-JP-P0020.jpgOntwerperCVR-JP-P 20CVR.JP-P0020Depot 3-lade 10prentvóór01BlokdrukBijschrift: Tuin met Azalea's, van Hiroshi Yoshida Het begint in de warmte. Een Japans gezin zit gezellig in de tuin.Het Weer2003-09-30Reek, J. vanYoshida, Hiroshi (1876-1950)schenking2013-01-272015-05-272013-09-182013-06-122013-06-062013-06-062013-06-052013-05-29IesewfhelmesjpeetersewfhelmesJPeetersJPeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2710:12:2008:36:4016:10:2015:39:3615:01:5615:13:07Maastricht13:05:27collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72878Depot 3-lade 07Japanse PrentenCentre CéramiqueDe maan schijnt door de bomen.MaastrichtJapanse prentenCVR-JP-P0021.jpgOntwerperLandschappenCVR-JP-P 21CVR.JP-P0021Depot 3-lade 07prentvóór09BlokdrukBijschrift: Magome, de maan in Magome, van Kawase Hasui. De maan schijnt door de bomen bij een huisje.Het Weer2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-122013-06-052013-05-292013-03-20Iesewfhelmesjpeetersewfhelmesjpeetersewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2710:12:2008:36:4015:06:0415:19:5011:24:43Maastricht13:05:28collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72879Depot 3-lade 06Japanse PrentenCentre CéramiqueIn blauw. Boten in een inham van het meer, lampen aan, overschaduwd door een bos.MaastrichtJapanse prenten1950circa1950circaCVR-JP-P0022.jpgOntwerperCVR-JP-P 22CVR.JP-P0022Depot 3-lade 06prentvóór1BlokdrukwinterDe vier jaargetijdenEngelsArashiyama View of a Lake at Dusk2003-09-30Reek, J. vanAsano,Takezi (1900- ?)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2810:12:2008:36:4013:05:28collect>internCOLLECT>interncollect>interncollect>intern 72881Depot 3-lade 06Japanse PrentenCentre CéramiqueTwee dames lopen over een natte straat naar ons toe, met parasol. Links stedelijke bebouwing, o.m. een open gallerij met pratende mensen.MaastrichtJapanse prentenCVR-JP-P0023.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 24CVR.JP-P0023Depot 3-lade 06prentvóór13BlokdrukBijschrift: Paraplu, van Toshi Yoshida. Het gaat regenen. Twee dames gebruiken paraplu’s om hun kimono te beschermen.Het WeerUmbrella2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-122013-05-292013-03-202013-03-20Iesewfhelmesjpeetersewfhelmesewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2810:12:2008:36:4015:21:5711:39:4211:39:09Maastricht13:05:29collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72880Depot 3-lade 07Japanse PrentenCentre CéramiqueTemidden van reuzengrote, dikke naaldbomen op een plateau staat op dat zelfde plateau de tempel. Trappen leiden er naar toe. Groepjes mensen is in gesprek op en voor die trappen.MaastrichtJapanse prentenCVR-JP-P0024.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 23CVR.JP-P0024Depot 3-lade 07prentvóórBlokdruk2003-09-30Reek, J. vanYoshida, Hiroshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2810:12:2108:36:4013:05:29collect>internCOLLECT>interncollect>interncollect>intern 72882Depot 3-lade 05Japanse PrentenCentre CéramiqueVolle maan, bewolkte lucht en in de verte land, drie kleine zeilboten op een spiegelglad meer. De lampen op de boten zijn aangestoken.MaastrichtJapanse prenten1935exact1935exactCVR-JP-P0025.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 25CVR.JP-P0025Depot 3-lade 05prentvóór0603BlokdrukBijschrift: Boten op de Shinagawa-rivier, van Tsuchiya Koitsu. Het open water is bereikt. Lichten worden aangestoken om vissen te lokken.winterHet WeerDe vier jaargetijdenEngelsBoats on the Shinagawa River2003-09-30Reek, J. vanKoitsu, Tsuchiya (1870-1949)schenking2013-01-272015-05-272013-09-182013-06-122013-06-062013-06-052013-05-29IesewfhelmesjpeetersewfhelmesJPeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2810:12:2108:36:4016:11:2115:12:0315:17:35Maastricht13:05:30collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72883Depot 3-lade 05Japanse PrentenCentre CéramiqueBoerenhuizen met verlichte ramen in een rotsachtige omgeving met een bruisende rivier. Het avondrood beschijnt de ber Fuij.MaastrichtJapanse prenten1926circa1926circaCVR-JP-P0026.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 26CVR.JP-P0026Depot 3-lade 05prentvóórvervallen nummerBlokdrukwinterDe vier jaargetijdenEngelsMount Fuji from Mizuchubo2003-09-30Reek, J. vanShôtei, Takahashi (Hiroaki) (1871-1945)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2810:12:2108:36:4113:05:31collect>internCOLLECT>interncollect>interncollect>intern 72884Depot 3-lade 07Japanse PrentenCentre CéramiqueRegen in een kanaal. Boot met huisachtige opbouw, kleine roeibootjes, sombere hemel. Langs varend zeilbootje. Op de achtergrond ligt een huis temidden van bomen.MaastrichtJapanse prentenlatere drukCVR-JP-P0027.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 27CVR.JP-P0027Depot 3-lade 07prentvóór16BlokdrukBijschrift: Regen in Arakawa, van Kawase Hasui. Het blijft regenen op het water.Het Weer2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:2910:12:2108:36:4115:23:23Maastricht13:05:32collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72885Depot 3-lade 09Japanse PrentenCentre CéramiqueHet is nacht. Links een silhouet van een huis temidden van geboomte, een verlichte poort met twee figuurtjes, recht twee personen over een bruggetje. Het riviertje stroomt van rechts midden naar links beneden.MaastrichtJapanse prenten1880circa1880circaCVR-JP-P0028.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 28CVR.JP-P0028Depot 3-lade 09prentonbekend of titel juist isserietitelvóórBlokdrukEngelsTenno Temple2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2910:12:2108:36:4113:05:32collect>internCOLLECT>interncollect>interncollect>intern 72886Depot 3-lade 09Japanse PrentenCentre CéramiqueEen trein, van links naar rechtsonder, met verlichte personenwagons en oude locomotiefMaastrichtJapanse prenten1880circa1880circaCVR-JP-P0029.jpgOntwerperCVR-JP-P 29CVR.JP-P0029Depot 3-lade 09prentserietitelvóórBlokdrukEngelsPassenger train2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2910:12:2108:36:4113:05:33collect>internCOLLECT>interncollect>interncollect>intern 72887Depot 3-lade 06Japanse PrentenCentre CéramiqueHuis met verlichte vensters, links van het water. Op de achtergrond schimmige bomenMaastrichtJapanse prenten1880circa1880circaCVR-JP-P0030.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 30CVR.JP-P0030Depot 3-lade 06prentserietitelvóórBlokdrukJapansEngelsAriake RoAriake Ro: view of a mansion at night2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2910:12:2208:36:4113:05:34collect>internCOLLECT>interncollect>interncollect>intern 72888Depot 3-lade 06Japanse PrentenCentre CéramiqueBesneeuwd bruggetje in moeraslandschap met daarop twee mensen met parasol. Op de achtergrond een huis.MaastrichtJapanse prenten1880circa1880circaCVR-JP-P0031.jpgOntwerperSneeuwCVR-JP-P 31CVR.JP-P0031Depot 3-lade 06prentNiet zeker of dit een deel is van Japan bij nachtserietitelvóórBlokdrukEngelsSnow at Ike no Hata2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:2910:12:2208:36:4113:05:34collect>internCOLLECT>interncollect>interncollect>intern 72889Depot 3-lade 05Japanse PrentenCentre CéramiqueDe brug in het Kameido-parkMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0032.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 32CVR.JP-P0032Depot 3-lade 05prentserietitelvóórBlokdrukEngelsThe Grounds of Kameido Tenjin Shrine2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3010:12:2208:36:4113:05:35collect>internCOLLECT>interncollect>interncollect>intern 72890Depot 3-lade 17Japanse PrentenCentre CéramiqueDrie springende vissen, (gedeeltelijk) uit het water. Links en boven een bloesemtak. Vormt een drieluik samen met CVR-JP-P 34 en CVR-JP-P 35MaastrichtJapanse prentenCVR-JP-P0033.jpgCVR-JP-P0033_34_35OntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 33CVR.JP-P0033Depot 3-lade 17prentvóórBlokdruk2003-09-30Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3010:12:2208:36:4113:05:36collect>internCOLLECT>interncollect>interncollect>intern 72891Depot 3-lade 17Japanse PrentenCentre CéramiqueDame, links naar beneden starend, dragende een groene mantel met ingekleurde motieven. Vormt een drieluik samen met CVR-JP-P 33 en CVR-JP-P 35MaastrichtJapanse prenten1896exact1896exactCVR-JP-P0034.jpgCVR-JP-P0033_34_35OntwerperCVR-JP-P 34CVR.JP-P0034Depot 3-lade 17prentvóórBlokdrukEngelsViewing carp2003-09-30Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3010:12:2208:36:4113:05:36collect>internCOLLECT>interncollect>interncollect>intern 72892Depot 3-lade 17Japanse PrentenCentre CéramiqueTwee dames met bruine en paarse kimono's, kijkend naar de beek die voor hun voeten stroomt. Vormt een drieluik samen met CVR-JP-P 33 en CVR-JP-P 34.MaastrichtJapanse prentenCVR-JP-P0035.jpgCVR-JP-P0033_34_35OntwerperCVR-JP-P 35CVR.JP-P0035Depot 3-lade 17prentvóórBlokdruk2003-09-30Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3010:12:2208:36:4113:05:37collect>internCOLLECT>interncollect>interncollect>intern 72893Depot 3-lade 09Japanse PrentenCentre CéramiqueGrote schepen in een gebied met veel riet en vogels. Op de voorgrond een schip op de achterzijde gezien die tegen het riet aanligt. De zeilen zijn neergestreken. Op de achtergrond (links) de berg Fuji.MaastrichtJapanse prenten1852herdruk circa 1930, authentieke reproductiecirca1852circaCVR-JP-P0036.jpgOntwerperCVR-JP-P 36CVR.JP-P0036Depot 3-lade 09prentserietitelvóórBlokdrukEngelsSailing Vessels in a Bay, Mount Fuji in the Background2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3010:12:2208:36:4113:05:37collect>internCOLLECT>interncollect>interncollect>intern 72894Depot 3-lade 17Japanse PrentenCentre CéramiqueSchipper stuurt zijn bootje in de sneeuwvalMaastrichtJapanse prentenlatere drukCVR-JP-P0037.jpgOntwerperCVR-JP-P 37CVR.JP-P0037Depot 3-lade 17prentNog te beschrijven - CHECKEN NUMMERvóór29BlokdrukSneeuw in Funabori, van Kawase Hasui. De visser vaart langs een huis.Het Weer2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:3110:12:2308:36:4215:29:35Maastricht13:05:38collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72895Depot 3-lade 05Japanse PrentenCentre CéramiqueDaimyo met dragers (?) van rechts over een hoge boogbrug op voorgrond. Daaronder water met boten. Aan het water staan huizen. Op de achtergrond een fort met daarachter bomen. Links achter de berg Fuji.MaastrichtJapanse prenten1840herdruk circa 1950circa1840circaCVR-JP-P0038.jpgOntwerperUitgeverCVR-JP-P 38CVR.JP-P0038Depot 3-lade 051prentserietitelvóórBlokdrukJapansEngelsNihonbashi Kyoko-iri TokaidoView of Nihonbashi Bridge in Edo2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3110:12:2308:36:4213:05:39collect>internCOLLECT>interncollect>interncollect>intern 72896Depot 3-lade 09Japanse PrentenCentre CéramiqueEen weg langs een baai waar in drie roeiboten en zeilboten te zien zijn. Rechts aan de weg een kraam met o.a. een kindje. Er lopen koelies over de weg. Linksonder zijn nog enkele daken van huizen en bomen te zien.MaastrichtJapanse prenten1840herdruk circa 1950circa1840circaCVR-JP-P0039.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 39CVR.JP-P0039Depot 3-lade 094prentserietitelvóórBlokdrukJapansEngelsKanagawaKanagawa2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3110:12:2308:36:4213:05:40collect>internCOLLECT>interncollect>interncollect>intern 72897Depot 3-lade 09Japanse PrentenCentre CéramiqueEen weg door de heuvels met aan weerszijde grove dennen. Op de weg vijf koelies, waarvan de twee links op de voorgrond vrijwel geheel naakt zijn. Op de achtergrond een dorpje in de velden, daarachter heuvels en zee (?).MaastrichtJapanse prenten1840herdruk circa 1950circa1840circaCVR-JP-P0040.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 40CVR.JP-P0040Depot 3-lade 096prentserietitelvóórBlokdrukJapansEngelsTotsukaTotsuka2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3110:12:2308:36:4213:05:40collect>internCOLLECT>interncollect>interncollect>intern 72898Depot 3-lade 09Japanse PrentenCentre CéramiqueEen dorpje, met zes huizen links van de beek. Over de beek een hoge brug met daarop personen. Aan de rechterkant een tweetal huizen tegen de heuvel. Op de achtergrond de berg Fuji.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0041.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 41CVR.JP-P0041Depot 3-lade 0912prentserietitelvóórBlokdrukJapansEngelsMishimaMishima2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3110:12:2308:36:4213:05:41collect>internCOLLECT>interncollect>interncollect>intern 72899Depot 3-lade 05Japanse PrentenCentre CéramiqueLanderijen met herberg en boom. Een nabije Fuji links op de achtergrond.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0042.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 42CVR.JP-P0042Depot 3-lade 0513prentserietitelvóórBlokdrukJapansEngelsNumazuNumazu2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3210:12:2308:36:4213:05:41collect>internCOLLECT>interncollect>interncollect>intern 72900Depot 3-lade 05Japanse PrentenCentre CéramiqueBlote lieden waden door een rivier, vlotten voortduwend, en personen en goederen versjouwend. Op de achtergrond een heuvel, in de verte de berg Fuji.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0043.jpgOntwerperUitgeverCVR-JP-P 43CVR.JP-P0043Depot 3-lade 0524prentserietitelvóórBlokdrukJapansEngelsShimadaShimada2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3210:12:2308:36:4213:05:42collect>internCOLLECT>interncollect>interncollect>intern 72901Depot 3-lade 09Japanse PrentenCentre CéramiqueVan rechts naar links loopt over een rivier een brug met twee koelies en een man met een vaandel. Dorp, shrine en drie bomen aan de overkant. Op de achtergrond bergen.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0044.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 44CVR.JP-P0044Depot 3-lade 0927prentserietitelvóórBlokdrukJapansEngelsKakegawaKakegawa2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3210:12:2408:36:4213:05:43collect>internCOLLECT>interncollect>interncollect>intern 72902Depot 3-lade 05Japanse PrentenCentre CéramiqueBrug van rechts naar links over een rivier die vol ligt met beladen boten. Op de brug mensen waaronder een ruiter. Rechts op de achtergrond temidden van een bos een kasteel. Links, aan de overkant van de rivier een dorp.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0045.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 45CVR.JP-P0045Depot 3-lade 0535prentserietitelvóórBlokdrukJapansEngelsYoshidaYoshida2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3210:12:2408:36:4213:05:43collect>internCOLLECT>interncollect>interncollect>intern 72903Depot 3-lade 09Japanse PrentenCentre CéramiqueBrug van links naar rechts met een aantal schaars geklede koelies. Daarachter enkele huizen.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0046.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 46CVR.JP-P0046Depot 3-lade 0936prentserietitelvóórBlokdrukJapansEngelsGoyuGoyu2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3310:12:2408:36:4213:05:44collect>internCOLLECT>interncollect>interncollect>intern 72904Depot 3-lade 05Japanse PrentenCentre CéramiqueLinks heren zittend op een plateau onder een rieten dak. Zij lezen papieren die ook aan de achterwand hangen. Rechts een groot aantal zeer schaars geklede koelies met pakken en paarden.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0047.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 47CVR.JP-P0047Depot 3-lade 0545prentserietitelvóórBlokdrukJapansEngelsIshiyakushiIshiyakushi2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3310:12:2408:36:4313:05:45collect>internCOLLECT>interncollect>interncollect>intern 72905Depot 3-lade 06Japanse PrentenCentre CéramiqueVoetgangers bestijgen een weg tussen de bomen. Zij bereiken de poort van een kasteel, waarvan je links midden een toren ziet.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0048.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 48CVR.JP-P0048Depot 3-lade 0647prentserietitelvóórBlokdrukJapansEngelsKameyamaKameyama2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-2717971858IesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3313:05:46collect>internCOLLECT>intern 72906Depot 3-lade 06Japanse PrentenCentre CéramiqueStraatscene. Weg met aan weerszijden kraampjes en personen.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0049.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 49CVR.JP-P0049Depot 3-lade 0643prentserietitelvóórBlokdrukJapansEngelsKuwanaKuwana2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3310:12:2408:36:4313:05:47collect>internCOLLECT>interncollect>interncollect>intern 72907Depot 3-lade 06Japanse PrentenCentre CéramiqueStraatscene. Plein met lage gebouwen en personen. Rechtsachter een eenvoudige poort. Het is volle maan.MaastrichtJapanse prenten1840herdruk circa 1950, authentieke reproductiecirca1840circaCVR-JP-P0050.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 50CVR.JP-P0050Depot 3-lade 0620prentserietitelvóórBlokdrukJapansEngelsFuchuFuchu2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3310:12:2408:36:4313:05:48collect>internCOLLECT>interncollect>interncollect>intern 72908Depot 3-lade 05Japanse PrentenCentre CéramiqueTwee dames met openhangende kimono's. Een klein katje rukt aan de kimono van de linker dame. Op het kamerscherm (links) staan eenden.MaastrichtJapanse prenten1800herdruk circa 1950, authentieke reproductiecirca1700circaCVR-JP-P0051.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 51CVR.JP-P0051Depot 3-lade 05prentTwee courtisanes komen uit bad, en wroden belaagd door een poes. Twee dames, met openhangende kimono's, voor een kamerscherm met een schildering van eenden op een plas. Een jong katje speelt met de kimono van de linker dame.vóór77Centre CéramiqueBlokdrukVerstilde schoonheidEngelsTwo courtesans and a young cat2003-09-30Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:25:3410:17:1211:40:3310:12:2508:36:43Maastricht13:05:49collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 72909Depot 3-lade 05Japanse PrentenCentre CéramiqueStaande vrouw, naar rechts kijkend, houdt haar kimono vast.MaastrichtJapanse prenten1750herdruk circa 1950, authentieke reproductiecirca1700circaCVR-JP-P0052.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 52CVR.JP-P0052Depot 3-lade 05prentvóórBlokdrukEngelsCourtesan2003-09-30Reek, J. vanToshinobu, Okumura (fl. 1725-1744)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3410:12:2508:36:4313:05:50collect>internCOLLECT>interncollect>interncollect>intern 72910Depot 3-lade 05Japanse PrentenCentre CéramiqueSchepen zonder zeilen, met masten, gezien op de achtersteven in baai. Aan linkerzijde dorpje aan het strand en twee aanlegsteigers.MaastrichtJapanse prenten1849latere herdruk, authentieke reproductiecirca1840circaCVR-JP-P0053.jpgOntwerperZeegezichtenCVR-JP-P 53CVR.JP-P0053Depot 3-lade 05prentvóórBlokdrukEngelsSome sailing vessels at Edo2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3410:12:2508:36:4313:05:50collect>internCOLLECT>interncollect>interncollect>intern 72911Depot 3-lade 08Japanse PrentenCentre CéramiqueGroepje koelies met draagstoel en pakket, vergezeld door een ruiter met grote hoed. Wazig op de achtergrond zien we schimmen van personen, huizen en shrines.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0054.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 54CVR.JP-P0054Depot 3-lade 0812prentTravellers setting forth in the mists of early morning, one on horseback and the other in a kago. Situated at the entrance to Hakone pass, this station was packed with travellers all through the year.serietitelvóórBlokdrukJapansEngelsMishimaMishima2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3410:12:2508:36:4313:05:51collect>internCOLLECT>interncollect>interncollect>intern 72912Depot 3-lade 08Japanse PrentenCentre CéramiqueSmalle weg door de bergen langs een beekje. Twee huizen achter aan de weg. Op de weg koelies met onder meer takkenbossen. De bergen zijn groen en begroeid met bos.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0055.jpgOntwerperUitgeverLandschappenCVR-JP-P 55CVR.JP-P0055Depot 3-lade 0822prentA mountain torrent rushing between steep banks and walled in on one side by a stone embankment, along which people are passing. High peaks in the background. The road here was enclosed on both sides by steep hills overed with dense forest and thick climbing ivy vines. This was considered one of the most fearsome stretches of the highway.serietitelvóórBlokdrukJapansEngelsOkabe Usu-no YamaOkabe2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3410:12:2508:36:4313:05:52collect>internCOLLECT>interncollect>interncollect>intern 72913Depot 3-lade 08Japanse PrentenCentre CéramiqueSmalle weg langs een rivier. Op de rechteroever lopen meerdere figuren, waaronder een kind. De achterste heeft een masker met een lange neus op zijn rugtas. Aan de overzijde een donker bos. Op de achtergrond een dorp. Voordat we het dorp bereiken passeren we rechts een kaal bos.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0056.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 56CVR.JP-P0056Depot 3-lade 0813prentTravellers walking along the river bank, lined with trees, towards the village ahead, under a huge full moon in a deep blue sky, one of them carrying on his back a large Tengu mask, the mark of a pilgrim to the Shinto shrine of Kompira on Shikoku Island. Dark forest of trees on further shore of river.serietitelvóórBlokdrukJapansEngelsNamazu KikureNamazu2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3510:12:2508:36:4313:05:53collect>internCOLLECT>interncollect>interncollect>intern 72914Depot 3-lade 08Japanse PrentenCentre CéramiqueBootje op zee met in korte gestreepte hemden gestoken personen, waarvan één een rietmat omhoog houdt. Verderop een groter schip met pluimen en een ronde wimpel. Op de achtergrond een dorp, bergen (zwart) en een gele hemel.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0057.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 57CVR.JP-P0057Depot 3-lade 0832prentA large ferry boat, with an awning round it, taking a daimyo across from Maisaka, followed by a smaller boat with his retainers. A high range of hills on the further shore, golden sky. Travellers made the journey from Maisaka to Arai Station by ferryboat. On the shore was a government barrier station for the inspection of travellers. The compound remains largely intact even today.serietitelvóórBlokdrukJapansEngelsAraiArai2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-09-182013-06-1217971858IesewfhelmesjpeetersjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3511:40:3510:12:2608:36:4413:05:54collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72915Depot 3-lade 08Japanse PrentenCentre CéramiqueEnige armelijk geklede lieden warmen zich rond een vuurtje. Een van de personen rookt. Het Hamamatsu kasteel op de achtergrond.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0058.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 58CVR.JP-P0058Depot 3-lade 0830prentA party of coolies warming themselves by a bonfire beside a large tree, a traveller, with a pipe in hand, looking on, and a peasant woman carrying a child on her back, approaching from the right. Bare, flat rice-fields, across which stand the castle and village in the background. This plate depicts a wintry rural scene on the outskirts of Hamamatsu Station. The village and Hamamatsu Castle are visible in the distance. Hiroshige always depicted travellers and local people appropriate to the landscape and setting. Het oorspronkelijke opzetvel van deze 20ste eeuwse herdruk draagt op het beschermende vliespapier de tekst: 30. Hamamatsu - idem ? in Japans Hamamatsu Castle is in the distance. In spite of the cold, Kumosuke (coolies) are wearing only loin-cloths and short coats. They warm themselves at a balzing fire. en idem ? in het JapansserietitelvóórBlokdrukJapansEngelsHamamatsuHamamatsu Castle2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3510:12:2608:36:4413:05:55collect>internCOLLECT>interncollect>interncollect>intern 72916Depot 3-lade 08Japanse PrentenCentre CéramiqueEen herberg met eters. Links een man met een stok. Op de achtergrond een rood gekleurde hemel.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0059.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 59CVR.JP-P0059Depot 3-lade 0821prentTwo travellers having refreshment at a wayside teahouse, from which another traveller has just departed, and a woman with a child on her back waiting on them. Beside the teahouse grows a plum tree, just bursting into blossom against the rosy sky, behind rises a grey hill tinted with brown. Here, travellers enjoy grated yam broth, the local speciality, while appreciating the green leaves and plum flowers of the early spring. Basho, the most famous haiku poet in Japan, praised the scenery and the broth in one of his haiku poems.serietitelOp verso van oorspronkelijk opzetvel stempel MR. F.L.MULDER., en een opgeplakte strookje met de met losse letters gestempel de tekst Hiroshige Tokaido, no:, met de hand ingevuld: 11vóórBlokdrukJapansEngelsMarikoMariko2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3510:12:2608:36:4413:05:57collect>internCOLLECT>interncollect>interncollect>intern 72917Depot 3-lade 08Japanse PrentenCentre CéramiqueLinks in de diepte een dorp en rechts op de heuvel een kasteel. Een ruiter met mannen met gele hoeden bestijgen de weg naar het kasteel.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0060.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 60CVR.JP-P0060Depot 3-lade 0847prentTravellers ascending a steep hillside, under deep snow, to the entrance to the castle of Kameyama.This station developed around a castle town. The keep and gate of Kameyama Castle on a hill towers over the village. And a procession of a feudal lord is ascending the hill.serietitelvóórBlokdrukJapansEngelsKameyamaKameyama2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3510:12:2608:36:4413:05:57collect>internCOLLECT>interncollect>interncollect>intern 72918Depot 3-lade 08Japanse PrentenCentre CéramiqueRechts een kasteel in aanbouw. Links een brug over de blauwe baai. Op de achtergrond een dorp en aan de overkant van het water bossen.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0061.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 61CVR.JP-P0061Depot 3-lade 0835prentBridge over the Toyo River, and in the right foreground workmen repairing the castle. This station flourished following the erection of the castle in 1505. Here a bridge was allowed to be built over the river flowing west of the station. The town has now grown to become Toyohashi City.serietitelOp verso van oorspronkelijk opzetvel stempel MR. F.L.MULDER., en een opgeplakte strookje met de met losse letters gestempel detekst Hiroshige Tokaido, no:, met de hand ingevuld: 20vóórBlokdrukJapansEngelsYoshidaYoshida2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3610:12:2608:36:4413:05:58collect>internCOLLECT>interncollect>interncollect>intern 72919Depot 3-lade 08Japanse PrentenCentre CéramiqueDrie dames op één paard, geleid door een koelie, rijden op een smal pad door de (rijst?)velden. Verder zijn er een pakpaard en twee personen op dit pad dat naar links afbuigt. Het pad is omzoomd met bomen. Fuji-San op de achtergrond.MaastrichtJapanse prenten1834herdruk eind 19e eeuw, authentieke reproductiecirca1831circaCVR-JP-P0062.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 62CVR.JP-P0062Depot 3-lade 0815prentA road lined with trees running through ricefields, along which a man leads a horse carrying three women, Fuji in the distance. This section of highway was lined with pine trees for the comfort of travellers. Through the trees, Mount Fuji was seen on the left-hand side of the highway and was popularly called left Fuji.serietitelvóórBlokdrukJapansEngelsYoshiwaraYoshiwara2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3610:12:2608:36:4413:05:59collect>internCOLLECT>interncollect>interncollect>intern 72920Depot 3-lade 08Japanse PrentenCentre CéramiqueJapanse tuinaanleg met boogbrug, kleine shrines, tuinhuisjes, temidden van water. Op de oever, achter het water bevindt zich een poortgebouw met loodsen. Middenlinks een afdak op zeer smalle palen. Het sneeuwt en het is donker. Op de achtergrond bomen en een besneeuwd dak.MaastrichtJapanse prenten1830latere herdruk, authentieke reproductiecirca1830circaCVR-JP-P0063.jpgOntwerperSneeuwCVR-JP-P 63CVR.JP-P0063Depot 3-lade 083prentOver de serie: Although signed Hiroshige Ga, only the first eleven were done by Hiroshige I, the twelfth was by Hiroshige II. Inscribed in the album which contained these 12 prints is the following: Since these are the famous lacquer paintings (urushi-e) of the venerable Hiroshige, please take good care of them with the greatest respect.serietitelvóórBlokdruk2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3610:12:2708:36:4413:06:00collect>internCOLLECT>interncollect>interncollect>intern 72921Depot 3-lade 08Japanse PrentenCentre CéramiqueBloemen links en rechts van een als zwaard rechtuitstekend blad.MaastrichtJapanse prenten1820herdruk, authentieke reproductiecirca1820circaCVR-JP-P0064.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 64CVR.JP-P0064Depot 3-lade 08prentN.B.: Deze prent heeft Van Gogh's Irissen beïnvloedvóórBlokdrukEngelsIrises and grasshopper2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3610:12:2708:36:4413:06:01collect>internCOLLECT>interncollect>interncollect>intern 72922Depot 3-lade 08Japanse PrentenCentre CéramiqueRivier met strand, zandbanken, vissers en een roeibootje. Aan de overkant (achtergrond) van de rivier bergen en bossen en daken van een dorpje. Op de voorgrond rechts een groene heuvel met boom en boomstomp. De gouden zon (goudverf) lijkt op een vlek.MaastrichtJapanse prenten1838herdruk circa 1960, authentieke reproductie1837CVR-JP-P0065.jpgOntwerperUitgeverLandschappenCVR-JP-P 65CVR.JP-P0065Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 21, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 083prentOver de serie: A series of full-size, oblong prints , published by SANOKI, whose seal of Kikakudo is stamped in red on each print. Very rare. The title, sub-title, and poem are written on the face of each plate. A series of masterpieces. Deze prent: 3. Tamagawa, Akinotsuki, Autumn Moon on the Tama River. In the foreground a willow tree grows by the river bank, just over it a misty full moon shines down on the scene , people fishing from the bank.serietitelvóórBlokdrukEngelsAutumnal Moon at Tamagawa2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3610:12:2708:36:4413:06:01collect>internCOLLECT>interncollect>interncollect>intern 72923Depot 3-lade 08Japanse PrentenCentre CéramiqueDijk loopt van links naar rechts en is omzoomd met bomen. Rechts water, links laagland dat rechts overgaat in water. Vanuit het midden van de dijk loopt richting linksmidden een weg met witte vaandels, over een bruggetje een bos in, naar een nauwelijks zichtbaar huis. Op de dijk staan twee personen, waarvan de rechtse een gele parasol draagt. Op de achtergrond zijn de bergen. Het geheel is in grijs en zwart uitgevoerd. Het regent, en het is nacht.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0066.jpgOntwerperUitgeverLandschappenCVR-JP-P 66CVR.JP-P0066Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 22, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 082prent2. Azumasha, Yoru Ame, Night Rain at Azumasha. A road along the top of a low embankment, with a torii at the side marking another road leading to a temple in a grove of trees, all under a heavy downpour of rain. One of the two rarest plates in the set, and one of the chief masterpieces.serietitelvóórBlokdrukEngelsEvening Rain at Azumi-no Mori2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3710:12:2708:36:4413:06:02collect>internCOLLECT>interncollect>interncollect>intern 72924Depot 3-lade 08Japanse PrentenCentre CéramiqueLinks in het midden een dorpje. Vanuit onder midden lopen enige figuren op een besneeuwde weg, met een besneeuwd pakpaard. Rechts van de weg zien we besneeuwde heuvels en bomen, met hier en daar borden (?). Het sneeuwt en het is donker. Veel zwart en grijs.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0067.jpgOntwerperUitgeverSneeuwCVR-JP-P 67CVR.JP-P0067Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 23, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 081prent1. Asukayama, Bosetsu, View of a sloping hill-side dotted with cherry trees , at the bottom of the slope runs a road leading to a village street ahead, along it plod wayfarers, one leading a packhorse, through the deep snow. his is the only snow scene known to the writer (but he believes there are others) in which the falling flakes of snow are indicated with a pigment (made from whitelead), instead of the natural white of the paper itself, with the result that they are now black owing to chemical decomposition.serietitelvóór25BlokdrukBijschrift: Sneeuw in Asukayama. Acht gezichten uit de omgeving van Edo, van Ando Hiroshige. De reizigers gaan omhoog door de sneeuw.Het WeerEngelsEvening Snow at Asukayama2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-122013-05-2917971858IesewfhelmesjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:3710:12:2708:36:4515:28:01Maastricht13:06:03collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72925Depot 3-lade 08Japanse PrentenCentre CéramiqueWater met rechts twee grote schepen tegen elkaar aanliggend. Goed zicht op de achterstevens. Ze dragen geen zeilen, kale masten zonder ra's. In de verte drie lange roeiboten met veel personen. Daarachter links een dorp gelegen in lage heuvels, recht steeds kleiner wordende bossen die op laag gelegen terrein groeien.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0068.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 68CVR.JP-P0068Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 24, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 088prent8. Shibaura, Seiran, Clearing Weather at Shiba-ura. In the foreground are two large junks at anchor , two other boats out in the stream, the sky brightening after a storm.serietitelvóórBlokdrukEngelsClearing Weather at Shibaura2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3710:12:2708:36:4513:06:05collect>internCOLLECT>interncollect>interncollect>intern 72926Depot 3-lade 08Japanse PrentenCentre CéramiqueKleine vrachtschuiten worden angstvallig langs rietbanken heen gemanoeuvreerd.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0069.jpgOntwerperUitgeverCVR-JP-P 69CVR.JP-P0069Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 25, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 085prent5. Gyotoku, Kihan, Boats Returning to Gyotoku. Two great junks sail up-stream past a low marshy shore silhouetted against a red sunset sky , in foreground a ferry-boat.serietitelvóórBlokdrukEngelsBoats sailing back to Gyoutoku2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3710:12:2808:36:4513:06:06collect>internCOLLECT>interncollect>interncollect>intern 72927Depot 3-lade 08Japanse PrentenCentre CéramiqueWater met rietvelden, en dorpje met poort en bosje daarachter rechts wat zeilen van boten, links ook twee. Links verder in het water enige boten zonder zeilen met mast. op voorgrond twee hutjes in het riet, bomen op een dijk en wat vissersnetten.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0070.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 70CVR.JP-P0070Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 26, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 086prent6. Haneda, Rakugan, Homing Geese at Haneda. Two flights of wild geese fly down towards the green rushes in the water , in distance sails outlined against a golden sky.serietitelvóórBlokdrukEngelsGeese Flying Home at Haneda2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3710:12:2808:36:4513:06:06collect>internCOLLECT>interncollect>interncollect>intern 72928Depot 3-lade 08Japanse PrentenCentre CéramiqueEen recht kanaal loopt van links onder naar rechtsmidden. Op voorgrond loopt een brug over het kanaal naar links, naar een dorp met aanplantingen. Man met paard op het dorpsplein. Langs het kanaal kersenbloesembomen. Op rechter oever staat soort tafel waarop mensen zitten: veel personen. Op de achtergrond de Fuji JamaMaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0071.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 71CVR.JP-P0071Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 27, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 087prent7. Koganei, Sekisho, Sunset at Koganei. Blossoming cherry trees line the banks of a narrow stream, spanned by small bridge in the foreground , Fuji in distance.serietitelvóórBlokdrukEngelsSunset at Koganei2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3810:12:2808:36:4513:06:07collect>internCOLLECT>interncollect>interncollect>intern 72929Depot 3-lade 08Japanse PrentenCentre CéramiqueOp een beboste hoogte rechterhelft een enorm tempelcomplex waarvan je alleen de daken en de hoofdingang ziet. Op de voorgrond een dorp met een straat die uitkomt op een brug met de poort naar de tempel. Links laagland. In dorp rode lampionnen aan de rieten dakranden van de huizen.MaastrichtJapanse prenten1838herdruk circa 1956, authentieke reproductie1837CVR-JP-P0072.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 72CVR.JP-P0072Selected Masterpiecs of Ukiyo-e Prints, I, Tokyo, Adachi Institute, 1956 ?, nr. 28, Basil Stewart, A Guide to Japanese Woodblock Prints and their Subject Matter, New York (Dover Publications) 1979, Ch. 17Depot 3-lade 084prent4. Ikegami, Bansho, Evening Bell at Ikegami. View of the steep flight of steps leading to the Temple of Hommonji, which stands high up in a thick wood nearly concealing it , below, tea-houses and people grouped about them.serietitelvóór22BlokdrukBijschrift: Avondklokken van het Ikegami heiligdom, acht gezichten uit de omgeving van Edo, van Ando Hiroshige. Er hangt ook nevel bij het tempelcomplex.Het WeerEngelsVesper Bells at the Ikegami2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Privately for the Taihaido poetry club by Sanoki / Sanoya Kihei (Kikakudo), latere herdruk Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-122013-05-2917971858IesewfhelmesjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:3810:12:2808:36:4515:26:28Maastricht13:06:08collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72930Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0073.jpgCVR-JP-P0073a-cOntwerperUitgeverSneeuwCVR-JP-P 73CVR.JP-P0073Depot 3-lade 10prentOver de serie: 36 Views of Mount Fuji (??????, Fugaku Sanj?rokkei ) is a ukiyo-e series of 46 large, color woodblock prints by the Japanese artist Katsushika Hokusai (1760–1849), depicting Mount Fuji in differing seasons and weather conditions from a variety of different places and distances. It actually consists of 46 prints (10 of them added after publication),[1] that were created between 1826 and 1833.serietitelvóórBlokdruk2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3810:12:2808:36:4513:06:09collect>internCOLLECT>interncollect>interncollect>intern 72931Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1833herdruk circa 19601829CVR-JP-P0074.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 74CVR.JP-P0074Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3810:12:2808:36:4513:06:10collect>internCOLLECT>interncollect>interncollect>intern 72932Depot 3-lade 10Japanse PrentenCentre CéramiqueDrie roze bootjes met zeezieke zeelieden en links een enorme golf.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0075.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 75CVR.JP-P0075Depot 3-lade 10prentserietitelvóórBlokdrukEngelsThe big wave off Kanegawa2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3810:12:2908:36:4513:06:10collect>internCOLLECT>interncollect>interncollect>intern 72933Depot 3-lade 10Japanse PrentenCentre CéramiqueBlauwe lucht met schapenwolkjes, rechts rode Fuji, van links-onder bedekt met groene bossen.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0076.jpgOntwerperUitgeverLandschappenCVR-JP-P 76CVR.JP-P0076Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3910:12:2908:36:4613:06:10collect>internCOLLECT>interncollect>interncollect>intern 72934Depot 3-lade 10Japanse PrentenCentre CéramiqueLinks sjouwers over groene heuvels met bomen. Rechts het dak van een gebouw, rechtsmidden veel daken, daarachter in de verte Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0077.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 77CVR.JP-P0077Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3910:12:2908:36:4613:06:11collect>internCOLLECT>interncollect>interncollect>intern 72935Depot 3-lade 10Japanse PrentenCentre CéramiqueRechts picknick- party. Een donkergroen beboste heuvel met daarnaast huis. Groot op de achtergrond Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0078.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 78CVR.JP-P0078Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3910:12:2908:36:4613:06:12collect>internCOLLECT>interncollect>interncollect>intern 72936Depot 3-lade 10Japanse PrentenCentre CéramiqueRechts paard met een afgestegen ruiter, links twee hengelaars. In de diepte de rivier, bossen en velden. Op de achtergrond Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0079.jpgOntwerperUitgeverLandschappenCVR-JP-P 79CVR.JP-P0079Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3910:12:2908:36:4613:06:13collect>internCOLLECT>interncollect>interncollect>intern 72937Depot 3-lade 10Japanse PrentenCentre CéramiqueEen pakpaard met afgestegen ruiter staat op het strand. Op het water een bootje beladen met een bos riet of takken op de golven. Op de achtergrond Mt Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0080.jpgOntwerperUitgeverLandschappenCVR-JP-P 80CVR.JP-P0080Depot 3-lade 10prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:3910:12:2908:36:4613:06:14collect>internCOLLECT>interncollect>interncollect>intern 72938Depot 3-lade 10Japanse PrentenCentre CéramiqueHalfnaakte kuiper bezig met enorme kuip. Op de achtergrond Fuji..MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0081.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 81CVR.JP-P0081Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4010:12:2908:36:4613:06:14collect>internCOLLECT>interncollect>interncollect>intern 72939Depot 3-lade 10Japanse PrentenCentre CéramiquePakpaarden met dragers bestijgen een steile groene helling. Op de achtergrond Fuji.MaastrichtJapanse prenten1833herdruk circa 19601829CVR-JP-P0082.jpgOntwerperUitgeverLandschappenCVR-JP-P 82CVR.JP-P0082Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4010:12:3008:36:4613:06:15collect>internCOLLECT>interncollect>interncollect>intern 72940Depot 3-lade 10Japanse PrentenCentre CéramiqueRechts een het dak van een tempel met dakdekkers gedeeltelijk gehuld in de wolken. Onder de wolken zie je daken. Teen toren van latten en een vlieger priemen door de wolken heen. Op de achtergrond Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0083.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 83CVR.JP-P0083Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4010:12:3008:36:4613:06:16collect>internCOLLECT>interncollect>interncollect>intern 72941Depot 3-lade 07Japanse PrentenCentre CéramiqueZee, met eilandje. We zien masten achter de huizen en de bomen. Op de achtergrond een kust met bomen en Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0084.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 84CVR.JP-P0084Depot 3-lade 0712prentserietitelvóórBlokdrukJapansEngels???? Buyo Tsukuda-jimaTsukuda Island in the Musashi provincie2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4010:12:3008:36:4613:06:16collect>internCOLLECT>interncollect>interncollect>intern 72942Depot 3-lade 07Japanse PrentenCentre CéramiqueBaai met eilandjes, in het midden een schiereiland met een hele hoge boomgroep en wat huizen. Rechts voor een heuvel met bomen. Op de achtergrondkust met wolken en Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0085.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 85CVR.JP-P0085Depot 3-lade 0713prentserietitelvóórBlokdrukJapansEngels????? Soshu Shichiri-ga-hamaShichiri Beach in the Sagami Province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4010:12:3008:36:4613:06:17collect>internCOLLECT>interncollect>interncollect>intern 72943Depot 3-lade 07Japanse PrentenCentre CéramiqueReigers in heuvellandschap. Fuji op achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0086.jpgOntwerperUitgeverLandschappenCVR-JP-P 86CVR.JP-P0086Depot 3-lade 0714prentserietitelvóórBlokdrukJapansEngels????? Soshu umezawa-saiUmegawa in Sagami Province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-18Iesewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4111:40:4113:06:18collect>internCOLLECT>interncollect>intern 72944Depot 3-lade 07Japanse PrentenCentre CéramiqueTwee lieden op een hoge rots vissen m.b.v. lijnen in de woeste zee. Op achtergrond Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0087.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 87CVR.JP-P0087Depot 3-lade 0715prentserietitelvóórBlokdrukJapansEngels????? Koshu KajikazawaKajikazawa in Kai Province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4110:12:3008:36:4713:06:19collect>internCOLLECT>interncollect>interncollect>intern 72945Depot 3-lade 07Japanse PrentenCentre CéramiqueLieden rustend en pratend om een boom. Mt. Fuji op achtergrond.MaastrichtJapanse prenten1833herdruk circa 19601829CVR-JP-P0088.jpgOntwerperUitgeverLandschappenCVR-JP-P 88CVR.JP-P0088Depot 3-lade 0716prentserietitelvóórBlokdrukJapansEngels????? Koshu Mishima-goeMishima pass in Kai province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4110:12:3008:36:4713:06:20collect>internCOLLECT>interncollect>interncollect>intern 72946Depot 3-lade 07Japanse PrentenCentre CéramiqueHutje met gevorkte boom op hoge rots op voorgrond. Aan weerszijden baai, met aan de kust links een tempelcomplex. Fuji op achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0089.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 89CVR.JP-P0089Depot 3-lade 0717prentserietitelvóórBlokdrukJapansEngels????? Shinshu Suwa-koLake Suwa in the Shinano province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4110:12:3108:36:4713:06:21collect>internCOLLECT>interncollect>interncollect>intern 72947Depot 3-lade 07Japanse PrentenCentre CéramiqueLieden lopen op een kronkelig pad door velden. Het waait: ze houden hun hoed vast en een koelie verliest zijn lading papier. De wind waait het weg. Mt. Fuji op achtergrond.MaastrichtJapanse prenten1833herdruk circa 19601829CVR-JP-P0090.jpgOntwerperUitgeverLandschappenCVR-JP-P 90CVR.JP-P0090Depot 3-lade 0718prentserietitelvóór11BlokdrukBijschrift: Ejiri. Prent uit de 36 gezichten op de Fuji, van Katsushika Hokusai. Het begint te waaien. Blaadjes papier en een hoedje worden meegenomen door de wind.Het WeerJapansEngels???? Sunshu EjiriEjiri in the Suruga province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:4110:12:3108:36:4715:20:39Maastricht13:06:21collect>internCOLLECT>interncollect>interncollect>interncollect>intern 72948Depot 3-lade 07Japanse PrentenCentre CéramiqueLieden zagen een uitzonderlijke dikke balk tot planken. Mt. Fuji op achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0091.jpgOntwerperUitgeverCVR-JP-P 91CVR.JP-P0091Depot 3-lade 0719prentserietitelvóórBlokdrukJapansEngels???? Totomi sanchuMount Fuji from the Mountains of Totomi2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4210:12:3108:36:4713:06:22collect>internCOLLECT>interncollect>interncollect>intern 72949Depot 3-lade 07Japanse PrentenCentre CéramiqueDe achtersteven van een in het riet liggende boot. Het dak van de boot is opengeschoven zodat je interieur, lading en ballast (keien) ziet liggen. Op de achtergrond Mt FujiMaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0092.jpgOntwerperUitgeverCVR-JP-P 92CVR.JP-P0092Depot 3-lade 0720prentserietitelvóórBlokdrukJapansEngels???? Joshu UshiboriUshibori in the Hitachi province2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4210:12:3108:36:4713:06:22collect>internCOLLECT>interncollect>interncollect>intern 72950Depot 3-lade 07Japanse PrentenCentre CéramiqueDaken met dakdekkers op het rechtse dak.Een huis links. Er tussen in twee vliegers. en andere dieper gelegen daken in het groen. Op de achtergrond Mt Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0093.jpgOntwerperUitgeverCVR-JP-P 93CVR.JP-P0093Depot 3-lade 0721prentLet op: deze winkel bestaat nog steeds, zie http://en.wikipedia.org/wiki/MitsuiserietitelvóórBlokdrukJapansEngels??????????? Toto Suruga-choA sketch of the Mitsui shop in Suruga street in Edo2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4210:12:3108:36:4713:06:23collect>internCOLLECT>interncollect>interncollect>intern 72951Depot 3-lade 07Japanse PrentenCentre CéramiqueEen breed stuk water wordt overspannen door een enorme brug. Een bootje met personen, een pontje waarschijnlijk zet koers naar de overkant. Morgenrood op achtergrond met Mt Fuj.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0094.jpgOntwerperUitgeverCVR-JP-P 94CVR.JP-P0094Depot 3-lade 0722prentserietitelvóórBlokdrukJapansEngels???????????? OmmayagashiSunset across the Ryogoku bridge from the bank of the Sumida river at Onmagayashi2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4210:12:3108:36:4713:06:25collect>internCOLLECT>interncollect>interncollect>intern 72952Depot 3-lade 07Japanse PrentenCentre CéramiqueLieden op een balkon op de voorgrond kijken over het water. Daarachter is er bos en op de achtergrond Mt Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0095.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 95CVR.JP-P0095Depot 3-lade 0723prentArtist: Katsushika HOKUSAI Birth/Death: 1760–1849 Title: Turban-shell Hall of the Five-Hundred-Rakan Temple Date Made: 1830-5 Lender: National Gallery of Australia, Canberra Credit Line: Gift of Orde Poynton Esq. AO, CMG 2000 Clearly visible from Edo, the majestic cone of the volcano Mount Fuji had long fascinated the Japanese. In the early 1830s Hokusai produced his major series on this subject Thirty-six views of Mount Fuji. It became a popular success. Sazaidô or the 'Turban-shell Tower' is a three-storey tower attached to the temple. Being the highest point in the city it offered panoramic views across Edo to Mount Fuji. In Turban-shell Tower of the Five-Hundred-Rakan Temple a group of people have gathered to admire the fine view of the mountain. Utilising multiple vanishing points Hokusai has arranged the lines of the hall to draw our attention to the summit of the volcano. The pointed finger of the young boy to the left also directs the eye to the summit. This use of multiple perspectives was not part of Western art, but was used freely by Hokusai. Monet later adopted it in his Garden at Sainte-Adresse.serietitelvóórBlokdrukJapansEngels??????????? Gohyaku-rakanji SazaidoSazai hall - 500 Rakan temples2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4210:12:3208:36:4713:06:25collect>internCOLLECT>interncollect>interncollect>intern 72953Depot 3-lade 14Japanse PrentenCentre CéramiqueBesneeuwde daken. Theedrinkende lieden kijken vanaf een balkon van een klein huis op een heuveltop uit op de daken van een stad aan een binnenmeer.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0096.jpgOntwerperUitgeverSneeuwCVR-JP-P 96CVR.JP-P0096Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4310:12:3208:36:4813:06:27collect>internCOLLECT>interncollect>interncollect>intern 72954Depot 3-lade 14Japanse PrentenCentre CéramiqueHuizen links. Midden en links groene waarin mensen rondlopen. Op de achtergrond Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0097.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 97CVR.JP-P0097Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4310:12:3208:36:4813:06:27collect>internCOLLECT>interncollect>interncollect>intern 72955Depot 3-lade 14Japanse PrentenCentre CéramiqueLinks een groot bladvullend waterrad, vier zwoegende personen en een kind met schildpad aan touwtje. Fuji op achtergrond rechts .MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0098.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 98CVR.JP-P0098Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4310:12:3208:36:4813:06:27collect>internCOLLECT>interncollect>interncollect>intern 72956Depot 3-lade 14Japanse PrentenCentre CéramiqueVan uit zee zicht op klein dorpje met bossen en in die bossen een tempel. Trappen leiden naar het strand. Op een zandbank lopen personen naar het dorp toe. Rechts op de achtergrond Mt Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0099.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 99CVR.JP-P0099Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4310:12:3208:36:4813:06:28collect>internCOLLECT>interncollect>interncollect>intern 72957Depot 3-lade 14Japanse PrentenCentre CéramiqueVan uit zee zicht op de daken van een klein dorpje in de bossen. Hutten op het strand. Op voorgrond twee boten met zwoegende roeiers. Grote Fuji op achtergrond rechts.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0100.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 100CVR.JP-P0100Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4310:12:3208:36:4813:06:28collect>internCOLLECT>interncollect>interncollect>intern 72958Depot 3-lade 14Japanse PrentenCentre CéramiqueInterieurtje van kroeg, met drie dames, twee heren rechts en twee blote lieden links, waarvan een met een houten hamer een stuk vlees(?) murw slaat. Grote Mt. Fuji op achtergrond rechts.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0101.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 101CVR.JP-P0101Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4410:12:3308:36:4813:06:28collect>internCOLLECT>interncollect>interncollect>intern 72959Depot 3-lade 15Japanse PrentenCentre CéramiqueVan uit zee zicht een lage kust rechts. Hutten op het strand. Op de voorgrond twee grote boten achter elkaar met zeil en een rieten dak. Zeilen en Fuji op achtergrond links.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0103.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 103CVR.JP-P0103Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4410:12:3308:36:4813:06:29collect>internCOLLECT>interncollect>interncollect>intern 72960Depot 3-lade 15Japanse PrentenCentre CéramiqueGracht vanuit midden naar achteren lopend met rechts aangemeerde boten. Huizen er omheen. In de verte een bos met tempels. Op de achtergrond rechts Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0104.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 104CVR.JP-P0104Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4410:12:3308:36:4813:06:29collect>internCOLLECT>interncollect>interncollect>intern 72961Depot 3-lade 15Japanse PrentenCentre CéramiqueOp voorgrond twee snellende ruiters naar links, een derde galoppeert verder het pad op. Het pad is eigenlijk een dijk door rietvelden of sawahs. Op de achtergrond Fuji San.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0105.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 105CVR.JP-P0105Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4410:12:3308:36:4813:06:30collect>internCOLLECT>interncollect>interncollect>intern 72962Depot 3-lade 15Japanse PrentenCentre CéramiqueLinks lieden wadend door ondiep water, twee Tore`s en rechts heuvels met huisjes. Op de achtergrond Mt Fuji. in het midden.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0106.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 106CVR.JP-P0106Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4410:12:3308:36:4813:06:31collect>internCOLLECT>interncollect>interncollect>intern 72963Depot 3-lade 15Japanse PrentenCentre CéramiqueMeer met rechts een dorpje, op de achtergrond groene heuvels, links achter Fuji. Roze nevelslierten.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0107.jpgOntwerperUitgeverLandschappenCVR-JP-P 107CVR.JP-P0107Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4510:12:3308:36:4913:06:31collect>internCOLLECT>interncollect>interncollect>intern 72964Depot 3-lade 15Japanse PrentenCentre CéramiqueMeer met voor een dorpje, op achtergrond groene heuvels, in het midden, vlakbij Mt. Fuji, die zich spiegelt in het water.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0108.jpgOntwerperUitgeverLandschappenCVR-JP-P 108CVR.JP-P0108Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4510:12:3308:36:4913:06:31collect>internCOLLECT>interncollect>interncollect>intern 72965Depot 3-lade 15Japanse PrentenCentre CéramiqueSjouwende lieden op voorgrond, daarachter bomen, een grijs meer, en aan de overkant een dorpje bij de Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0109.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 109CVR.JP-P0109Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4510:12:3408:36:4913:06:32collect>internCOLLECT>interncollect>interncollect>intern 72966Depot 3-lade 15Japanse PrentenCentre CéramiqueStapels hout links en rechts. Op de voorgrond een zagende man, daarachter water, en een dorpje rechtsachter de houtstapel. Op de achtergrond Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0110.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 110CVR.JP-P0110Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4510:12:3408:36:4913:06:32collect>internCOLLECT>interncollect>interncollect>intern 72967Depot 3-lade 15Japanse PrentenCentre CéramiqueSoldaten marcheren met rode stokken op de voorgrond, en worden bekeken door twee dames midden op een veld. Daarachter een dorpje, bossen en Mt. Fuji.MaastrichtJapanse prenten1833herdruk circa 19601829CVR-JP-P0111.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 111CVR.JP-P0111Depot 3-lade 15prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4510:12:3408:36:4913:06:33collect>internCOLLECT>interncollect>interncollect>intern 72968Depot 3-lade 14Japanse PrentenCentre CéramiqueBloesembomen, dorpje met kleine huisjes en veel mensen, picknick party op een heuveltje links . Beneden links ligt een dorpje, en zee. Daarachter Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0112.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 112CVR.JP-P0112Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4610:12:3408:36:4913:06:33collect>internCOLLECT>interncollect>interncollect>intern 72969Depot 3-lade 14Japanse PrentenCentre CéramiqueVlak land. Paadje met personen. Bruggetje leidt naar huis rechts, gezien van boven. Daarachter Mt Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0113.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 113CVR.JP-P0113Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4610:12:3408:36:4913:06:33collect>internCOLLECT>interncollect>interncollect>intern 72970Depot 3-lade 14Japanse PrentenCentre CéramiqueDorpje met kleine huisjes en een weg tussen twee rijen huizen door. Veel voetgangers. Daarachter water. Daarachter Fuji.groot op achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0114.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 114CVR.JP-P0114Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4610:12:3408:36:4913:06:34collect>internCOLLECT>interncollect>interncollect>intern 72971Depot 3-lade 14Japanse PrentenCentre CéramiquePad met paarden door de bergen, daarachter watervallen, daarachter nevel met bergen en Fuji.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0115.jpgOntwerperUitgeverLandschappenCVR-JP-P 115CVR.JP-P0115Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4610:12:3408:36:5013:06:34collect>internCOLLECT>interncollect>interncollect>intern 72972Depot 3-lade 14Japanse PrentenCentre CéramiquePad met buffels beladen met takkenbossen, daarachter nevel, vogels en Fuji .MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0116.jpgOntwerperUitgeverLandschappenCVR-JP-P 116CVR.JP-P0116Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4610:12:3508:36:5013:06:35collect>internCOLLECT>interncollect>interncollect>intern 72973Depot 3-lade 14Japanse PrentenCentre CéramiqueDorpsgezicht met lieden die de oogst binnenhalen. Mt Fuji op de achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0117.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 117CVR.JP-P0117Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4710:12:3508:36:5013:06:35collect>internCOLLECT>interncollect>interncollect>intern 72974Japanse PrentenCentre CéramiqueNaakte mannen die spullen en andere lieden door de rivier heen dragen. Op de achtergrond rechts een dorp met een blauwe vlag. Mt. Fuji links op achtergrond.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0118.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 118CVR.JP-P0118prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4710:12:3508:36:5013:06:35collect>internCOLLECT>interncollect>interncollect>intern 72975Depot 3-lade 14Japanse PrentenCentre CéramiqueBergwandeling. Rechtsboven een aantal personen in een soort grot-achtige ruimte.MaastrichtJapanse prenten1833herdruk circa 1960, authentieke reproductie1829CVR-JP-P0119.jpgOntwerperUitgeverLandschappenCVR-JP-P 119CVR.JP-P0119Depot 3-lade 14prentserietitelvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Eyudo, Takamizawaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4710:12:3508:36:5013:06:36collect>internCOLLECT>interncollect>interncollect>intern 72976Depot 3-lade 17Japanse PrentenCentre CéramiqueDe Higashiyama bergrug gezien vanaf de oever van de Kamo, rijen huizen en shrines aan de overkant, de oever van de zeer brede rivier. Aan de westelijke kant van de brug staat een steen die laat zien dat de Tokaido-road daar eindigt.MaastrichtJapanse prentenherdruk 20e eeuw, authentieke reproductieCVR-JP-P0120.jpgOntwerperUitgeverCVR-JP-P 120CVR.JP-P0120Depot 3-lade 17prentBeschrijving van Hugo - waar is de prent ??serietitelvóórBlokdrukEngelsKyoto: de bergrug van Higashiyama gezien vanaf de oever van de Kamo rivier2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Kyoto: Uchida Artschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4710:12:3508:36:5013:06:36collect>internCOLLECT>interncollect>interncollect>intern 72977Depot 3-lade 05Japanse PrentenCentre CéramiqueDe ronde brug in het Kameido-park. Gebouwen rechts, Volk op brug.. Prachtige blauwe regen op voorgrond vanaf links.MaastrichtJapanse prenten1941exact1941exactCVR-JP-P0121.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 121CVR.JP-P0121Depot 3-lade 05prentGezicht op de zg. drum bridge (trommelbrug ?) of halve maan brug in het Kameido Tenuin Heiligdom in Tokyo, o.a. beroemd om zijn blauwe regen.vóórBlokdrukJapansEngelsTaiko BashiHalf- Moon Bridge2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4810:12:3508:36:5013:06:36collect>internCOLLECT>interncollect>interncollect>intern 72978Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0122.jpgOntwerperLandschappenCVR-JP-P 122CVR.JP-P0122Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4810:12:3608:36:5013:06:37collect>internCOLLECT>interncollect>interncollect>intern 72979Depot 3-lade 05Japanse PrentenCentre CéramiqueBos aan de oever van de Sumida-rivier, Daken van dorpje Massaki aan de overkant van deze zeer brede rivier, Tsukuba berg in de achtergrond, Mensjes op pad in voorgrond naar links lopend. Boten met zeilen op rivier.MaastrichtJapanse prenten1858herdruk 19??1856CVR-JP-P0123.jpgOntwerperUitgeverLandschappenCVR-JP-P 123CVR.JP-P0123Depot 3-lade 0535prentOver de hele serie: Meisho Yedo Hiakkei. The Hundred Views of Yedo, Famous Places. 119 sheets in album with MS. preface (five pages, dated for 18 July, 1860), 14 1/8 by 9¾ (including margins). 1856-1859. Publisher, Uwoya Yeikichi, Shitaya, Yedo (Uwoyei). Oban Tateye. The complete series (except title-page) by Hiroshige I, as issued in 1858 (or early in 1859), together with the new print (No. 19) by Hiroshige II substituted for No. 18 (original No. 48) in a later edition. The oval dateseals in the top or left margin of each print indicate that the blocks were cut between March, 1856, and November, 1858 - that for the substitute print in July, 1859. In the list of contents included in the title-page, the prints are arranged according to the seasons : thus, Spring, original Nos. 1-42, Summer 43-72, Autumn 73-95, Winter 96-118. [In the descriptions following, the original series numbers are given in square brackets.] N.B. - The year quoted as Dragon began on February 6, 1856 , Snake, January 26, 1857 , Horse, February 14, 1858 , Sheep, February 3, 1859serietitelvóórBlokdrukEngelsMassaki and the Suijin Grove by the Sumida River2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Uoya Eikichischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4810:12:3608:36:5013:06:37collect>internCOLLECT>interncollect>interncollect>intern 72980Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0124.jpgOntwerperLandschappenCVR-JP-P 124CVR.JP-P0124Depot 3-lade 10prentvóórBlokdruk2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4810:12:3608:36:5013:06:39collect>internCOLLECT>interncollect>interncollect>intern 73477Depot 3-lade 05Japanse PrentenCentre CéramiqueBloeiende winde met een kikvors in bladeren.MaastrichtJapanse prenten1830herdruk 19??circa1830circaCVR-JP-P0124.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 124CVR.JP-P0125Depot 3-lade 05prentWinde = Ipomoea, Tree frog = verm. Hyla japonicavóórBlokdrukEngelsMorning Glory and treefrog2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-03-272013-03-272013-03-272013-03-27Iesewfhelmesjpeetersjpeetersewfhelmesjpeetersjpeetersjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4811:40:4810:12:3608:36:5116:45:1016:15:5616:14:5815:26:2713:10:52collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72982Depot 3-lade 05Japanse PrentenCentre CéramiqueBrug `s-avonds in de regen mensen van rechts naar links. Boten in de rivier.MaastrichtJapanse prenten1900herdruk circa 1950, authentieke reproductiecirca1800circaCVR-JP-P0126.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 126CVR.JP-P0126Depot 3-lade 051prentserietitelvóórBlokdrukJapansEngelsNihon-bashi-no YauEvening Rain at Nihon-Bashi2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Fujikeischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4910:12:3608:36:5113:06:40collect>internCOLLECT>interncollect>interncollect>intern 72983Depot 3-lade 05Japanse PrentenCentre CéramiqueGroot Paviljoen in rood en roze links, Heuvel met twee grove den rechts op voorgrond. Gele hemel onder, donkerblauw boven.MaastrichtJapanse prenten1900herdruk circa 1950circa1800circaCVR-JP-P0127.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 127CVR.JP-P0127Depot 3-lade 054prentserietitelvóórBlokdrukJapansEngelsUyeno-no BanshoVesper Bells at Uyeno2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Fujikeischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4910:12:3608:36:5113:06:41collect>internCOLLECT>interncollect>interncollect>intern 72984Depot 3-lade 05Japanse PrentenCentre CéramiqueHuizen op eilandje in meer, rechts dam met boogbrug. Op achtergrond zwarte bossen met twee huizen en bloesem aan de kust. Linksboven vogels tegen een gele hemel. Paars boven.MaastrichtJapanse prenten1900herdruk circa 1950, authentieke reproductiecirca1800circaCVR-JP-P0128.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 128CVR.JP-P0128Depot 3-lade 058prentserietitelvóórBlokdrukJapansEngelsShinobazu-no RakuganGeese Homing at Shinobazu2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Fujikeischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4910:12:3708:36:5113:06:41collect>internCOLLECT>interncollect>interncollect>intern 72985Depot 3-lade 05Japanse PrentenCentre CéramiqueBoten aan rivier, links zonder zeil, midden 5 met zeil, rechts drie roeibten daarachter stad met zwarte huizen. Avondrood.MaastrichtJapanse prenten1900herdruk circa 1950, authentieke reproductiecirca1800circaCVR-JP-P0129.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 129CVR.JP-P0129Depot 3-lade 055prentserietitelvóórBlokdrukJapansEngelsTakanawa-no KihanBoats sailing back at Takanawa2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Fujikeischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:4910:12:3808:36:5113:06:41collect>internCOLLECT>interncollect>interncollect>intern 72986Depot 3-lade 14Japanse PrentenCentre CéramiqueWeg door bos, man met mandje op rug links, beekje langs weg rechts. Hoog opgaande boomstammen links, lichte hellende berm met bomen rechts. Achter woudreuzen (loof).MaastrichtJapanse prenten1931posthume druk circa 1960 ?, latere druk van oorspronkelijke blokkenexact1931exactCVR-JP-P0130.jpgOntwerperUitgeverLandschappenCVR-JP-P 130CVR.JP-P0130Depot 3-lade 14prentvóór02BlokdrukBijschrift: Laan in Nikko, van Kawase Hasui. Een man gaat op pad. Hij loopt in het bos.Het WeerJapansEngelsNikko KaidoNikko Kaido lane2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:4911:40:4910:12:5008:36:5115:39:4415:14:33Maastricht13:06:42collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 72987Depot 3-lade 05Japanse PrentenCentre CéramiqueVogeltje naar links kijkend op uitermate dunne tak, grijze bladeren, bruine appelbloesem. Geen achtergrond.MaastrichtJapanse prenten1881exact1881exactCVR-JP-P0131.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 131CVR.JP-P0131Depot 3-lade 05prentBeschrijving volledig album op http://www.baxleystamps.com/litho/meiji/bairei_1881.shtml (alleen deel 1 en 2 afgebeeld)serietitelvóórBlokdrukEngelsSmall bird on a branch of blossom2003-09-30Reek, J. vanBairei, Kono (1844-1895)Okura Magobeischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5010:12:5008:36:5113:06:42collect>internCOLLECT>interncollect>interncollect>intern 72988Depot 3-lade 05Japanse PrentenCentre CéramiqueVan rechts naar beneden hangende taken met roze kersenbloesem op onderste tak twee zwaluwen naar rechts kijkend. Achtergrond groen, boven trechts volle maan met blauw.MaastrichtJapanse prenten1834herdruk 19??, authentieke reproductie1832CVR-JP-P0132.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 132CVR.JP-P0132Depot 3-lade 05prentvóórBlokdrukJapansEngelsGekka Tsuki ni Tsubame to Momo no HanaFlying Swallows under Peach Blossoms in the Moonlight2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Jakurindoschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5010:12:5008:36:5113:06:43collect>internCOLLECT>interncollect>interncollect>intern 72989Depot 3-lade 05Japanse PrentenCentre CéramiqueGroepje ganzen van rechts vliegend met hoofd naar beneden: links onder groen met struik met blauwgroene blaadjes en rode bloesem. Achtergrond blauwe wolken.MaastrichtJapanse prenten1774herdruk 19??, authentieke reproductiemidden eeuw1725midden V170eeuwCVR-JP-P0133.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 133CVR.JP-P0133Depot 3-lade 05prentBeschrijving Adachi Insitte: This picture shows a flock of nine wild-geese decending to a cluster of susuki (Japanese pamps grass) and hagi (bush clover) growing by a river or lake. In the upper part of this print is a waka (31-syllable poem) roughly translated as, To people visited by the autumn wind, the season's tidings are brought by wild-geese. Het herfstgras is Miscanthus ????vóórBlokdrukEngelsDecending Geese and Autumn Grasses Under the Full Moon2003-09-30Reek, J. vanHyakki, Komatsuken (midden 18de eeuw)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5010:12:5008:36:5113:06:43collect>internCOLLECT>interncollect>interncollect>intern 72990Depot 3-lade 05Japanse PrentenCentre CéramiqueStaande reiger in de grijze regen met poten in het water, naar achter kijkend.links riet. Kringetjes in het grijsblauwe water.MaastrichtJapanse prenten1920circa1920circaCVR-JP-P0134.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 134CVR.JP-P0134Depot 3-lade 05prentOhara KOSON (ook: Choson, Shoson, Hoson) (1877-1945)Let op de houtnerf !vóórBlokdrukEngelsHeron at Night2003-09-30Reek, J. vanKoson, Ohara (1877-1945)Watanabe Shozaburoschenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5013:06:44collect>internCOLLECT>intern 72991Depot 3-lade 05Japanse PrentenCentre CéramiqueBlauw witte vogel (klein formaat reiger) in elkaar gedoken voor zich uit kijkend op rechter flank gezien. op het ijs (wit, craquelé) links riet.MaastrichtJapanse prenten1920circa1920circaCVR-JP-P0135.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 135CVR.JP-P0135Depot 3-lade 05prentLet op dit is een vierkant formaat (shishikiban)vóórBlokdrukEngelsKingfisher on a Frozen Pond2003-09-30Reek, J. vanGekko, Ogata(1859-1920)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5110:12:5108:36:5213:06:44collect>internCOLLECT>interncollect>interncollect>intern 72992Depot 3-lade 05Japanse PrentenCentre CéramiqueGeen achtergrond, grijze tak van uit links, twijgjes met rode bloesem en witte bloemen ook van links, twee zwaluwen, een op rug naar rechts gewend , blauw, ander op borst gezien en face (bruin borst, oranje hoofd, blauwe vleugels..MaastrichtJapanse prenten1910circa1910circaCVR-JP-P0136.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 136CVR.JP-P0136Depot 3-lade 05prentLET OP: Vreemd formaat. Is dit wel een prent: op de foto lijkt het een aquarel …. CHECKEN !!vóórBlokdrukEngelsTwo Swifts on a Blossoming Branch2003-09-30Reek, J. vanKoson, Ohara (1877-1945)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5110:12:5108:36:5213:06:45collect>internCOLLECT>interncollect>interncollect>intern 72993Depot 3-lade 05Japanse PrentenCentre CéramiqueBloesem roze, pioenroosachtig op tak, grijze achtergrond.MaastrichtJapanse prentenCVR-JP-P0137.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 137CVR.JP-P0137Depot 3-lade 05prentKlein formaat, cartouche voor tekst is niet ingevuld: is deze prent wel af ? Of is het een verjaarskaart o.id. waarop de koper zelf een tekst kon invullen ???vóórBlokdrukEngelsA Branch of Cherry-blossom Against a Wintry Sky2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5110:12:5108:36:5213:06:45collect>internCOLLECT>interncollect>interncollect>intern 72994Depot 3-lade 05Japanse PrentenCentre CéramiqueOp groene achtergrond , roze bloemen met bladeren en twee geelgebuikte vogels.MaastrichtJapanse prenten1991exact1991exactCVR-JP-P0138.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 138CVR.JP-P0138Depot 3-lade 05prentSakura or Cherry Blossom (Japanese kanji and Chinese character: ? or ?, katakana: ???, hiragana: ???) is the Japanese name for ornamental cherry trees, Prunus serrulata, and their blossoms. Cherry fruit (known as sakuranbo) comes from a different species of tree. Sakura is also a given name. The word sakura becomes zakura when used in a compound word such as shidarezakura. (Wikipedia). Double Cherry komt niet als soortnaam in Wikipedia voor.vóórBlokdrukEngelsDouble Cherry2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5110:12:5108:36:5213:06:45collect>internCOLLECT>interncollect>interncollect>intern 72995Depot 3-lade 05Japanse PrentenCentre CéramiqueOp gele achtergrond , oranje esdoornblad , dun met bruine tak van stam linkskomend en zwarte paars ge uikte vogel en front naar rechts kijkend.MaastrichtJapanse prenten1991waarschijnlijk1991waarschijnlijkCVR-JP-P0139.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 139CVR.JP-P0139Depot 3-lade 05prentvóórBlokdrukEngelsMaple2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5110:12:5108:36:5213:06:46collect>internCOLLECT>interncollect>interncollect>intern 72996Depot 3-lade 05Japanse PrentenCentre CéramiqueTwee reigers, linkse naar echts kijkend, andere gebogen van voren. Grijze ijs?-achtergrond.MaastrichtJapanse prenten1950datering ?circa1950circaCVR-JP-P0140.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 140CVR.JP-P0140Depot 3-lade 05prentEr bestaat een pendant van deze prent, ook twee kraanvogels tegen een vergelijkbare achtergrond, deze twee prenten vermoedelijk als paar gemaakt.vóórBlokdrukJapansEngelsTanchoCranes2003-09-30Reek, J. vanGakusui, Ide (1899-1992)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5210:12:5108:36:5213:06:46collect>internCOLLECT>interncollect>interncollect>intern 72997Depot 3-lade 05Japanse PrentenCentre CéramiqueKersenbloesem met donkerblauwe achtergond, grijze tak, met bloesem vogeltje naar beneden hangend, rood halsje, geel snaveltje.MaastrichtJapanse prenten1899herdruk circa 1940, authentieke reproductiecirca1800circaCVR-JP-P0141.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 141CVR.JP-P0141Depot 3-lade 05prentvóórBlokdrukEngelsA branch of cherryblossom with a robin redbreast2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5210:12:5208:36:5213:06:47collect>internCOLLECT>interncollect>interncollect>intern 72998Depot 3-lade 17Japanse PrentenCentre CéramiqueZwarte uil vliegend in paarse lucht Oost-Afrika.MaastrichtJapanse prentenCVR-JP-P0142.jpgOntwerperCVR-JP-P 142CVR.JP-P0142Depot 3-lade 17prentvóórBlokdruk2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5210:12:5208:36:5213:06:47collect>internCOLLECT>interncollect>interncollect>intern 72999Depot 3-lade 05Japanse PrentenCentre CéramiqueBlauwe bergen, midden links dorpje, mist, bomen rechts. Damp.MaastrichtJapanse prenten1927latere herdruk ?circa1927circaCVR-JP-P0143.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 143CVR.JP-P0143Depot 3-lade 05prentvóórBlokdrukJapansEngelsBeppu: KankaijiThe Kankai Temple near the Hot Springs of Beppu2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Bijutsushaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5210:12:5208:36:5213:06:47collect>internCOLLECT>interncollect>interncollect>intern 73000Depot 3-lade 05Japanse PrentenCentre CéramiqueBergen in de regen, nacht, bossen op achtergrond, huizen,twee ramen verlicht, licht weerkaatst op natte weg.MaastrichtJapanse prenten1925exact1925exactCVR-JP-P0144.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 144CVR.JP-P0144Depot 3-lade 05prentserietitelvóór17BlokdrukBijschrift: Gezicht op Suhara in Kiso, van Kawase Hasui. Stortregen geselt het gebergte.Het WeerJapansEngelsKiso no SuharaSuhara, Kiso2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5210:12:5208:36:5215:23:54Maastricht13:06:48collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73001Depot 3-lade 14Japanse PrentenCentre CéramiqueNacht, donkerblauwe lucht, grijze wolken, volle maan, vissershut, vissersbootje op spiegelgladde meer, lichten op beboste oever aan achterzijde meer, licht uit tralievenster rechts in hut.MaastrichtJapanse prenten1929posthume drukexact1929exactCVR-JP-P0145.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 145CVR.JP-P0145Depot 3-lade 14prentvóór05BlokdrukBijschrift: Volle maan boven de Arakawari-rivier, van Kawase Hasui. Het bootje passeert een vissershut.Het WeerJapansEngelsAkabaneFull Moon over the Arakawa at Akabane2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5310:12:5208:36:5315:42:2915:16:53Maastricht13:06:48collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73002Depot 3-lade 06Japanse PrentenCentre CéramiqueGezicht op Fuji vanaf rivier, beboste oevers.MaastrichtJapanse prenten1942posthume druk, latere drukexact1942exactCVR-JP-P0146.jpgOntwerperUitgeverLandschappenCVR-JP-P 146CVR.JP-P0146Depot 3-lade 06prentvóórBlokdrukDe vier jaargetijdenJapansEngelsOshino no FujiMount Fuji seen from Oshino2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5310:12:5208:36:5313:06:49collect>internCOLLECT>interncollect>interncollect>intern 73003Depot 3-lade 04Japanse PrentenCentre CéramiqueBrug : twee bogen op stenen pijlers van links voor naar rechtsachter beboste heuvele op achtergrond, lentebloesem op voorgrond, roze.MaastrichtJapanse prenten1947posthume druk, latere drukexact1947exactCVR-JP-P0147.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 147CVR.JP-P0147Depot 3-lade 04prentJapanese woodblock print by Hasui, Kawase (1883-1957), titled Evening at Kintai Bridge in Spring, 1947. Later printing by Watanabe Color Print Co. from the original blocks. Red Watanabe Heisei seal in margin, indicating that it was printed during the reign of Emperor Akihito (commencing in 1988). strated at plate 483 in Kawase Hasui Mokuhanga-shu, Narazaki (ed.), 1979. Pristine condition, measuring 14 1/8 by 9 1/2 inches, plus full margins.vóórBlokdrukJapansEngelsKintaikyo no shunshoEvening at Kintai Bridge in Spring2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5310:12:5208:36:5313:06:49collect>internCOLLECT>interncollect>interncollect>intern 73004Depot 3-lade 04Japanse PrentenCentre CéramiqueToren in straatje in regen. Natte straat Straat loopt van voor naar achter, links huizen, rechts midden toren, voorgrond rechts huizen. Donkerblauwe lucht mar midden lichter verlopend.MaastrichtJapanse prenten1947posthume druk, latere drukexact1947exactCVR-JP-P0148.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 148CVR.JP-P0148Depot 3-lade 04prentFramed original Japanese woodblock print by Hasui Kawase (1883-1957) entitled 'Bell Tower in Rain -- Okayama,' published in 1947. Signed Kawase Hasui with red artist's seal 'sui' in the lower left hand corner. A black impression of the 6mm round hand-applied Watanabe publisher's seal can be found in the lower right hand corner within the print's image. This evocative afternoon scene depicts the traditional buildings around the Okayama bell tower. A single figure carrying an umbrella can be seen from behind walking between the buildings. A touch of red highlights the blooming flowers in the flower pots in the foreground. Hasui is regarded as the foremost landscape print artist of the 20th century. He was renown for his scenes of everyday life, which he executed in a sophisticated yet simple manner. His work is distinguished by his fascination with light, climactic conditions and tranquility. Based on sketches he made during his travels through Japan, Hasui's prints are characterized by their serenity of mood and flawless composition. He was the first woodblock print artist to be honored by the Japanese government with the prestigious title of 'Living National Treasure.' Hasui's work is in the permanent collections of the leading museums of the world. Most of his works were produced for the initiator of the Shin Hanga movement, Watanabe Shozaaburo. Landscape prints from the Shin Hanga movement were extremely popular and highly prized among collectors in Europe and America. The workmanship in both carving and printing is very good. Skillfully executed changes of color shading (bokashi) are seen throughout the print. Pristine condition, with excellent color and registration, and strong ink bleed through. No toning or fading, not mounted, only two tiny pinholes at far edge of left margin. We originally purchased this print in this decorative silvered bamboo-style frame, and we had it redone with acid-free double matting (silk outer mat) and backing, so it is ready to hang. Oban size image measures 14 ¼' x 9 5/8', plus full margins. Frame measures: 20 ¾' x 15 ½'.vóórBlokdrukJapansEngelsOkayama no Kanetsuki-doA Bell-Tower in Okayama in the Rain2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5310:12:5308:36:5313:06:50collect>internCOLLECT>interncollect>interncollect>intern 73005Depot 3-lade 14Japanse PrentenCentre CéramiqueMeer op voorgrond, dorpshuizen tussen bomen daar achter. Op achtergrond wazige blauwe vormen van bergen met daarvoor en daarboven wolken lichtblauw.MaastrichtJapanse prenten1941latere drukexact1941exactCVR-JP-P0149.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 149CVR.JP-P0149Depot 3-lade 14prentvóórBlokdrukJapansEngelsShinshu kisakikoKisaki Lake in Shinshu Province2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5410:12:5308:36:5313:06:51collect>internCOLLECT>interncollect>interncollect>intern 73006Depot 3-lade 14Japanse PrentenCentre CéramiqueHuis links, met schuren van rondhout, bomen , aan oever van meer, volle laagstaande maan, rozevingerige avondwolkjesMaastrichtJapanse prenten1930latere drukexact1930exactCVR-JP-P0150.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 150CVR.JP-P0150Depot 3-lade 14prentvóór07BlokdrukBijschrift: Schemering in Itako, van Kawase Hasui. Het bootje wordt aangemeerd bij een huis.Het WeerJapansEngelsItako no yuDusk at Itako in Ibaraki Prefecture2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Kawaguchi & Sakaischenking2013-01-272015-05-272013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5410:12:5308:36:5315:44:1115:18:32Maastricht13:06:52collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73007Depot 3-lade 06Japanse PrentenCentre CéramiqueMount Fuji roze in de avondzon, landweg met boerengebouwen van hout, boerin en kippen, herfstig boompje.MaastrichtJapanse prenten1953latere drukexact1953exactCVR-JP-P0151.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 151CVR.JP-P0151Depot 3-lade 06prentFunatsu no Aki (Autumn at Funatsu near Lake Kawaguchi) by Hasui, Kawase (1883-1957). First printed 1953 (Showa 28 nen), this is a later printing from original blocks. Signed Hasui with red artist seal sui. Left margin contains title unatsu no Aki(Autumn at Funatsu near Lake Kawaguchi) and Showa 28 nen saku(printed 1953) in Japanese. New condition, never framed and full margins. Extremely faint tiny ink smudge into bottom margin and top margin (almost edge of paper) which is very common and nearly impossible to see unless pointed out, easily matted out. Please see the picture. Published by Watanabe with 7 mm and Watanabe Heisei Seal. Very wonderful bokashi shading through print with finely carved details. Old master quality. Paper size is 15 and 5/8 inches by 10 and 1/4 inches.vóórBlokdrukDe vier jaargetijdenJapansEngelsFunatsu no AkiAutumn at Funatsu near Lake Kawaguchi2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5410:12:5308:36:5313:06:53collect>internCOLLECT>interncollect>interncollect>intern 73008Depot 3-lade 04Japanse PrentenCentre CéramiqueDe besneeuwde berg Fuji op de achtergrond. Op de voorgrond links twee besneeuwde bomen. Ertussen een meer.MaastrichtJapanse prentenauthentieke reproductiecvr-jp-p0152.jpgOntwerperSneeuwCVR-JP-P 152CVR.JP-P0152Depot 3-lade 04prentvóór30BlokdrukBijschrift: De berg Fuji op een zonnige dag bedekt met sneeuw,gezien vanaf Tagonoura, van Kawase Hasui. Het gezicht op de Fuji is prachtig. De Fuji vormt een belangrijk thema in de Japanse prenten.Het Weer2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-122013-05-292013-05-292013-05-2917971858IesewfhelmesjpeetersewfhelmesewfhelmesewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5410:12:5308:36:5316:12:0516:11:4516:11:01Maastricht13:06:53collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73009Depot 3-lade 14Japanse PrentenCentre CéramiqueAlleenstaande bomen, beboste achtergrond, vallende avond, lichtjes in bos, beekje op voorgrond.MaastrichtJapanse prenten1931latere druk circa 1956 ?exact1931exactCVR-JP-P0153.jpgOntwerperUitgeverLandschappenCVR-JP-P 153CVR.JP-P0153Depot 3-lade 14prentDeze prent is wellicht een herschepping van een zeer vergelijkbare prent met hetzelfde onderwerp uit 1920, waarvan de blokken vermoedelijk verloren gingen bij de stadsbrand in Tokio van enkele jaren later. De prent heeft een zeldzaam zegel van de uitgever.vóór10BlokdrukBijschrift: Wintermaan op de Toyama-heide, van Kawase Hasui. Het wordt kil tussen de bomen.Het WeerJapansEngelsToyama ga haraWinter Moon at the Toyama Moor2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Doi Teichii (of Doi Sadachi), latere druk door Itoschenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-05-29Iesewfhelmesjpeetersjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5411:40:5410:12:5308:36:5315:20:13Maastricht13:06:53collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73010Depot 3-lade 14Japanse PrentenCentre CéramiqueBrug, rood, sneeuw, zwarte heuvels aan weerszijden, blauwe bergen op achtergrond.MaastrichtJapanse prenten1930latere druk circa 1990exact1930exactCVR-JP-P0154.jpgOntwerperUitgeverSneeuwCVR-JP-P 154CVR.JP-P0154Depot 3-lade 14prentOne of 16 images originally published by Kawaguchi & Sakai (1929-30).Published by Shobisha (who acquired woodblocks from Kawaguchi & Sakai around 1950).vóórBlokdrukJapansEngelsNikko Shinkyo no YukiSnow at Kamibashi Bridge, Nikko2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Kawaguchi & Sakai, Shobishaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5510:12:5308:36:5313:06:54collect>internCOLLECT>interncollect>interncollect>intern 73011Depot 3-lade 14Japanse PrentenCentre CéramiqueHevige sneeuwval, besneeuwd dorpje van boven, bergen op achtergrond, blauw-witte daken, witte sneeuw.MaastrichtJapanse prenten1946exact1946exactCVR-JP-P0155.jpgOntwerperUitgeverSneeuwCVR-JP-P 155CVR.JP-P0155Depot 3-lade 14prentvóór32BlokdrukBijschrift: Het dorpje Hatakudari tijdens een nachtelijke sneeuwstorm, van Kawase Hasui. Een sneeuwstorm breekt uit.Het WeerJapansEngelsHatakudari Shiobara - hatake shitaHatakudari Village near Shiobara at Night, in a Fierce Snow Storm2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5510:12:5408:36:5415:31:25Maastricht13:06:54collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73012Depot 3-lade 08Japanse PrentenCentre CéramiqueVrouw en man met manden op rug naar rechts lopend langs grove spar, baai, roze ochtendgloren of avondstemming.MaastrichtJapanse prenten1954latere druk, latere drukexact1954exactCVR-JP-P0156.jpgOntwerperUitgeverCVR-JP-P 156CVR.JP-P0156Depot 3-lade 08prentvóór03BlokdrukBijschrift: Avond in Mokko, van Kawase Hasui. Een paartje loopt s’avonds langs het water.Het WeerEngelsEvening at Mokko2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5511:40:5510:12:5408:36:5415:53:3215:15:24Maastricht13:06:55collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73013Depot 3-lade 05Japanse PrentenCentre CéramiqueTwee kraaien naar rechts kijkend tegen blauwe lucht, maan linksonder.MaastrichtJapanse prenten1927exact1927exactCVR-JP-P0157.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 157CVR.JP-P0157Depot 3-lade 05prentvóórBlokdrukEngelsTwo Crows in a Tree at Full Moon2003-09-30Reek, J. vanKoson, Ohara (1877-1945)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5510:12:5408:36:5413:06:55collect>internCOLLECT>interncollect>interncollect>intern 73014Depot 3-lade 05Japanse PrentenCentre CéramiqueNegen dalende ganzen vliegend van rechtsboven naar links onder over baai. Aan rechterzijde (oever) kraampjes.MaastrichtJapanse prentenlatere herdruk, authentieke reproductieCVR-JP-P0158.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 158CVR.JP-P0158Newland, Amy R., Jan Perrée & Robert Schaap, Crows, cranes & camellias: The Natural World of Ohara Koson, Leiden: Hotei Publishing, 2001, ISBN 90-74822-38-x, - pg. ???, pl. ???Depot 3-lade 05prentvóórBlokdruk2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5510:12:5408:36:5413:06:55collect>internCOLLECT>interncollect>interncollect>intern 73015Depot 3-lade 05Japanse PrentenCentre CéramiqueVogel op bloesemtak met roze bloesems , naar links kijkend. Rode lange staart, blauw-geel-groene vleugels, achtergrond boven geel, onder roze.MaastrichtJapanse prenten1999latere versieeinde eeuw1975einde eeuwCVR-JP-P0159.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 159CVR.JP-P0159Depot 3-lade 05prentModerne houtsnede naar een aquarel van Hiroshige ?vóórBlokdrukEngelsBird of Paradise on a Branch of Cherry Blossom2003-09-30Reek, J. vannaar Hiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5610:12:5408:36:5413:06:56collect>internCOLLECT>interncollect>interncollect>intern 73016Depot 3-lade 05Japanse PrentenCentre CéramiqueNaar rechtsgewende vogel, kop naar links gedraaid, bruine papegaai-achtige snavel, groen geel blauw rood en zwarte veren, staart blauw en geel Zit op bamboetak, naast zicht (rechts) dikke bamboestam, achtergrond boven roze, onder groen.MaastrichtJapanse prenten1999recente prent naar eerder ontwerpeinde eeuw1975einde eeuwCVR-JP-P0160.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 160CVR.JP-P0160Depot 3-lade 05prentModerne houtsnede naar een aquarel van Hiroshige ?vóórBlokdrukEngelsParrot on bamboo branch2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5610:12:5408:36:5413:06:56collect>internCOLLECT>interncollect>interncollect>intern 73017Depot 3-lade 05Japanse PrentenCentre CéramiqueHengelaar heeft hengel op zijn rug, en loopt over het besneeuwde eilandMaastrichtJapanse prenten1947posthume drukexact1947exactCVR-JP-P0161.jpgOntwerperUitgeverSneeuwCVR-JP-P 161CVR.JP-P0161Depot 3-lade 05prentLet op ! Hugo's beschrijft bij dit inv.nr. onder de titel Snow at Konuma een ándere prent van Hasui . Welke ???vóór28BlokdrukBijschrift: Sneeuwval in het moeras van Hinuma bij Mito, van Kawase Hasui. De visser heeft een eiland bereikt.Het WeerJapansEngelsMita Hinuma no yukiSnow at Hinuma Swamp in Mito, Ibaraki district2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:25:5610:12:5408:36:5415:29:10Maastricht13:06:56collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73018Depot 3-lade 05Japanse PrentenCentre CéramiqueLinks kersenbloesem, etherisch roze, verlicht door een lantaarn rechtsonder twee jonge geisha's in opleiding, links en profile, rechtse aankijkend in kleurige kostuums.MaastrichtJapanse prenten1926exact1926exactCVR-JP-P0162.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 162CVR.JP-P0162Depot 3-lade 05prentvóórBlokdrukEngelsTwo Young Geisha Girls2003-09-30Reek, J. vanKusetsuschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5610:12:5508:36:5413:06:57collect>internCOLLECT>interncollect>interncollect>intern 73019Depot 3-lade 05Japanse PrentenCentre CéramiqueEen vijftal zilverreigers in de sneeuwMaastrichtJapanse prenten1927posthume drukexact1927exactCVR-JP-P0163.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 163CVR.JP-P0163Depot 3-lade 05prentEigenhandige druk van de kunstenaar (over wie verder niets te vinden is)vóórBlokdrukEngelsFive Herons in Snow2003-09-30Reek, J. vanKoson, Ohara (1877-1945)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5610:12:5508:36:5413:06:57collect>internCOLLECT>interncollect>interncollect>intern 73020Depot 3-lade 05Japanse PrentenCentre CéramiqueDrie oost-indische Kers-achtige bloemen, wit, blauw, wit zwarte bladeren en ranken groene nerven.MaastrichtJapanse prentenongedateerdCVR-JP-P0164.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 164CVR.JP-P0164Depot 3-lade 05prentMorning glory is also called asagao (in Japanese, a compound of ? asa morning and ? kao face). A rare brownish-coloured variant known as Danjuro is very popular. It was first known in China for its medicinal uses, due to the laxative properties of its seeds. It was introduced to the Japanese in the 9th century, and they were first to cultivate it as an ornament. During the Edo Period, it became a very popular ornamental flower. Aztec priests in Mexico were also known to use the plant's hallucinogenic properties. (see Rivea corymbosa).vóórBlokdrukEngelsMorning Glories2003-09-30Reek, J. vanGakusui, Ide (1899-1992)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5710:12:5508:36:5413:06:57collect>internCOLLECT>interncollect>interncollect>intern 73021Depot 3-lade 04Japanse PrentenCentre CéramiqueLinks klein oranje boompje, rechts oranje linkerhelft groter oranje boompje. drie personen linksachter rechter boompje.MaastrichtJapanse prenten1950latere druk, latere drukcirca1950circaCVR-JP-P0166.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 166CVR.JP-P0166Depot 3-lade 04prentvóórJapansEngelsShigure no Ato, Kyoto Nanzen-jiAfter Autumn Rain, Nanzen-ji Temple, Kyoto2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5710:12:5508:36:5513:06:58collect>internCOLLECT>interncollect>interncollect>intern 73022Depot 3-lade 04Japanse PrentenCentre CéramiqueVanuit het donker naar het licht. Zwart, donker tempel en tempelportaal.Het sneeuwt. Twee personen met parasol in centrum.MaastrichtJapanse prenten1950latere druk, latere drukcirca1950circaCVR-JP-P0167.jpgOntwerperUitgeverSneeuwCVR-JP-P 167CVR.JP-P0167Depot 3-lade 04prentboompje. drie personen linksachter rechter boompje.vóórJapansEngelsKiyomizudera no BosetsuEvening Snowfall at Kiyomizu Temple2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5710:12:5508:36:5513:06:58collect>internCOLLECT>interncollect>interncollect>intern 73023Depot 3-lade 05Japanse PrentenCentre CéramiqueVanuit linkerhoek (drie vrijwel kale bomen met kleine groene blaadjes) eerst een gracht, dan de schuine muren van hetpaleis, in het midden van de muur een poort, links een wit torenachtig gebouw met zadeldak.MaastrichtJapanse prenten1952latere druk, latere drukexact1952exactCVR-JP-P0168.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 168CVR.JP-P0168Depot 3-lade 05prentvóórBlokdrukJapansEngelsOtemon no Haru no YugureSpring Evening at the Otemon Gate of the Imperial Palace, Edo(Tokyo)2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5710:12:5508:36:5513:06:59collect>internCOLLECT>interncollect>interncollect>intern 73024Depot 3-lade 07Japanse PrentenCentre CéramiqueLinks en rechts twee erg groene heuvels met steil talud. daartussen grijze weg met 5 lopende personen en een zittende man in hut met geel strooien dak. Achtergrond: grijze berg tegen lichtblauwe hemelMaastrichtJapanse prenten1855moderne herdruk, authentieke reproductieexact1855exactCVR-JP-P0169.jpgOntwerperUitgeverLandschappenCVR-JP-P 169CVR.JP-P0169Depot 3-lade 0722prentde verticale of tate-e versieA few travellers pass up the gorge to a small rest-house in centre. On either side, on the heights, are three pine trees , and beyond, a round-topped mountain rises above clouds.serietitelvóórBlokdrukJapansEngelsOkabeOkabe2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Tsutayaschenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5710:12:5508:36:5513:06:59collect>internCOLLECT>interncollect>interncollect>intern 73025Depot 3-lade 18Japanse PrentenCentre CéramiqueKaal individu en profiel op rechterzijde gezeten op rode mat met kimono, in linkerhand (vanuit onze positie rechterhand) een kort zwaard in de (rode schede) kijkt naar buiten door raam. door raam wuivend riet en een maan met twee ogen die hem bekijkt.MaastrichtJapanse prenten1890-09-28exact1890-09-28exactCVR-JP-P0170.jpgOntwerperKrijgersCVR-JP-P 170CVR.JP-P0170Stevenson 1992, cat. nr. XXII, pp. 62-63Depot 3-lade 18prentvóórBlokdrukJapansEngelsKiyomori Fukuhara ni suhyaku no jinto o miru zuDe Zesendertig Geesten: Shinkei Sanjurokkaisen2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5810:12:5608:36:5513:07:00collect>internCOLLECT>interncollect>interncollect>intern 73026Depot 3-lade 10Japanse PrentenCentre CéramiqueOp rug gezien man met baard met speer en zwaard in blauwe broek en rood mantel met versieringen, staande op bootjekijkt naar voren, een berg rechts met daarachter witte maan in blauwe hemel. twee kraaien boven midden.MaastrichtJapanse prenten1885-11Lengte x BreedteLengte x BreedteBlokBlad32,6 x 22,435,2 x 24,1exact1885-11exactcmcmCVR-JP-P0171.jpgOntwerperGeesten en legendenCVR-JP-P 171CVR.JP-P0171MargesMaatcode passepartoutjaA = 35 x 50 cmJohn Stevenson, Yoshitoshi's One hundred aspects of the moon, Redmond (WA), San Francisco Graphic Society, 1992, nr 3Depot 3-lade 10prentScène gebaseerd op een beroemde Chinese semi-historisch roman San guo yan yi , Roman van de drie koninkrijken, geschreven in de 14de eeuw. Het stuk speelt in de 3de eeuw, tijdens het opbreken van het Han keizerrijk in drie aparte koninkrijken. Held is Cao Cao, in het japans Sôsô, een warlord wiens zoon uiteindelijk de eerste keizer van de Wei dynastie zou worden. Hij werd verslagen tijdens de slag bij de Rode Klippen, nadat hij een slecht voorteken - twee kraaien- had genegeerd. De prent toont hem op zijn rug, staand in de boeg van een bootje, rustend op zijn lans, terwijl hij kort voor de fatale aanval de Yangtze oversteekt.Goede staat, albumdoublureserietitelvóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsRising moon over Mount Nanping: Cao Cao2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5810:12:5608:36:5513:07:01collect>internCOLLECT>interncollect>interncollect>intern 73027Depot 3-lade 07Japanse PrentenCentre CéramiqueRechts vrouw met kind, midden kind met vlieger. achtergrond grijspaarse leegte, rechtsboven boomtak.), voorgrond strand met daarachter rivier (lichtblauw)MaastrichtJapanse prenten1899latere herdrukeeuw1800eeuwCVR-JP-P0172.jpgOntwerperCVR-JP-P 172CVR.JP-P0172Allen Hockley, The Prints of Isoda Koryusai: Floating World Culture and Its Consumers in Eighteenth-Century Japan, ??? (University of Washington Press), 2003Depot 3-lade 07prentEen moeder met een kind op de arm begeleidt haar zoontje die een vlieger oplaat, een riviertje op de achtergrondvóórBlokdrukEngelsBeauty: To Fly a Kite2003-09-30Reek, J. vanKoryusai, Isoda (1735-1790)schenking2013-01-272015-05-272015-01-142013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5814:30:4411:40:5910:12:5608:36:5513:07:01collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>intern 73028Depot 3-lade 07Japanse PrentenCentre CéramiqueBruinachtig kasteel torent uit tegen gele lucht boven groen woud. Midden in het bos nog een muur.MaastrichtJapanse prenten1926latere (posthume ?) drukexact1926exactCVR-JP-P0173.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 173CVR.JP-P0173Depot 3-lade 07prentLet op: het zou ook de versie ochtendschemering kunnen zijn (die van de avond op internet Hanga.com heeft de rode gleod van de ondergaande zon op de achtergrond). Dze prent zou zijn gemaakt en uitgegeven ter gelegenheid van de troonsbestijging van Hirohito (1928, i.e Showa 1). 1926, Re-issued in 1989 as this variant evening version known as the Enthronement Edition. omschrijving ander exemplaar: signed in sumi ink, Yoshida, with artist's seal Hiroshi. With jizuri (self printed) seal, on left margin, followed by the date, Taisho jugonen saku (made in Taisho 15 [1926]), and the title Himejijo., dated 1926, Titled in English on the bottom margin in penciled script, Himeiji Castle- Morning, and signed Hiroshi Yoshida. Himeji Castle (Japanese: ???, -j?) is a Japanese castle complex located in Himeji in Hy?go Prefecture and comprising 83 wooden buildings. It is occasionally known as Hakuroj? or Shirasagij? (White Heron Castle) because of its brilliant white exterior.It was registered as the first Japanese National Cultural Treasure by UNESCO World Heritage Site and a Japanese National Cultural Treasure in December, 1993. Along with Matsumoto Castle and Kumamoto Castle, it is one of Japan's Three Famous Castles, and is the most visited castle in Japan.vóórBlokdrukJapansEngelsHimeji-joHimeji Castle, Evening2003-09-30Reek, J. vanYoshida, Hiroshi (1876-1950)Hiroshi Yoshidaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5810:12:5608:36:5513:07:02collect>internCOLLECT>interncollect>interncollect>intern 73029Depot 3-lade 07Japanse PrentenCentre CéramiqueTempelcomplex in sneeuw, achter muur met groene poort. rechts huizen waarheen een pad met daarop drie figuren, waarvan een met riksha.MaastrichtJapanse prenten1899latere herdrukeeuw1800eeuwCVR-JP-P0174.jpgOntwerperSneeuwCVR-JP-P 174CVR.JP-P0174Depot 3-lade 07prentvóórEngelsImpression of the East Gate at Asakusa2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5910:12:5608:36:5513:07:03collect>internCOLLECT>interncollect>interncollect>intern 73030Depot 3-lade 04Japanse PrentenCentre CéramiqueWitte trappen leiden naar de zijkant van een tempel, met rode houten pilaren. Vrouw gaat naar binnen , Op achtergrond torenachtig bouwsel. Voor badhuis lampion met Swastika.MaastrichtJapanse prenten1931herdrukexact1931exactCVR-JP-P0175.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 175CVR.JP-P0175Depot 3-lade 04prentmet daarop drie figure+AH198n, waarvan een met riksha.vóórEngelsThe Fudo Temple at Meguro, Tokyo2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5911:40:5910:12:5608:36:5513:07:03collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73031Depot 3-lade 04Japanse PrentenCentre CéramiqueKasteel in opgaande morgenrood tegen blauwe achtergrond. Voorgrond: water en drie dunne kale berijpte grijze bomen. Geel-blauwe lucht.MaastrichtJapanse prenten1955latere drukexact1955exactCVR-JP-P0176.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 176CVR.JP-P0176Depot 3-lade 04prentNotes: in 1934 the artist did a very similar dawn scenevóórBlokdrukJapansEngelsOkayama-jo no AsaMorning at Okoyama Castle2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5910:12:5708:36:5613:07:04collect>internCOLLECT>interncollect>interncollect>intern 73032Depot 3-lade 04Japanse PrentenCentre CéramiqueDoor donkernachtblauwe bomen de toren van een tempel. Donkerblauwe lucht, gele maan.MaastrichtJapanse prentenlatere drukCVR-JP-P0177.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 177CVR.JP-P0177Depot 3-lade 04prentIs dit de pagoda van Yanaka in Tokio ???vóórBlokdrukEngelsPagoda in Moonlight2003-09-30Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5910:12:5708:36:5613:07:04collect>internCOLLECT>interncollect>interncollect>intern 73033Depot 3-lade 07Japanse PrentenCentre CéramiqueRivier sneeuw, bergen achter , bossen midden, pad met bomen en 4 reizigers in voorgrond. 2e van links zit op ezel. donkere zwarte lucht.MaastrichtJapanse prenten1899datering: ?,latere herdrukeeuw1800eeuwCVR-JP-P0178.jpgOntwerperSneeuwCVR-JP-P 178CVR.JP-P0178Depot 3-lade 07prentvóórBlokdrukJapansEngelsFujikawa-no-SekkeiA view of the Fuji River in Snow (fan design)2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:25:5910:12:5708:36:5613:07:04collect>internCOLLECT>interncollect>interncollect>intern 73034Depot 3-lade 06Japanse PrentenCentre CéramiqueDe 19e eeuwse Nihon-bashi brug (Begin van o.m. de Tokaido road), met rammetje, hoog smal rood gebouw rechts, en stads flats links. Vage kleuren, sneeuw.MaastrichtJapanse prenten1939?1930CVR-JP-P0179.jpgOntwerperUitgeverSneeuwCVR-JP-P 179CVR.JP-P0179Depot 3-lade 06prentvóórBlokdrukEngelsSlight Powder Snow on Nihon Bridge2003-09-30Reek, J. vanBannai, Kokan (1900- ?)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0010:12:5708:36:5613:07:05collect>internCOLLECT>interncollect>interncollect>intern 73035Depot 3-lade 04Japanse PrentenCentre CéramiqueTrap leidt recht naar boven naar rood gebouw. Groene vrouw met parasol op rug gezien bestijgt de trap. Tempel, besneeuwd, rood hout. om. met regenpijp. Donkerblauw besneeuwde lucht.MaastrichtJapanse prenten1929latere drukexact1929exactCVR-JP-P0180.jpgOntwerperUitgeverSneeuwCVR-JP-P 180CVR.JP-P0180Depot 3-lade 04prentvóórBlokdrukEngelsSnow at Ueno Kiyomizudo2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Kawaguchischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0010:12:5708:36:5613:07:05collect>internCOLLECT>interncollect>interncollect>intern 73036Depot 3-lade 07Japanse PrentenCentre CéramiqueInterieurtje met vier naakte dames (een alleen onderlijf) en naakt kind, drie dames in kimono, houten emmertjes. Links door een luikje een voyeur.MaastrichtJapanse prenten1799?, authentieke reproductieeeuw1700eeuwCVR-JP-P0181.jpgOntwerperErotiekCVR-JP-P 181CVR.JP-P0181Depot 3-lade 07prentTorii Kiyonaga (1752 - 1815) was the adoptive fourth head of the Torii family of artists. He specialized in pictures of beautiful women, at which he excelled. His prints are always bright, clear and well delineated. http://www.japanese-prints.org/ : Women at Bath | Torii Kiyonaga The women in Kiyonaga's prints are often described as seeming fuller and more mature than those of his predecessor Harunobu, whose prints often depict women who seem younger and thinner. Though a difference of personal styles accounts for this primarily, it also comes in part from Kiyonaga's use of larger sheets of paper (oban, rather than chuban or hosoban). Also, a great proportion of Kiyonaga's work is in diptych or triptych form, making the work seem larger and more impressive overall. In the field of bijinga, only the works of Suzuki Harunobu and a handful of others are generally regarded comparable with those of Kiyonaga. Kiyonaga produced a great many bijinga prints in the 1780s, and this is generally regarded as his high point, this is particularly true because he nearly stopped doing art entirely in the early 1790s. Just as Kiyonaga can be said to have replaced the earlier Harunobu as the most popular bijinga artist of his time, so Kiyonaga can be said to have been replaced by Utamaro, whose women are even more full and mature than those of the former. Kiyonaga's Kabuki prints, depicting scenes on stage and the like, show a great attention to detail, and seek to depict real Kabuki scenes, rather than idealized versions. There is something very plain about much of his depictions, showing that those depicted are in fact actors and not the true idealized characters they represent, however, he did not make the leap to portraying the individual features and personalities of the actors as some other artists (including the Katsukawa school) did. Some scholars label his style as an important intermediary step leading to the bombastic, yet realistic, style of Sharaku.vóór81Centre CéramiqueBlokdrukVerstilde schoonheidEngelsWomen in a Public Bath2003-09-30Reek, J. vanKiyonaga, Torii (1752-1815)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0010:18:0011:41:0010:12:5708:36:56Maastricht13:07:05collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73037Depot 3-lade 15Japanse PrentenCentre CéramiqueDit is een van de laatste werken van Toshi Yoshida: de paringsdans van twee kraanvogels in een sneeuwjacht tegen de achtergrond van een nauwelijks zichtbaar dennenbos. Ook hier heeft de kunstenaar de vallende sneeuw, vóór het drukken van de kleurblokken, met een blinddrukstempel in reliëf in het papier aangebracht.MaastrichtJapanse prenten1994exact1994exactCVR-JP-P0182.jpgOntwerperSneeuwCVR-JP-P 182CVR.JP-P0182Depot 3-lade 15prentvóórBlokdrukDe grote golf bij KanagawaEngelsDance of eternal love2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0013:07:07collect>internCOLLECT>intern 73038Japanse PrentenCentre CéramiqueOok in deze prent experimenteert Toshi met een sterk gestileerde, bijna stripachtige tekenstijl, met grote vlakken vrijwel monochrome kleur. Het contrasteert daardoor sterk met veel van zijn andere werk, waar juist de kleurnuance, de toon, zo'n grote rol speelt.MaastrichtJapanse prenten1966exact1966exactCVR-JP-P0183a.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 183aCVR.JP-P0183aprentvóórBlokdrukDe grote golf bij KanagawaEngelsVail, Colorado2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0010:12:5808:36:5613:07:07collect>internCOLLECT>interncollect>interncollect>intern 73039Japanse PrentenCentre CéramiqueDame met blauwe kimono frontaal toegeneigd naar links met in haar handen blauwe sjerp.MaastrichtJapanse prenten1923exact1923exactCVR-JP-P0183b.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 183bCVR.JP-P0183bprentvóórKuchi-e prent hoorde bij het romannetje 'Rode nagellak'.BlokdrukEngelsHeroine Osai2003-09-30Reek, J. vanKaburagi, Kiyokata (1878-1973)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0113:07:08collect>internCOLLECT>intern 73040Depot 3-lade 07Japanse PrentenCentre CéramiqueOp wandelstok leunende man(dichter Matsuo Basho) praat met twee links op mat met theepot gezeten grijs geklede mannen. waarvan een, slecht geschoren en met dikke rode lippen omkijkt naar Basho).MaastrichtJapanse prenten1891exact1891exactCVR-JP-P0184.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 184CVR.JP-P0184Depot 3-lade 0795prentThe traveler leaning on his staff is the great haiku poet Matsuo Basho (1644-1694) who composed this verse when he met two farmers enjoying the full moon, 'Since the crescent moon, I have been waiting for tonight.'serietitelvóórBlokdrukJapansEngelsMatsuo BashoThe Moon of the Poet Matsuo Basho2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0110:12:5808:36:5613:07:08collect>internCOLLECT>interncollect>interncollect>intern 73041Depot 3-lade 10Japanse PrentenCentre CéramiqueSamurai, (rood harnas, gele korte broek op bruin paard, staat in het water en kijkt naar grijze achtergrondMaastrichtJapanse prenten1885-12Lengte x BreedteLengte x BreedteBlokBlad33 x 22,335,7 x 24exact1885-12exactcmcmCVR-JP-P0185.jpgOntwerperKrijgersCVR-JP-P 185CVR.JP-P0185MargesMaatcode passepartoutjaA = 35 x 50 cmJohn Stevenson, Yoshitoshi's One hundred aspects of the moon, Redmond (WA), San Francisco Graphic Society, 1992, nr 8Depot 3-lade 10prentScène uit de Taikôki, Chronicle of the Taikô [= de regent, i.e. Hideyoshi]. De jonge Toshimitsu, vazal van Akechi Mitsuhide, is op verkenningstocht bij de Kamo rivier, dicht bij Kyoto, voorafgaand an de aanval waarbij zij de generaal Oda Nobunaga (1534-1582) versloegen en om het leven brachten. Nadat zij zelf door Hideyoshi werden verslagen, werd de jonge Toshimitsu monnik.vóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsMoonlight patrol - Saitô Toshimitsu2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0110:12:5808:36:5713:07:09collect>internCOLLECT>interncollect>interncollect>intern 73042Depot 3-lade 10Japanse PrentenCentre CéramiqueLangharige paarse dame in boot met groene parasol links op voorgrond kijkt naar rechts, grijs bergachtig landschap met rotspunt op achtergrond.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad32,7 x 22,237 x 25exact1886exactcmcmCVR-JP-P0186.jpgOntwerperGeesten en legendenCVR-JP-P 186CVR.JP-P0186Maatcode passepartoutA = 35 x 50 cmJohn Stevenson, Yoshitoshi's One hundred aspects of the moon, Redmond (WA), San Francisco Graphic Society, 1992, nr 21Depot 3-lade 10prentLangharige paarse dame in boot met groene parasol links op voorgrond kijkt naar rechts, grijs bergachtig landschap met rotspunt op achtergrond. Op het eilandje Itsukushima ten zuid-westen van Hiroshima, een van de mooiste plekjes van Japan, wordt een festival gehouden ter ere van Susano-o, de god van de maan en de zee. Een courtisane uit Muro, gekapt en gekleed in stijl van de Heian periode (794-1185), vaart in een bootje naar het eiland. Naast haar ligt haar enorme reishoed, met een zware rode sluier die haar gezicht zal verbergen als zij hem draagt. De tamboerijn naast haar wijst er op dat zijn gaat dansen en zingen op het festival. origineel, 1886 goede staatserietitelvóórBlokdrukHoutsnede, kleurenEngelsItsukushima moon: a Muro courtesan2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0110:12:5808:36:5713:07:10collect>internCOLLECT>interncollect>interncollect>intern 73043Depot 3-lade 10Japanse PrentenCentre CéramiqueNaar links gewende dame met lang haar in witte pon staande tussen twee grijze deuren. (verhaal: heeft de hele nacht vergeefs op haar minnaar gewacht)MaastrichtJapanse prenten1887Lengte x BreedteLengte x BreedteBlokBlad32,6 x 22,235,3 x 24exact1887exactcmcmCVR-JP-P0187.jpgOntwerperGeesten en legendenCVR-JP-P 187CVR.JP-P0187MargesMaatcode passepartoutjaA = 35 x 50 cmJohn Stevenson, Yoshitoshi's One hundred aspects of the moon, Redmond (WA), San Francisco Graphic Society, 1992, nr 44Depot 3-lade 10prentserietitelvóórHarde mannen, zachte vrouwenEngelsI wish I had gone to bed immediately...2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0110:12:5808:36:5713:07:10collect>internCOLLECT>interncollect>interncollect>intern 73044Depot 3-lade 15Japanse PrentenCentre CéramiqueTwee grove besneeuwde sparren op voorgrond, achtergrond sneeuw met verord sneeuw, paarsblauw-oranje zonsondergang.MaastrichtJapanse prentenlatere drukCVR-JP-P0188.jpgOntwerperSneeuwCVR-JP-P 188CVR.JP-P0188Depot 3-lade 15prent(verhaal: heeft de hele nacht vergeefs op haar minnaar gewacht)vóór33Bijschrift: Spar na sneeuwval, van Kawase Hasui. Twee besneeuwde sparren komen in beeld.Het Weer2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:0210:12:5808:36:5715:31:48Maastricht13:07:11collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73045Depot 3-lade 07Japanse PrentenCentre CéramiqueRechts voorgrond in groen gewaad knielende man met baard onder twee bomen, kijkt naar twee wegvluchtende dames met hoeden en sluiers aan hoeden bevestigd (Zijn volgens verhaal twee vluchtende mannen)MaastrichtJapanse prenten1886-08exact1886-08exactCVR-JP-P0189.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 189CVR.JP-P0189Depot 3-lade 0735prentHasebe Nobutsura looks after the fleeing Prince Mochihito and Minamoto no Munenobu. They are disguised as women.serietitelvóórBlokdrukJapansEngelsTakakura no tsukiThe Moon of Takakura2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0210:12:5908:36:5713:07:11collect>internCOLLECT>interncollect>interncollect>intern 73046Depot 3-lade 15Japanse PrentenCentre CéramiqueBoer op kar (centrum, naar rechts gewend) laat zijn witte paard drinken in poel. Op achtergrond zes bomen struikgewas en rechts dak van boerderij, donkerblauwe nachtlucht en oranje maan.MaastrichtJapanse prentenCVR-JP-P0190.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 190CVR.JP-P0190Depot 3-lade 15prentorigineel, 1886 goede staatvóór08BlokdrukBijschrift: Avondmaan in het Nakanoshima-park, van Kawase Hasui. De boer laat zijn paard drinken.Het Weer2003-09-30Reek, J. vanKawase Hasui (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:0210:12:5908:36:5715:58:2115:19:12Maastricht13:07:11collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73047Depot 3-lade 07Japanse PrentenCentre CéramiqueRechts tegen achtergrond grote roze maan harige, grijs geklede demon die met rode staf zwaait. Links springt een groot wit konijn, met rode ogen naar links weg.MaastrichtJapanse prenten1889-11herdruk eind 20e eeuw, authentieke reproductieexact1889-11exactCVR-JP-P0191.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 191CVR.JP-P0191Depot 3-lade 0773prentPlayful interactions between the Jade Rabbit who lives in the moon and the magically empowered monkey king, Sun Wukong (Jp: Songokû). From the Chinese Story 'Journey to the West (Jap. Saiyuki)serietitelvóórBlokdrukJapansEngelsGyokutoThe Moon of Jade Rabbit2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemon, Uchidaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0210:12:5908:36:5713:07:12collect>internCOLLECT>interncollect>interncollect>intern 73048Depot 3-lade 18Japanse PrentenCentre CéramiqueIn rood en blauw geklede bebaarde militair met blote benen waadt door water met op zijn rug een dame in wit gewaad met rode en blauwe bloemen achtergrond riet (zwart). Op het water bemerkt hij de schaduw van een wezen met hoorntjes, de dame is een demoon.MaastrichtJapanse prenten1889-05-10exact1889-05-10CVR-JP-P0192.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 192CVR.JP-P0192Stevenson 1992, cat. nr. IV, pp. 26-27Depot 3-lade 184prentOmori Hikoschichi was een officier in het leger van Ashikaga Takauji, de overwinnaar van de veldslag van Minatogawa in 1336. Kort na die gebeurtenis ontmoette Omori een mooie vrouw die hem vroeg haar over een rivier te dragen. Aan de schaduw van de hoorns op haar hoofd die hij in het water zag weerspiegelen herkende hij dat zij een boze geest was, en trok onmiddelijk zijn zwaard en doodde haar. | Van dit gebeuren bestaat ook een niet-magische legende, waarin het meisje de dochter is van de in de veldslag verslagen generaal, die wraak wil nemen voor de dood van haar vader. Dat lukt haar niet, maar Omori is zo getroffen door haar toewijding aan de nagedachtenis van haar vader, dat hij haar vrij laat gaan.serietitelvóórBlokdrukHoutsnede, kleurenJapansEngelsOmori Hikoschichi michi ni kaii ni au zuOmori Hikoschichi Encountering a Demon2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0310:12:5908:36:5713:07:12collect>internCOLLECT>interncollect>interncollect>intern 73049Depot 3-lade 07Japanse PrentenCentre CéramiqueLinks op de rug gezien een geisha in blauwe kimono en op hoge schoenen. De geisha kijkt naar een klein meisje met groene kledij rechts. Op de achtergrond kersenbloesem, bamboe schutting en 4 roze lantaarns. Het kleine meisje is mogelijk een leerlinge van de geisha en ook haar dochter.MaastrichtJapanse prenten1886-03exact1886-03exactCVR-JP-P0193.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 193CVR.JP-P0193Depot 3-lade 0723prentserietitelvóórBlokdrukEngelsThe moon at the licensed quarters of Kurawa. A geisha strolling under falling blossom2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0310:12:5908:36:5713:07:13collect>internCOLLECT>interncollect>interncollect>intern 73050Depot 3-lade 07Japanse PrentenCentre CéramiqueNaar rechts gekeerde baardige man met reuze grote bijlen grote hoed op rug. Achtergrond: nacht met hele rechterbovenhoek een maan. Legende: op de maan groeien bomen en iemand moet steeds die bomen omhakken)MaastrichtJapanse prenten1886-03exact1886-03exactCVR-JP-P0194.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 194CVR.JP-P0194Depot 3-lade 0727prentWu Gang of the Han Dynasty studied Taoist magical practices, but abused his power. As a punishment, he was forced eternally to cut the cassia trees on the moon. As soon as he cut them, they grew back again.serietitelvóórBlokdrukJapansEngelsTsuki no katsuraThe moon of the cassia tree: Wu Gang, holding an axe, on his way to fell the katsura trees on the moon2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0310:12:5908:36:5713:07:13collect>internCOLLECT>interncollect>interncollect>intern 73051Depot 3-lade 10Japanse PrentenCentre CéramiqueNaar rechts toegewende Samurai die zijn zwaard recht voor zich houdt. Blote voeten in de sneeuw. achtergrond witte besneeuwde boom en gele maan.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad33 x 22,634,7 x 25,1cmcmCVR-JP-P0195.jpgOntwerperGeesten en legendenCVR-JP-P 195CVR.JP-P0195MargesMaatcode passepartoutjaA = 35 x 50 cmJohn Stevenson, Yoshitoshi's One hundred apects of the moon, Redmond (WA), San Francisco Graphic Society, 1992, nr. 79Depot 3-lade 10prentScène uit toneelstuk Chûshingura, ook bekend als De 47 Ronin, gebaseerd op ware gebeurtenissen in 1703. 46 samurai van de feodale heer Asano, wiens zelfmoord te wijten was aan de heer Kira, in het stuk Moronao genoemd, braken in de nacht van 30 januari diens woning in Edo binnen en brachten hem om. Hij werd vergeefs verdedigd door zijn samurai Kobayashi Heihachirô. Diens heldhaftige verdediging wordt hier in klassieke kabuki pose afgebeeld. Goede staat, album doublureserietitelvóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsDawn moon and tumbling snow: Kobayashi Heihachirô2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0310:13:0008:36:5813:07:14collect>internCOLLECT>interncollect>interncollect>intern 73052Depot 3-lade 07Japanse PrentenCentre CéramiqueLinksonder grote roze maan. rechts steilte waartegen samurai klimt. Legende: verrassingsaanval in de nacht.MaastrichtJapanse prenten1885-12exact1885-12exactCVR-JP-P0196.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 196CVR.JP-P0196Depot 3-lade 077prentKonoshita Tokichi (1536-1598) leads an advance party against the castle on Mt. Inaba. The gourd on his back served as a canteen and also signaled their successful entry to the other forces. Tokichi later became a shogun and changed his name to Toyotomi Hideyoshi. Saitô Dôzan and the moon at mount Inaba (warrior scaling a cliff). The Sait6o castle at Inabayama was taken by Oda Nobunaga in 1564. Its nam,e then changed to Gifu.serietitelvóórBlokdrukJapansEngelsInabayama no tsukiThe Moon of Inaba Mountain2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0310:13:0008:36:5813:07:14collect>internCOLLECT>interncollect>interncollect>intern 73053Depot 3-lade 07Twee formaten aanwezig. miniatuur (ongeveer a4) en ongeveer A3.Japanse PrentenCentre CéramiqueDrie mensen lopen op een brug temidden van het water naar links, de twee oudsten dragen kinderen. de achterste (kleinste kokt naar achter, rechts. water met mistig grijs landschap met twee boerderijdaken en boer op achtergrond links midden grijsgroene bomen en lichtblauw water. maan schijnt vanachter de bomen in midden.MaastrichtJapanse prenten1842moderne herdruk, authentieke reproductie1834CVR-JP-P0197.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 197CVR.JP-P0197Depot 3-lade 0737prentMiyanokoshi is rich in historic remains in connection with Kiso Yoshinaka, who spent his childhood and youth here. At the Hataage Hachimangu Shrine, Kiso Yoshinaka rose in arms and marched against the Taira (1180). In this excellent piece of work, the close-range view is silhouetted against the distant view shaded off superbly so as to express the night fog. 37. Miyanokoshi (Hiroshige.) The river bank with trees seen in silhouette through the mist, under a full moon. In the foreground to left, a peasant family cross a plank bridge. Signed, Hiroshige. Seals, Ichiryusai, Kinjudo and plate number 37.serietitelvóór19BlokdrukBijschrift: Miyanokoshi, een van de 69 haltes van de Kisokaido, van Ando Hiroshige. Als de regen stopt ontstaat er nevel. Reizigers vervolgen hun weg.Het WeerJapansEngelsMiyanokoshiMiyanokoshi2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Kinjudoschenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-05-2917971858IesewfhelmesjpeetersjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:0411:41:0310:13:0008:36:5815:24:46Maastricht13:07:15collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73054Depot 3-lade 11Japanse PrentenCentre CéramiqueHet thema van deze prent is simpel: de beroemde dichter en fluitspeler Fujiwara no Yasumasa (958-1036) wordt tijdens een wandeling langs het moeras van Ichihara bedreigd door de bandiet Hakamadare Yasusuke. Die wordt echter zo ontroerd door Yasumasa's betoverende fluitspel dat hij van zijn snode plannen afziet. De prent is gebaseerd op een prachtige kakemono, een schildering op een zijderol, die Yoshitoshi in 1882 maakte speciaal voor de eerste officiële tentoonstelling van traditionele Japanse kunst. De titel verwijst daar ook expliciet naar, hoewel de prent geen precieze reproductie is van de oorspronkelijke, verticale schildering. Heel bijzonder is hoe Yoshitoshi de oorspronkelijk verticale compositie weet om te zetten in een horizontale zonder de effectiviteit ervan aan te tasten. De expressie wordt zelfs versterkt door het hier toegevoegde landschappelijke element: de mysterieuze sfeer van de mist en de langstrekkende donkere wolken waartegen de rietpluimen scherp afsteken. De prent was een onmiddellijk succes. Al twee maanden na verschijning werd het motief in een stuk voor het kabuki theater verwerkt, en kort daarna gebruikt bij voor het ontwerp van een praalwagen voor een grote religieuze processie, waar de kunstenaar zelf aan meewerkte. Hij werd ook een aantal malen door andere kunstenaars geparafraseerd. De prent wordt algemeen als Yoshitoshi's meesterstuk beschouwd.MaastrichtJapanse prenten1883moderne herdrukexact1883exactCVR-JP-P0198.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 198CVR.JP-P0198Depot 3-lade 11prentHet thema van deze prent is simpel: de beroemde dichter en fluitspeler Fujiwara no Yasumasa (958-1036) wordt tijdens een wandeling langs het moeras van Ichihara bedreigd door de bandiet Hakamadare Yasusuke. Die wordt echter zo ontroerd door Yasumasa's betoverende fluitspel dat hij van zijn snode plannen afziet. De prent is gebaseerd op een prachtige kakemono, een schildering op een zijderol, die Yoshitoshi in 1882 maakte speciaal voor de eerste officiële tentoonstelling van traditionele Japanse kunst. De titel verwijst daar ook expliciet naar, hoewel de prent geen precieze reproductie is van de oorspronkelijke, verticale schildering. Heel bijzonder is hoe Yoshitoshi de oorspronkelijk verticale compositie weet om te zetten in een horizontale zonder de effectiviteit ervan aan te tasten. De expressie wordt zelfs versterkt door het hier toegevoegde landschappelijke element: de mysterieuze sfeer van de mist en de langstrekkende donkere wolken waartegen de rietpluimen scherp afsteken. De prent was een onmiddellijk succes. Al twee maanden na verschijning werd het motief in een stuk voor het kabuki theater verwerkt, en kort daarna gebruikt bij voor het ontwerp van een praalwagen voor een grote religieuze processie, waar de kunstenaar zelf aan meewerkte. Hij werd ook een aantal malen door andere kunstenaars geparafraseerd. De prent wordt algemeen als Yoshitoshi's meesterstuk beschouwd.vóórBlokdrukDe grote golf bij KanagawaJapansEngelsMeiji jûgo mizunoe-uma kishû kaiga kyôshinkai shuppinga Fujiwara Yasumasa gekka rôtekiThe painting Fujiwara Yasumasa plays the flute by moonlight exhibited at the National Painting Exhibition in the autumns of 18822003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0413:07:16collect>internCOLLECT>intern 73055Depot 3-lade 18Japanse PrentenCentre CéramiqueDeze geest verandert na zijn dood in 1000 ratten, nadat hij zich zelf hadd doodgehongerd omdat de keizer hem een gunst geweigerd had. Als rat peuzelt hij de bibliotheek van zijn Miidera-tempel op en beschadigt de rollen en boeken door knagen.MaastrichtJapanse prenten1891-05-10exact1891-05-10exactCVR-JP-P0199.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 199CVR.JP-P0199Stevenson 1992, cat. nr. XXV, pp. 68-69Depot 3-lade 1825prentserietitelvóórBlokdrukJapansEngelsMii-dera Raigo-ajari akunen nezumi to henzuru zuPriest Raigo of Mii Temple Transformed by Wicked Thoughts into a Rat2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0410:13:0008:36:5813:07:16collect>internCOLLECT>interncollect>interncollect>intern 73056Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1886-01exact1886-01exactCVR-JP-P0200.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 200CVR.JP-P0200Depot 3-lade 0712prentThe warrior-priest Musashibo Benkei (?-1189) prays to pacify the angry spirits of the fallen warriors of the Taira clan and saves his master and companions from shipwreck as they sail across Daimotsu Bay in 1185. AH209 The Priest Musashibbô Benkei (1155-1189), the retainer of Minamoto Yoshitsune (1159-1189), and the moon over Daimotsu bay.serietitelvóór72Centre CéramiqueBlokdrukVerstilde schoonheidJapansEngelsDaimotsu kaijo no tsukiMoon above the sea at Daimotsu Bay2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0410:18:1811:41:0410:13:0008:36:58Maastricht13:07:17collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73057Depot 3-lade 07Japanse PrentenCentre CéramiqueVos in het maanlicht kijkt naar haar schaduw (Vos is eigenlijk vrouw)MaastrichtJapanse prenten1892-04latere herdrukexact1892-04exactCVR-JP-P0201.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 201CVR.JP-P0201Depot 3-lade 0797prentThe Musashi Plain surrounded the city of Edo (now Tokyo). It was the abode of foxes that occasionally took human form or adopted human qualities, like this vixen preening herself beside a pool.serietitelvóórBlokdrukJapansEngelsMusashino no tsukiThe Moon of Musashi Plain2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemon, Uchidaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0410:13:0108:36:5813:07:18collect>internCOLLECT>interncollect>interncollect>intern 73058Depot 3-lade 07Japanse PrentenCentre CéramiqueRustende mannen op paars vloerkleed 'Did I ever imagine that as the clouds of the high autumn sky cleared I would view the moon through a bamboo latticewindow' volgens het gedicht . De gevangene Hidetsogu schrijft een gedicht terwijl hij de toestand waarin hij zich bevindt overdenkt.De planten groeien naar binnen en de pleister is van de muren afgevallen.MaastrichtJapanse prenten1889-12-10exact1889-12-10exactCVR-JP-P0202.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 202CVR.JP-P0202Depot 3-lade 0774prentHidetsugu in exile. Toyotomi Hidetsugu (1568-1595) was adopted by his uncle, Hideyoshi, in 1591. After the birth of Hideyoshi's son in 1593, however, he fell into disfavor. He was exiled to Mt. Koya, a wilderness area, and forced to commit suicide. In this illustration, the imprisoned Hidetsugu composes a poem as he meditates on his hopeless situation, ' Did I ever imagine that as the clouds of the high autumn sky cleared, I would view the moon through a bamboo lattice window?' Toyotomo Hidetsugu (1568-1595) meditating while in exeile at the temple, Seiganji, on mount Kôya.serietitelvóórBlokdrukEngelsHidetsugu in exile2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0510:13:0108:36:5813:07:18collect>internCOLLECT>interncollect>interncollect>intern 73059Depot 3-lade 07Japanse PrentenCentre CéramiqueMan met baard zit onder de boom luit te spelen, van rechts komt schone vrouw. Volgens een verhaal uit de Hogen Monogatori wandelde op een dag tijdens zijn verbanning Shikoku Moronaga op het land, terwijl hij de kleuren van de herfst bewonderde. aangekomen bij de berg Miyaji met zijn beroemde bos en waterval werd hij door heimwee en de fluitende vogels zo geroerd dat hij zijn luit pakte. Een anonieme dame passeert.MaastrichtJapanse prenten1889-11gedrukt 10/10/1889exact1889-11exactCVR-JP-P0203.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 203CVR.JP-P0203Depot 3-lade 0772prentFujiwara no Moronaga (1137-1192) playing the lute by moonlight at Mount Myaji. After the Hogen Rebellion in 1156, the courtier Fujiwara no Moronaga was briefly exiled to the island of Shikoku. That autumn he consoled himself with a visit to Mt. Miyaji where the playing of his lute awakened a pair of ducks who joined him with their song.serietitelvóórBlokdrukJapansEngelsMiyajiyama no tsukiMount Miyaji moon2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0510:13:0108:36:5813:07:19collect>internCOLLECT>interncollect>interncollect>intern 73060Depot 3-lade 07Japanse PrentenCentre CéramiqueKrijgsheer die het krijgsgewoel overschouwt, met schedel van een overwonnen tegenstander op zijn staf.MaastrichtJapanse prenten1887-06-23exact1887-06-23exactCVR-JP-P0204.jpgOntwerperUitgeverKrijgersCVR-JP-P 204CVR.JP-P0204Depot 3-lade 0752prentThe warrior Toda Hanpei Shigeyuki and the moon at dawn at the battle of Tobinosuyama in 1573 Toda Hanbei Shigeyuki was a retainer of Tokugawa Ieyasu (1542-1616). In 1575, during the siege of Nagashino Castle, he led a successful attack against enemy forces on Tobisu Mountain.serietitelvóórBlokdrukJapansEngelsTobisuyama gyogetsuMount Tobisu dawn moon2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0510:13:0108:36:5913:07:19collect>internCOLLECT>interncollect>interncollect>intern 73061Depot 3-lade 11Japanse PrentenCentre CéramiqueOok in dit herfstige vergezicht grijpt Hiroshige terug op herinneringen uit zijn vroegere werk: in 1835-36 had hij in een kleine serie van acht prenten een aantal mooie uitzichten bij de plaats Kanazawa, in de omgeving van Edo, vastgelegd. Volgens de titel van deze prent probeerde hij twintig jaar later alle acht de 'beauty spots' in één grote prent samen te vatten. De volle maan neemt letterlijk een centrale plaats in de compositie in, en wordt benadrukt door een vlucht kraanvogels die er voor langs vliegt. Het hele landschap baadt in een zilver-grijs maanlicht.MaastrichtJapanse prenten1857moderne herdruk, authentieke reproductieexact1857exactCVR-JP-P0205.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 205CVR.JP-P0205Depot 3-lade 112prentSneeuw, Maan en Bloemen: drie drieluiken naar Hiroshige. Utagawa Hiroshige (1797-1857) is - naast Hokusai - de belangrijkste landschapskunstenaar onder de vroege Japanse prentkunstenaars. Zijn reputatie is met name gebaseerd op een aantal prentseries van bekende plaatsen in Japan, zoals Beroemde plaatsen in Edo (= Tokio) (1831) en De drieënvijftig haltes langs de Tokaido weg (ca 1834) (vgl. nr 4). Deze reeksen waren heel succesvol, en werden al tijdens het leven van de kunstenaar regelmatig herdrukt. De drie hier getoonde prenten, die tot de allerlaatste werken van de meester behoren, bestaan elk uit drie bladen. De serie laat drie topografische gezichten zien, die alle in verband kunnen worden gebracht met eerdere prentseries van Hiroshige. Maar de keuze van de motieven en de behandeling ervan varieert op een in die tijd veel gebezigd literair thema, dat tot de achtste eeuw teruggaat: 'Sneeuw, maan en bloemen' als verbeelding van de (drie) jaargetijden. Hier lijkt elk van de prenten een van deze motieven te illustreren. Ook wordt wel gedacht aan een onvoltooide serie van de vier seizoenen, waarbij een prent 'Lente' dan nooit tot stand zou zijn gekomen.Deze versies van de prenten zijn latere nadrukken, op de traditionele manier gesneden naar de oorspronkelijke prentontwerpen van Hiroshige. Ook in dit herfstige vergezicht grijpt Hiroshige terug op herinneringen uit zijn vroegere werk: in 1835-36 had hij in een kleine serie van acht prenten een aantal mooie uitzichten bij de plaats Kanazawa, in de omgeving van Edo, vastgelegd. Volgens de titel van deze prent probeerde hij twintig jaar later alle acht de 'beauty spots' in één grote prent samen te vatten. De volle maan neemt letterlijk een centrale plaats in de compositie in, en wordt benadrukt door een vlucht kraanvogels die er voor langs vliegt. Het hele landschap baadt in een zilver-grijs maanlicht. 2. Kanazawa Ha'ssho Yakei, Full Moon on the Eight Views of Kanazawa. A magnificent land and seascape of the inlet of Kanazawa, looking across to a hilly coast-line opposite , in the centre rises an island at whose base shelters a fishing village, and connected by a level isthmus with the mainland, overhead shines a full moon.serietitelvóórBlokdrukDe grote golf bij KanagawaJapansEngelsKanazawa Ha'ssho YakeiFull Moon on the Eight Views of Kanazawa2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Tsutayaschenking2013-01-272015-05-2717971858IesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0513:07:20collect>internCOLLECT>intern 73062Japanse PrentenCentre CéramiqueRots met aalscholvers en poep. Toshi's grote belangstelling voor het dierenleven bracht hem op de meest afgelegen plaatsen, zoals Afrika en zelfs Antarctica. Deze scène zal hij tijdens één van zijn reizen hebben geobserveerd. Het is een binnen de Japanse prentkunst weinig traditioneel thema, maar is wel in de traditionele technieken uitgevoerd: let bijvoorbeeld op de manier waarop de branding is uitgebeeld.MaastrichtJapanse prenten1975Lengte x BreedteLengte x BreedteBlokBlad50,4 x 35,854,4 x 39,5exact1975exactcmcmCVR-JP-P0206.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 206CVR.JP-P0206MargesMaatcode passepartoutjaB = 50 x 70 cmprentEen rots in de branding bezet met een kolonie aalscholvers. Posthume drukvóórBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsCormorant Island2003-09-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0513:07:21collect>internCOLLECT>intern 73063Depot 3-lade 10Japanse PrentenCentre CéramiqueGeisha links, gezicht naar rechts toegewend doet iets met papieren ronde lampion.MaastrichtJapanse prenten1888Lengte x BreedteLengte x BreedteBlokBlad36 x 24,136 x 24,1exact1888exactcmcmCVR-JP-P0207.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 207CVR.JP-P0207MargesMaatcode passepartoutgeenA = 35 x 50 cmJohn Stevenson, Yoshitoshi's Women - The woodblock print series Fuzoku sanjuniso, 1986, p. 78, no. 25.Depot 3-lade 10prentObservant Geisha links, gezicht naar rechts toegewend doet iets met papieren ronde lampion Mooie druk, zeldzaam Thirty-two aspects of customs and mannersserietitelvóór43Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsObservant: the appearance of a Kyoto waitress in the Meiji era' (1867 - 1912)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272014-03-182014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0613:41:2517:09:3811:41:0510:13:0208:36:59Maastricht13:07:21collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73064Depot 3-lade 10Japanse PrentenCentre CéramiqueNieuwsgierige Geisha met paarse kimono kijkt naar links tussen twee bamboe kamerschuifdeuren of alles in orde is.MaastrichtJapanse prenten1888-04-14Lengte x BreedteLengte x BreedteBlokBlad36,6 x 24,136,6 x 24,1exact1888-04-14exactcmcmCVR-JP-P0208.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 208CVR.JP-P0208MargesMaatcode passepartoutgeenA = 35 x 50 cmJohn Stevenson, Yoshitoshi's Women - The woodblock print series Fuzoku sanjuniso, 1986, p..?? , no. 13.Depot 3-lade 10prentNieuwsgierige Geisha met paarse kimono kijkt naar links tussen twee bamboe kamerschuifdeuren of alles in orde is. Mooie druk, zeldzaamserietitelvóór31Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsLooking inquisitive: the appearance of a maid in the Tempo era (1830-1844)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0617:08:0011:41:0510:13:0208:36:59Maastricht13:07:22collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73065Japanse PrentenCentre CéramiqueVanaf haven (zwart met boeten) `s-nachts gezien de Sumida, aan het begin van de Tokaido-weg in Edo, toen al Tokio. Een vrijwel in het geheel in zwarte schakeringen uitgevoerde houtsnede. Alleen de vuurtjes, de lampionnetjes en de verlichte ramen zijn roze-oranje. Boten op voorgrond.MaastrichtJapanse prenten1923?CVR-JP-P0209.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 209CVR.JP-P0209MargesgeenprentAlternatieve titel: De Sumida rivier bij nacht. is dit de eerste editie ? als volgt omschreven: Shotei (1871-1944). Makura bridge at night Undated but before 1923 Publisher: Watanabe First edition before the Kanto earthquake that destroyed the blocks of Watanabe - rare Size: 38x17,2 cm Very good impression and colours € 1.000 of is het de latere? Vanaf haven (zwart met boten) `s-nachts gezien de Sumida, aan het begin van de Tokaido-weg in Edo, toen al Tokio. Een vrijwel in het geheel in zwarte schakeringen uitgevoerde houtsnede. Alleen de vuurtjes, de lampionnetjes en de verlichte ramen zijn roze-oranje. Boten op voorgrond .De brug van Makura Bridge bevindt in Tokio zich bij de samenvloeiing van de rivieren Gennomori en Sumida.vóórBlokdrukHoutsnede, kleurenDe vier jaargetijdenEngelsMakura Bridge2003-09-30Reek, J. vanShôtei, Takahashi (Hiroaki) (1871-1945)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0610:13:0208:36:5913:07:23collect>internCOLLECT>interncollect>interncollect>intern 73066Depot 3-lade 10Japanse PrentenCentre CéramiqueDame met matje onder de arm kijkt naar rechts., Een Tsujigumi, een 'straathoekmaitresse', laagste klas publieke dame met matje onder de arm voor het beoefenen van haar beroep.MaastrichtJapanse prenten1887-06-23Lengte x BreedteLengte x BreedteBlokBlad33 x 22,335,4 x 24,2exact1887-06-23exactcmcmCVR-JP-P0210.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 210CVR.JP-P0210MargesMaatcode passepartoutongelijkA = 35 x 50 cmDepot 3-lade 10prentDame in zwarte kimono en met blauwe hoofddoek wandelt langs een met riet begroeide oever in het maanlicht, zij heeft een opgerold rieten matje onder haar arm, t.b.v. het beoefenen van haar beroep. A tsujigimi, or mistress of the street corner, was the lowest class of prostitute. The poem by Hitotose reads: 'Like reflections in the rice paddies the faces of the streetwalkers in the darkness are exposed by the autumn moonlight'. Goede staat, blinddruk in tekstcartouche, gedoubleerd met albumpapierserietitelvóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsThe Tsujigimi2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0610:13:0208:36:5913:07:25collect>internCOLLECT>interncollect>interncollect>intern 73067Depot 3-lade 10Japanse PrentenCentre CéramiqueDame met ontblote borsten met wat kleden om haar heen die onder een gordijn uitkomt, kijkend naar links.MaastrichtJapanse prenten1888-09-16Lengte x BreedteLengte x BreedteBlokBlad35,3 x 23,935,7 x 24,5exact1888-09-16exactcmcmCVR-JP-P0211.jpgOntwerperErotiekCVR-JP-P 211CVR.JP-P0211MargesMaatcode passepartoutalleen links en boven (smal)A = 35 x 50 cmJohn Stevenson, Yoshitoshi's Women - The woodblock print series Fuzoku sanjuniso, 1986, nr 16Depot 3-lade 10prentDame met ontblote borsten met wat kleden om haar heen die onder een groen gordijn uitkomt, kijkend naar links Goede staat, kleine reparatie (marge links onder aangevezeld)serietitelvóór34Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsLooking Itchy: The Appearance of a Kept Woman of the Kaei Era (1848-1854)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0617:10:3411:41:0610:13:0208:36:59Maastricht13:07:25collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73068Depot 3-lade 10Japanse PrentenCentre CéramiqueDame in kano met snaarinstrument in ksano (ten dele afgebeeld) beweent haar droeve lot.Ariko na Naish, een Heian hofdame, was een slachtoffer van onbeantwoorde liefde. Haar gedicht: How hopeleess it is, it would better for me to sink beneath the waves, perhaps then I could see my man from moon caspital.MaastrichtJapanse prenten1886-09Lengte x BreedteLengte x BreedteBlokBlad33 x 22,535,5 x 24,1exact1886-09exactcmcmCVR-JP-P0212.jpgOntwerperGeesten en legendenCVR-JP-P 212CVR.JP-P0212MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, plate 38Depot 3-lade 10prentDame in kano met snaarinstrument in kano (ten dele afgebeeld) beweent haar droeve lot. Het maanlicht weerkaatst op de golven. The Heian court lafy-in-waiting, Ariko, was a victim of unrequited love. Het poem reads: 'How hopeless it is, it would better for me to sink beneath the waves, perhaps then I could see my man from Moon Capital. Mooie druk, met blinddruk in de cartouche, de kraag en machetten, en de golven en de haren en 'laquer printing', i.e. met lak (de haren ?), album doublureserietitelvóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenJapansEngelsAriko no NaishiHow hopeless it is2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0710:13:0308:36:5913:07:27collect>internCOLLECT>interncollect>interncollect>intern 73069Depot 3-lade 10Japanse PrentenCentre CéramiqueDame, op steiger naar rechts toegewend zit met voetje in water.Waarschijnlijk een dienstertje van een theehuis op de oever van de Shijo-rivier, rust uit op een steiger van de Shijo-rivier:MaastrichtJapanse prenten1885-12Lengte x BreedteLengte x BreedteBlokBlad33 x 22,235,5 x 24,1exact1885-12exactcmcmCVR-JP-P0213.jpgOntwerperGeesten en legendenCVR-JP-P 213CVR.JP-P0213MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, plate 11Depot 3-lade 10prentAvond, volle maan, een dame in grijze kimono zit met een lampion op het uiteinde van het steiger, en steekt een voet in het heldere water. A young woman, probably a waittress at a tea house on the bank of the Shijo River in Kyoto, relaxes by the river on hot summer night. Mooie druk, blinddruk en houtnerf (the left cartouche, the nose line and the robe are embossed, strong wood grains visible on the sky ), album doublure.serietitelvóórBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsCooling of at Shijo2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0710:13:0308:36:5913:07:29collect>internCOLLECT>interncollect>interncollect>intern 73070Depot 3-lade 14Japanse PrentenCentre CéramiqueCourtisane kijkend naar links met prachtige gedessineerde kimono waarop zilver.MaastrichtJapanse prenten1888-04-14Lengte x BreedteLengte x BreedteBlokBlad36,4 x 2438,1 x 25,3exact1888-04-14exactcmcmCVR-JP-P0214.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 214CVR.JP-P0214MargesMaatcode passepartoutlinks en bovenA = 35 x 50 cmJohn Stevenson, Yoshitoshi's Women - The woodblock print series Fuzoku sanjuniso, 1986, p..?? , no. 10 ?Depot 3-lade 1410prentCourtisane kijkend naar links met prachtige gedessineerde kimono waarop zilver en gecompliceerde hoofdtooi. Mooie druk, blinddruk in kraag | Castle-toppler is the poetic name for a high-ranking courtesan, with an elaborate headdress decorated with many pins and combs.serietitelvóór28Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidEngelsFeminine: The Appearance of a Castle-Toppler of the Tenpô Era (1830-1844)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0717:06:3411:41:0710:13:0308:37:00Maastricht13:07:31collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73071Depot 3-lade 11Japanse PrentenCentre CéramiqueMan met zwaard op smalle brug kijkt naar links onder waar twee lieden zonder broek in het beekje aan het zoeken zijn met de handen in het water.MaastrichtJapanse prenten1887Lengte x BreedteLengte x BreedteBlokBlad32 x 20,935,6 x 24exact1887exactcmcmCVR-JP-P0215.jpgOntwerperKrijgersCVR-JP-P 215CVR.JP-P0215MargesMaatcode passepartoutmeegedruktA = 35 x 50 cmDepot 3-lade 11prentScène uit de laatste acte van het Kabuki theater stuk Aoto Z?shi Hana no Nishiki-e van Kawatake Mokuami (première maart 1862), vaker bekend onder de naam van een van de hoofdfiguren, Benten Kozô Kikonosuke. Act V: The final act takes place at the Gokuraku-ji, where Koz? battles the police while searching for the lost incense burner. One of his band, who informed on him to the police, steals away the incense burner, and after a long battle, Koz? commits suicide on the roof of the temple gate, seeking to atone for all his crimes.The transition to the next scene is likely one of the largest, and most famous, keren stage tricks in kabuki. The entire roof tilts backwards and out of the way, revealing Nippon Daemon standing on a veranda within the temple gate. He stands and watches the police search for him. Two of the thieves appear, convey the news of Koz?'s death, and then attack him, explaining that they were policemen in disguise the entire time.Daemon throws off the attack, and spots Aoto Fujitsuna, the top official after whom the play was originally named, on a small bridge down below. Aoto explains that his men found the incense burner in the river, and intend to return it to its rightful owners. Relieved, Daemon resolves to ask to be arrested, but Aoto generously offers to instead let him be at least until the end of the memorial service of the late shogun, Daemon promises to turn himself in later in the day, and leaves.Over de serie: This series of prints were mounted as an album at one time, and it explains the backing. This is the reason why the colors are still vivid and bright. Although there are creases and fold lines, there is no loss of color, so the lines are not that noticeable. This series was published by Matsuki Heikichi starting from 1885 to 1890, and included 52 prints by 7 artists. Each print showed a famous person from Japanes history. The Lofty Ambition of the title is a Confucian concept meaning righteous determination that woul inspire others.Henry D. Smith II, Kiyochika - Artist of Meiji Japan, pp74-75. Riccar Art Museum, 1973 for a complete catalogue of the prints in this series. Nacht, man met zwaard op smalle brug, naar links gewend, licht met fakkel twee mannen bij die met opgestroopt gewaad in beekje zoeken naar verloren geld. Mooie druk, het water met mica bestrooid, gedrukte marge, c.q. marge is deel van de prent, albumdoublureserietitelvóórBlokdrukHoutsnede, kleurenEngelsFujitsuna getting his men to find the incense burner lost in the river2003-09-30Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0710:13:0308:37:0013:07:31collect>internCOLLECT>interncollect>interncollect>intern 73072Depot 3-lade 11Japanse PrentenCentre CéramiqueKeizerin Jingu met zwaard in rood harnas en paarse kwasten en veel tekst boven haar.MaastrichtJapanse prenten1875Lengte x BreedteLengte x BreedteBlokBlad35 x 23,235,3 x 23,9?circa1875circacmcmCVR-JP-P0216.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 216CVR.JP-P0216MargesMaatcode passepartoutrestjes boven en rechtsA = 35 x 50 cmDepot 3-lade 114prentniet zeker dat het serienummer 4 is, ?titel: Of: Keizerin Jingu op oorlogspad serietitel: (of misschien uit: Dai Nippon Meisho Kagami, Mirrors of Famous Commanders of Japan ? Checken)Dame in rode wapenrusting met wapperende paarse kwasten, drie kwart, met lans in rechter hand, beweegt naar links maar draait haar hoofd terug (kijkt over haar linkerschouder met links), gedicht bedekt de achtergrond van de prent. Tokugawa Nariaki (?? ?? Tokugawa Nariaki, April 4, 1800 - September 29, 1860) was a prominent Japanese daimyo who ruled the Mito domain (now Ibaraki prefecture) and contributed to the rise of nationalism and the Meiji restoration. alternatieve duiding:Tradition says Empress Jingu(170-?269?), at her husband's death, assumed power, and led an victorious conquest of Korea. Takenouchi no Sukune, the old man on the left, is closely associated with her, as Grand Minister. Emperor Chuai opposed the invasion of Korea, and his death was pretty convenient. It is said that the Empress was pregnant when he died, and put rocks in her sash to delay the delivery. When she and Takenouchi returned victorious, two years later, the future Emperor, Ojin, was allowed to be born.Now, honestly, if you heard that story anywhere else And, just to add spice, historians are beginning to think that Jingu represents not Japanese invading Korea, but Koreans invading Japan, something that fits more neatly with her victorious conquest of Kyushu, an island that, as far as they can tell, was already a part of the dominant kingdom in Japan at the time of Jingu's career. In 1880-1881 maakte Yoshitoshi een serie van tien drieluiken, A Short Illustrated History of Japan: 1880-1881, waarvan de landing van Jingu in Korea de eerste is.serietitelvóórBlokdrukHoutsnede, kleurenEngelsTokijo, the servant of the lord of Mito (Tokugawa Nariaki), looking over her shoulder.2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0810:13:0308:37:0013:07:33collect>internCOLLECT>interncollect>interncollect>intern 73073Depot 3-lade 10Japanse PrentenCentre CéramiqueFluitende krijger op heuvel in witte pij en paarse mantel naar links toegewend.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad32,7 x 22,435 x 24,9exact1886exactcmcmCVR-JP-P0217.jpgOntwerperKrijgersCVR-JP-P 217CVR.JP-P0217MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, plate 31Depot 3-lade 10prentNacht, volle maan, op een rotspunt staat generaal Zi Fang, naar links toegewend, in een wijd wit damasten gewaad, met een uitwaaiende paarse mantel met rode kwasten, en speelt op een fluit. On a hill overlooked the enemy camp, General Zi Fang (dat is de literaire naam van Zhang Liang, Japans: Shibô, + 198 v.Chr.) , veldheer van Liu Bang, de eerste keizer van de Han Dynastie (206 v. Chr.=) played a few melodies from the enemy hometown. The enemy soldiers became homesick and ran away. Erg mooie heldere druk, rijke blinddruk in damasten gewaad en in cartouche, lakinkt (hoedje), albumdoublureserietitelvóór73Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsMount Yi Ming Moon - Zi Fang2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:0810:19:0511:41:0810:13:0408:37:00Maastricht13:07:36collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73074Depot 3-lade 11Japanse PrentenCentre CéramiquePrinses (roze, op achtergrond) in de vlammen, terwijl zegevierende lieden aan komen rennen van rechtsonder.MaastrichtJapanse prenten1880-02-20Lengte x BreedteLengte x BreedteBlokBlad31,9 x 20,935,3 x 23,2exact1880-02-201880-02-20cmcmCVR-JP-P0218.jpgOntwerperUitgeverSenso-e (oorlog)CVR-JP-P 218CVR.JP-P0218MargesMaatcode passepartoutjaA = 35 x 50 cmvan den Ing, Eric, Robert Schaap, Beauty & Violence: Japanese Prints by Yoshitoshi 1839-1892, Bergeyk: Society for Japanese Arts, 1992, ISBN 90-70216-04-3, - pg. 116 - 119 this series described Shinichi Segi, Yoshitoshi - The SplendidDepot 3-lade 1139prentRuiter rechts voor, vergezeld van enkele soldaten op de voorgrond, zien ontzet toe hoe op de achtergrond de in een roze gewaad geklede prinses Saohime in de vlammen omkomt Princess Saohime, the wife of Emperor Suinen, dies in the flames her brother's castle. She reported his treachery to the emperor.Princess Saohime was first wife of Emperor Suinin, probably the 11th Emperor of Japan, from 29 BCE - 70 CE (sic). She had just borne the required son, when she was approached by her brother, Prince Sahohiko, to murder the Emperor so Sahohiko could seize the throne. Presented with the opportunity, she could not do it: instead, she revealed the plot. The war that followed was bloody and protracted, eventually turning against the Prince. Saohime, mourning the loss of her brother, joined him in his palace, refusing to leave when it was put to the torch, announcing that she would die to expiate the guilt of rebelling against the Emperor. Yoshitoshi included Saohime in his triptych A Mirror of Famous Women of Japan. Iets verbleekt, verder mooie druk, albumdoublureserietitelvóórBlokdrukHoutsnede, kleurenEngelsPrincess Saohime dies in her brother's castle2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Funazu Chujiroschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0810:13:0408:37:0013:07:37collect>internCOLLECT>interncollect>interncollect>intern 73075Depot 3-lade 14Japanse PrentenCentre CéramiqueIn donker staande naar links gewende bebaarde figuur met wapperende haren, Sugawara no Michazane zwarte pij en groene toverstok laat bliksems schichten om de berg Tenpai, terwijl hij naar de richting van Kyoto kijkt De keizer verbande hem naar Kyushu.MaastrichtJapanse prenten1880-02-20Lengte x BreedteLengte x BreedteBlokBlad33,2 x 22,436,1 x 24,8exact1880-02-20exactcmcmCVR-JP-P0219.jpgOntwerperUitgeverCVR-JP-P 219CVR.JP-P0219MargesMaatcode passepartoutjaA = 35 x 50 cmDepot 3-lade 142prentDonkere nacht, op een bergpunt staat een man met lange grijze wapperende haren, hij zwaait een stok of toverstaf, een enorme bliksemschicht schiet door de gehele afbeelding van rechts voor naar midden achter. Sugaware no Michizane (845-903) evoking a thunderstorm on Mount Tenpai while gazing in the direction of Kyoto, towards the Emperor who exiled him to Kyushu. One of the masterpiecs of the set. Fine first edition impression with gauffrage and a lacquer pattern on the kimono. Sugawara no Michizane (845-903), a Heian scholar, historian and poet, rose rapidly to achieve the post of Minister of the Right in 899. It is said that the Emperor wished to make him an envoy to China, but Sugawara, not wishing to go, argued that it was more important to build Japanese culture than imitate China, bringing the tradition of scholars visits to China to an end. In 901, a rival, Fujiwara Tokihira, accused Sugawara of treason, and persuaded Emperor Daigo to demote him to Administrative Head of Daizaifu in Kyushu, an effective exile. Michizane was angry and bitter, but died without rehabilitation or revenge. Upon his death, a series of disasters and epidemics which were attributed to his angry ghost struck the capital and the court. To propitiate him, a shrine was built where he was worshipped as the god Tenman Tenjin. Tenjin was originally an agricultural thunder god, and Sugawara is shown here in exile, invoking thunder against his enemies in Kyoto. Today, less emphasis is placed on this aspect of his power: he is revered as a patron of study, poetry, calligraphy, and the performing arts. The famed early poet and scholar Michizane (845-903), who was deified as Tenjin, the Shinto god of music, literature and calligraphy - particularly helpful to school children learning to write. Sugawara Michizane Conjures a Storm on Mount Tempai, 1881,from the series Twenty-four Accomplishments in Imperial Japan. Colors on paper, single oban sheet. Collection of Harvey Garneau.This object appears is from the Special Exhibit: From Edo to Meiji: Yoshitoshi's Strange Tales May 26–September 9, 2007 In case of discrepancy, use wall label as final authority. Sugawara Michizane was a talented and loyal minister at the court of the emperor Daigo. In 901 Michizane's political enemies took advantage of an eclipse of the sun to manipulate his exile to Mount Tempai, where he died two years later unreconciled with the emperor. A series of deaths and disasters struck the court, and Daigo became convinced that they were the work of Michizane's vengeful spirit. He tried in vain to placate the spirit, publicly exonerating Michizane of any crime and awarding him posthumous titles. Eventually the emperor died of a nervous breakdown, and Michizane is now honored as Tenjin, the Shinto deity of scholars and calligraphy.In one of Yoshitoshi's most dramatic compositions we see the exiled Michizane on Mount Tempai in the guise of the Thunder God with a bamboo wand, conjuring lightning bolts to hurl at his enemies, his long hair flies in the storm. Just five years later, Yoshitoshi created an entirely different interpretation of Michizane (no. 44).serietitelvóórBlokdrukHoutsnede, kleurenJapansEngelsSugawara no Michizane Evoking a Thunderstorm over Kyoto2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsuda Genshichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0810:13:0408:37:0013:07:38collect>internCOLLECT>interncollect>interncollect>intern 73076Depot 3-lade 11Japanse PrentenCentre CéramiqueKrijgsheer bekijkt dame met ontblote borsten in de tuin.MaastrichtJapanse prenten1886-09-06Lengte x BreedteLengte x BreedteBlokBlad33 x 22,235,6 x 24,1exact1886-09-06exactcmcmCVR-JP-P0220.jpgOntwerperErotiekCVR-JP-P 220CVR.JP-P0220MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, - plate 37Depot 3-lade 1136prentNacht, maansikkel, dame in tuin voor witte rozenstruik, naar rechts gewend, laat haar lila, roodgevoerde kimon openvallen, een knielende dienstmaagd rechts. Vanachter de afrastering wordt zij door een man over diens waaier bespied. Lady Kaoyo Gozen seen through the fence by the evil-minded Kôno Moronao. From the Chusingura story. Ko no Moronao was chief retainer for a mid 14th-century shogun. It is recorded that he persuaded a court lady to arrange for him to sneek a peek at Kaoyo, wife of another court official, who was famous for her beauty. Here Moronao hides in the bushes as Kaoyo finishes her bath. date 0609 1886 24.2 x 35.6 cm. Mooie prent, blinddruk in cartouche en de witte rozen, kimono van het dienstmeije. AlbumdoublureserietitelvóórBlokdrukHoutsnede, kleurenJapansEngelsKaimami no tsukiA Glimpse of the moon: Kaoyo2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0810:13:0408:37:0013:07:39collect>internCOLLECT>interncollect>interncollect>intern 73077Depot 3-lade 15Japanse PrentenCentre CéramiqueNitto was populair bij de vrouwen. Zijn favoriete vrouw was het dienstmeisje Okoro. Nikko controleert of het rendez-vous ongestoord kan verlopen. Zijn wellustig gedrag zal een andere keer ontdekt worden en hij zal in 1803 geëxecuteerd worden.MaastrichtJapanse prenten1885-12-14Lengte x BreedteLengte x BreedteBlokBlad33,7 x 45,539,5 x 50,2exact1885-12-14exactcmcmCVR-JP-P0221.jpgOntwerperUitgeverErotiekCVR-JP-P 221CVR.JP-P0221MargesMaatcode passepartoutja (overgeplakt)B = 50 x 70 cmDepot 3-lade 153prentTweeluikVanden Ing / Schaap, Beauty and Violence,cat. nr. 55,3: The story of the preist Nittô of the temple, Emmeiin. Ushinosuke, the son of the actor Onoe Kikugorô I, was forced to flee Edo because his sexual exploits resulted in murder. He entered the Emmeiin where he eventually became head priest. He continued his affairs with women, however, and was eventually put to death. Here Nittô (his priestly name) sits with the servant Okoro. The story is told in the kabuki play Jitsugetsusei kyôwa seidan ( The star-fated verdict of 1803). Horizontaal tweeluik, interieur, lichtgroene matten, olijfgroene wand. Links bekijkt kaalgeschoren jonge priester een schaaltje met een bolgewas, rechts zit een wulpse dame in rood met grijze kimono die haar haar doet, tegen een achtergrond van theegerei een rijk beschilderd kamerscherm, en een bruin gemarmerd wandpaneel. The series 'Shinsen azuma nishike-e' was published between 1885 amd 1889, and the designs are based on episodes from kabuki plays. Other than in 'regular' kabuki prints, Yoshitoshi's designs do not depict real stage scenes, but rather set the stories in natural surroundings. Nor did he draw actors, but 'real' human beings.Reference: - van den Ing-Schaap, Beauty and violence ., no. ?? . - Segi, Shinichi, Yoshitoshi - the splendid decadent ., pp. ??. mooie druk, blinddruk in kimono priester en dame, aaneengeplakt op albumkarton, afgezet met een groene papieren marge.serietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsPriest Nitto and Okoro2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:26:0910:13:0408:37:00MaastrichtMaastricht13:07:40collect>internCOLLECT>interncollect>interncollect>intern 73078Depot 3-lade 14Japanse PrentenCentre CéramiqueDame in zwarte kimono naar links kijkend vanaf borst afgebeeld.MaastrichtJapanse prenten1898Lengte x BreedteLengte x BreedteBlokBlad30,1 x 20,937,1 x 24,3circa1897circacmcmCVR-JP-P0222.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 222CVR.JP-P0222MargesMaatcode passepartoutjaA = 35 x 50 cmFor a detailed discussion of the series and Chikanobu's career, please see: The New wave - Twentieth century Japanese prints from the Robert O. Muller collection, London and Leiden, 1993, pp. 79-82.Depot 3-lade 1411prentBorststuk: dame in zwarte kimono naar links kijkend, draagt parasol The series, True Beauties', comprises thirty-six bust portraits (okubi-e) and illustrates town women, geisha and court ladies both in modern and more traditional dress and settings. While many of the images reveal Chikanobu's stylistic debt to Kunichika and also to the Utagawa tradition of Ukiyo-e - most apparent in the treatment of facial expression - the series generally possesses a modern flair in its interpretation of female form.serietitelvóórBlokdrukHoutsnede, kleurenJapansEngelsHigasaHolding a Parasol2003-09-30Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272015-01-142013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0916:53:3711:41:0910:13:0408:37:0013:07:42collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>intern 73079Depot 3-lade 14Japanse PrentenCentre CéramiqueBadhuis aan de rivier, regen, blauwe achtergrond met groot gebouw tegen de avond.MaastrichtJapanse prenten1933Lengte x BreedteLengte x BreedteBlokBlad36,1 x 2439,5 x 26,3posthume druk 2003exact1933exactcmcmCVR-JP-P0223.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 223CVR.JP-P0223MargesMaatcode passepartoutjaA = 35 x 50 cmDepot 3-lade 14prentAvond, regen, nevelige atmosfeer, Een vrouw neemt een bad in verlicht badhuisje op een rots bij de oever van een vijver, op de achtergrond en groot gebouw met enkele verlichte vensters . mooie posthume herdruk Reissued in Spring 2003 by Watanabe using their original woodblocks from 1933vóór14BlokdrukHoutsnede, kleurenBijschrift: Regen in het kuuroord van Shuzenji, van Kawase Hasui. Een vrouw baadt, terwijl de regen valt.Het WeerJapansEngelsShuzenji no ameRain at Shuzenji Hot Spring2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:0910:13:0508:37:0015:22:26Maastricht13:07:43collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73080Depot 3-lade 14Japanse PrentenCentre CéramiqueDame, met witte hoofdbedekking, zwierig met bruine en blauw gestreepte kimono achterom naar rechts kijkend.MaastrichtJapanse prenten1908Lengte x BreedteLengte x BreedteBlokBlad26,7 x 20,528,5 x 22,5circa1908circacmcmCVR-JP-P0224.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 224CVR.JP-P0224MargesMaatcode passepartoutvan boven afgesnedenA = 35 x 50 cmDepot 3-lade 14prentzg. kuchi-e prent, gemaakt om te dienen als voorpagina of titelprent van een tijdschrift of roman. A beauty is making a sheet of rice cake for the preparation of the New Year's celebration. Kagami-mochi, a small round rice cake on top of a bigger one covered with assorted traditional ornaments, decorates each house as a good-luck symbol. Dame, zwierig met bruine en blauw gestreepte kimono, witte hoofdbedekking, knielt op de grond, achterom naar rechts kijkend terwijl ze een vel papier van de grond pakt goede staat, iets afgesneden van boven, originele boekillustratie uit boek of tijdschirft (vouw)vóórBlokdrukHoutsnede, kleurenEngelsRice Cake Making2003-09-30Reek, J. vanKiyokata, Kaburaki (1878-1972)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:0910:13:0508:37:0113:07:43collect>internCOLLECT>interncollect>interncollect>intern 73081Depot 3-lade 14Japanse PrentenCentre CéramiqueNiet gedateerde square print shikishi-e voor een waaier (uchiwa-e) met daarop in de haven van Tolio, rechts de Sumida-brug, op voorgrond links sampan met staande dame in paarse outfit en rode pretdame met hengel. Meisjes van plezier in plezierboot.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24 x 24,524 x 25,5cmcmCVR-JP-P0225.jpgOntwerperWaaiersCVR-JP-P 225CVR.JP-P0225MargesMaatcode passepartoutwaaierranden raken bladrandA = 35 x 50 cmLiteratur zum Thema Fächer: Neville John Irons: Fans of Imperial Japan. Kaiserreich Kunst, Hong Kong, 1982 Patrizia Jirka-Schmitz: Japanische Fächerbilder. Offermann & Schmitz, Wuppertal 1989 Julia Hutt & Hélène Alexander: Ôgi. A History oDepot 3-lade 14prent... Uchiwa -e = waaierprent(Min-of-meer) vierkante waaiervorm: Bootje met roefje, aan dek twee dames, één staand in lila kimone, kijkt over haar schouder naar de andere, knielend, met hengel, Op de achtergrond zeearm of meer, met brug naar eiland met huizen. Dit is een uchiwa (baldwaaier) i.t.t. de ogi of sensu (vouwwaaier).vóórgeen eigen fotoBlokdrukHoutsnede, kleuren2003-09-30Reek, J. vanGekko, Ogata(1859-1920)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1010:13:0508:37:0113:07:43collect>internCOLLECT>interncollect>interncollect>intern 73082Japanse PrentenCentre CéramiqueHoewel deze afbeelding eruitziet als een illustratie bij een oude samurai legende, was het in feite en uitbeelding van een belangrijke eigentijdse gebeurtenis: de moord op de Japanse eerste minister Ii Naosuke in maart 1860. Deze had zonder onder zware druk van de Verenigde Staten, Groot Brittanië en Frankrijk het Harris verdrag bekrachtigd, waarmee Japan open werd gesteld voor het buitenland. Fanatieke tegenstanders van de opheffing van het isolement van Japan vermoordden hem op een vroege ochtend toen hij in zijn draagstoel arriveerde bij de Sakurada poort van het kasteel van Edo, de residentie van de shogun. De titel van de prent is heel ironisch: 'sneeuw valt als bloemen'. Dit verwijst naar het landschappelijke element, dat in deze prent achtergrond is. Maar het verwijst ook naar 'vlietende' van het leven, de aandacht voor de vergankelijkheid, die een van de kenmerken is van de ukiyo-è prentkunst. En hier natuurlijk ook van toepassing op het leven van Ii Naosoke.MaastrichtJapanse prenten1874exact1874exactCVR-JP-P0226.jpgOntwerperSenso-e (oorlog)CVR-JP-P 226CVR.JP-P0226prentYOSHITOSHI TSUKIOKA: River Water: Snow Falling Like Flowers, between 1870-1880 Ii Naosuke (1815-1860), daimyo of Hikone, was a member of the Shogun's Council when Perry arrived at Edo. At first opposed to opening Japan, he changed his mind when he got an accurate idea of the relative strength of the enemy. On April 23, 1858, with Shogun Tokugawa Iesada dying, Ii was elected Chief Minister by the Shogun's Council. The council was split over the succession. The most direct heir was a boy of twelve. The other was Hitotsubashi Yoshinobu, son of the daimyo of Mito, Nariaki, and a leading exclusionist. Ii, known for foreign sympathies, decided for the boy, Tokugawa Iemochi, enraging the Lord of Mito. Further, under intense pressure from America, Britain and France, Ii took the unprecedented step of acting without the consent of the Emperor, an exclusionist, and signed the Harris Treaty with the U.S. He opened Yokohama for foreign trade, and sent a Japanese ambassador to Washington. Opposition was executed, imprisoned or exiled, including Nariaki, who was placed under house arrest.The insult to the Emperor and to the house of Mito could not, in traditional Japan, pass unavenged. Ii was assassinated at the Sakurada Gate of Edo Castle on a snowy morning in March, 1860, as he arrived in a palanquin(background left) to attend the Shogun's court. His assassins, seventeen Mito and Satsuma samurai, waited near the gate with swords hidden under snow capes. Despite the print, they surprised Ii's bodyguard, killing Ii in the palaquin, before he could react. Although the exclusionists were back in power, Nariaki died in September the same year. And, it was already too late. The treaties were signed: Japan could not easily reverse direction.vóórBlokdrukDe grote golf bij KanagawaEngelsMurder at Sakurada Gate2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1013:07:44collect>internCOLLECT>intern 73083Depot 3-lade 05Japanse PrentenCentre CéramiqueLinks de rode spitse gevel van een tempel. Op de nok zit een rood geklede man met zwaard, beneden op een afdak voor de gevel een fraai geklede samurai met zwaarden en een stok tussen zijn tanden. Hij kijkt omhoog. Het is nacht, boven achter hem komt de volle maan net achter het steile dak uit.MaastrichtJapanse prenten1858authentieke reproductieexact1858exactCVR-JP-P0227.jpgOntwerperKrijgersCVR-JP-P 227CVR.JP-P0227Depot 3-lade 05prentVergelijk deze prent van Kuniyoshi met de versie of nauwe navolging ervan in het verticale tweeluik van Yoshitoshi, Twee dappere strijders op het dak van Hôryûkaku (1888) (= CVR JP P 419). Het beeldt ongetwijfeld dezelfde scène uit: Hakkenden no uchi, Hôryûkaku [The Fight at Hôryûkaku from the Hakkenden - The Eight Loyal Dogs of the House of Satomi] (die Kuniyoshi ook nog op andere wijze heeft weergegeven). Horyukaku is een paviljoen van het kasteel van Koga aan de Tonegawa rivier. In de 18de-eeuwse heldenroman De acht honden van de Satomi clan is het de locatie van een beroemd geworden gevecht tussen twee krachtpatsers, Inuzuka Shino en Inukai Genpachi, dat hier is afgebeeld. Een vlucht vogels fladdert verschrikt om de kemphanen heen. Deze prent werd in 1858 opgenomen in een zg harimaze prent: Format: Ôban harimaze print Description: A harimaze print is one that consists of several unrelated images on a single sheet of paper. The left hand portion is a chûtanzakuban showing Inudzuka Shino on the crest of the Hôryûkaku roof looking down upon Inukai Kempachi with geese flying below a full moon. The other two designs are a blowfish by Hiroshige and Daruma crossing the sea on a sword by Kunisada (signed Hanabusa Itchô ga). Publisher: Tama-ya Sôsuke / Date: 1858 / cf. Robinson: S95f.3 the vertical diptych Horyukaku ryoyu dozuru Two heroes fighting atop Horyukaku tower, illustrating the duel between Inuzuka Shino and Inukai Gempachi, from the novel The Story of Eight Dogs of the Satomi Clan by Bakin, signed Oju Yoshitoshi ga and published by Matsui Eikichi-vóórBlokdrukEngelsInudzuka Shino on the crest of the Hôryûkaku roof looking down upon Inukai Kempachi with geese flying below a full moon2003-09-30Reek, J. vanKuniyoshi, Utagawaschenking2013-01-272015-05-272013-09-182013-06-1217971861Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1010:13:0508:37:0113:07:45collect>internCOLLECT>interncollect>interncollect>intern 73084Japanse PrentenCentre CéramiqueDonker lijnenspel van japanse villa in sneeuw. Links kale boom, achter het villacomplex. Van zeer dichtbij.MaastrichtJapanse prenten2000circa1980circaCVR-JP-P0228.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 228CVR.JP-P0228prentvóórBlokdrukJapansEngelsKatsura-rikyuKatsura: The Imperial Villa2003-09-30Reek, J. vanKarhu, Clifton (1927-2007)Unsodoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1010:13:0608:37:0113:07:46collect>internCOLLECT>interncollect>interncollect>intern 73085Depot 3-lade 14Japanse PrentenCentre CéramiqueDaken van tempel, met in het midden pagode. grove belijning, paars, geel oranje aquamarijn, erg veel kleuren.MaastrichtJapanse prenten2000circa1980circaCVR-JP-P0229.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 229CVR.JP-P0229Depot 3-lade 14prentvóórBlokdrukJapansEngelsYasaka no towThe pagoda at Yasaka in Kyoto2003-09-30Reek, J. vanKarhu, Clifton (1927-2007)Unsodoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1010:13:0608:37:0113:07:46collect>internCOLLECT>interncollect>interncollect>intern 73086Depot 3-lade 08Japanse PrentenCentre CéramiquePlas, voorgrond kort riet, rechtsmidden bootje varend naar links, een bol wit zeil, schipper met sruurspaan achter Achtergrond maanovergoten kaal land, links vijf hoge populieren. Achtergrond ver weg hier en daar een populier. bewolkte nachtoranje licht door wolkenflarden weerschijnt op achterste deel plas.MaastrichtJapanse prenten1930latere druk van oorspronkelijke blokken1929CVR-JP-P0230.jpgOntwerperUitgeverLandschappenCVR-JP-P 230CVR.JP-P0230Depot 3-lade 08prentOne of 16 images originally published by Kawaguchi & Sakai (1929-30)Plas , voorgrond kort riet, rechtsmidden bootje varend naar links, een bol wit zeil, schipper met stuurspaan achter Achtergrond maanovergoten kaal land, links vijf hoge populieren. Achtergrond ver weg hier en daar een populier. bewolkte nachtoranje licht door wolkenflarden weerschijnt op achterste deel plas Origineel, 1930. Oban 17 inch bij 12,5 inch Een van de 16 prenten door H gemaakt voor Kawaguchi en Sakai. == Checken of dit een oorspornkelijk druk is, of een ex. van de latere druk uitgegeven door Shobisha (who acquired woodblocks from Kawaguchi & Sakai around 1950).vóór04BlokdrukBijschrift: Avondschemering in Ushibori, van Kawase Hasui. Het uitje gaat verder in een bootje.Het WeerDe vier jaargetijdenJapansEngelsUshibori no uhgureTwilight at Ushibori2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Kawaguchi & Sakaischenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-06-052013-05-29Iesewfhelmesjpeetersjpeetersewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:1111:41:1010:13:0608:37:0116:04:5815:16:12Maastricht13:07:47collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73087Depot 3-lade 06Japanse PrentenCentre CéramiqueGrote grove den, besneewd, met rechtsmidden boven kleien volle gele maan. Donkerblauwe lucht, besneeuwd schuurtje achter boom, man loopt van links schhurtje binnen met emmer water Achtergrond:links huis met verlichte gele ramen.MaastrichtJapanse prenten1956exact1956exactCVR-JP-P0231.jpgOntwerperUitgeverSneeuwCVR-JP-P 231CVR.JP-P0231Depot 3-lade 06prentvóórBlokdrukEngelsRuins of Shitomae Barrier2003-09-30Reek, J. vanKasamatsu, Shiro (1898-1991)Unsodoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1110:13:0608:37:0113:07:47collect>internCOLLECT>interncollect>interncollect>intern 73088Depot 3-lade 05Japanse PrentenCentre CéramiqueHoger gelegen besneeuwde weg met 4 personen links met rietmantels , eentje met juk. bomen, akkerland met twee huizen en dan daarchter de blauwe rivier, daarchter nog meer huizen. Donkere zwarte lucht met sneeuw.MaastrichtJapanse prenten1928posthume druk naar tekeningen van Hiroshige uit 1847exact1928exactCVR-JP-P0232.jpgOntwerperUitgeverSneeuwCVR-JP-P 232CVR.JP-P0232Depot 3-lade 05FprentGedrukt ca 1927-27 van nieuw gesneden blokken naar een in Frans privébezit terechtgekomen oorspronkelijke serie tekeningen van Hiroshige uit ca 1840-1842: 8 sneeuwgezichten uit de omgeving van Edo, die nooit eerder als prent waren gerealiseerd. Aan de kleuren te oordelen is dit en latere (laat 20ste eeuwse ?) druk.serietitelvóór23BlokdrukBijschrift: Gezicht op de oever van Sumida bij Edo. Acht sneeuwgezichten uit de oostelijke hoofdstad, van Ando Hiroshige. Een laag sneeuw is gevallen in de buurt van Edo.Het WeerJapansEngelsSumidagawa Tsutsnmi no KeiView From the Sumida River Embankment2003-09-30Reek, J. vanHiroshige, Ando (1797-1858)Shotaro Satoschenking2013-01-272015-05-272015-05-272015-05-272013-09-182013-09-182013-06-122013-05-2917971858IesjpeetersjpeetersewfhelmesjpeetersjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique15:40:5915:29:5014:26:1111:41:1110:13:0708:37:0115:26:57Maastricht13:07:48collect>internCOLLECT>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73089Depot 3-lade 05Japanse PrentenCentre CéramiqueBesneeuwde trap vanuit midden van de plaat leidt naar een bruinhouten paviljoen. Besneeuwde bomen. Op de trap een klein figuurtje (Hasui?) dat van ons af loopt. De laatste prent van Hasui is bijna symbolisch. Op zijn begrafenis werd deze prent uitgereikt.MaastrichtJapanse prenten1957(wellicht ex. van de posthume herdenkingsdruk uit 1979 ?)exact1957exactCVR-JP-P0233.jpgOntwerperUitgeverSneeuwCVR-JP-P 233CVR.JP-P0233Depot 3-lade 05prentDit is de laatste prent van Hasui. Hiraizumi, Konjiki-do (Hall of the Golden Hue at Hiraizumi). Hasui's last work !. A lone priest is heading to the Hall of the Golden Hue in a dark snow falling day. Checken: Geldt het volgende ook voor ons exemplaar ? == ( This impression was printed in 1979 as the special commemorative edition for the first comprehensive Hasui catalogue by Narazaki published by Mainichi Newspaper.) 613. Hall of the golden hue, Hiraizumi [Hiraizumi, Konjikido] Work of 1957 [Showa sanjuninen saku] Hasui signature with Kawase seal - Sealed zeppitsu [last work] before title. Publisher: Watanabe Shozaburo [seal A] [N 567]. According to Narazaki, This was Hasui's final work. The first edition of the print was distributed to the artist's friends and acqaintances during a memorial service on the hundred-day anniversary of his death, which was held to pray for the response of his soul. Hirazumi is in southern Iwate prefecture [see also cat. nos. 312/312a, 314, 587]. blz 135 deel Ivóór34BlokdrukBijschrift: Het heiligdom van de gouden kleur in Hiraizumi, van Kawase Hasui (1883-1957). Een man loopt het beeld uit de eeuwigheid in. Hasui ontwierp deze prent op zijn sterfbed. Na zijn overlijden op 27 december 1957 maakte Watanabe de houtsnede. Tijdens de herdenkingsbijeenkomst op 6 maart 1958 kreeg iedere bezoeker een exemplaar.Het WeerJapansEngelsHiraizumi, Konjiki-doHall of the Golden Hue at Hiraizumi2003-09-30Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-272015-05-272015-05-272013-09-182013-09-182013-06-122013-05-29Iesjpeetersjpeetersewfhelmesjpeetersjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique15:41:4815:30:1114:26:1111:41:1110:13:0708:37:0115:32:11Maastricht13:07:43collect>internCOLLECT>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73090Depot 3-lade 06Japanse PrentenCentre CéramiqueInsect linksboven. Grote roze bloemen, links twee gele.MaastrichtJapanse prenten1899datering:?, moderne herdruk, authentieke reproductieeeuw1800eeuwCVR-JP-P0234.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 234CVR.JP-P0234Depot 3-lade 06prentserietitelvóórBlokdrukEngelsBee and Chrysanthemums2003-09-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1210:13:0708:37:0213:07:44collect>internCOLLECT>interncollect>interncollect>intern 73091Depot 3-lade 14Japanse PrentenCentre CéramiqueVanuit het water naar links gezien de hoge brug van het Kameido-park, rechts het poortgebouw. Boven: blauwe druifjes-achtige bloemen: blauwe regen?MaastrichtJapanse prenten1936exact1936exactCVR-JP-P0235.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 235CVR.JP-P0235Depot 3-lade 14prentvóórBlokdrukEngelsKameido2003-09-30Reek, J. vanNouet, Noël (1885-1969)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1210:13:0708:37:0213:07:45collect>internCOLLECT>interncollect>interncollect>intern 73092Depot 3-lade 05Japanse PrentenCentre CéramiqueIn overwegend in groen en rood uitgevoerde prent zuigt de rechtse liggende dame op de rechter ontblote , haar toegewende borst van een naar rechts geknielde dame. Op achtergrond poes.MaastrichtJapanse prenten1760moderne herdruk, authentieke reproductiecirca1760circaCVR-JP-P0236.jpgOntwerperErotiekCVR-JP-P 236CVR.JP-P0236Depot 3-lade 05prentErotische scène (shunga) Wata kuri (Cotton Spinning). Two lovers. Cat seems more interested in the flying butterfly. This print comes with a Japanese - English explanation. De twee lovers zijn beide vrouwen (of een als vrouw vermomde jongen ?).vóór75Centre CéramiqueBlokdrukVerstilde schoonheidJapansEngelsWata kuriCotton spinning2003-09-30Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:1210:19:1611:41:1210:13:0808:37:02Maastricht13:07:45collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73093Depot 3-lade 05Japanse PrentenCentre CéramiqueIn overwegend in groen, zwart en rood uitgevoerde prent rookt de naar rechts toegewende liggende dame een opiumpijp, terwijl haar minnaar haar van voren bevoelt. Op rode matras. Op achtergrond rechts opengeschoven raam.MaastrichtJapanse prenten1760moderne herdruk, authentieke reproductiecirca1760circaCVR-JP-P0237.jpgOntwerperErotiekCVR-JP-P 237CVR.JP-P0237Depot 3-lade 05prentErotische scène (shunga). Man betast vrouw die een pijp in haar hand houdtvóórBlokdrukEngelsErotic scène: Geisha hlding a pipe, being fondled by a customer2003-09-30Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1210:13:0808:37:0213:07:46collect>internCOLLECT>interncollect>interncollect>intern 73094Depot 3-lade 06Japanse PrentenCentre CéramiqueTak loopt van linksboven naar rechtsonder, roze bloemtjes Achtergrond grijs. Vogel naar links toegewend groen, geel borstje.MaastrichtJapanse prenten1939exact1939exactCVR-JP-P0238.jpgOntwerperUitgeverKacho-ga (vogels, bloemen, dieren)CVR-JP-P 238CVR.JP-P0238Depot 3-lade 06prentDe Japanse struikzanger is de Cettia diphonevóórBlokdrukEngelsPlum-tree and the Japanese bush-warbler2003-09-30Reek, J. vanShôtei, Takahashi (Hiroaki) (1871-1945)Shobido Tanakaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1210:13:0808:37:0213:07:46collect>internCOLLECT>interncollect>interncollect>intern 73095Depot 3-lade 12Japanse PrentenCentre CéramiqueOp voorgrond met bloemen en bomen midden en rechts 4 dames in kimono's. Linkerpaneel achtr vaag een paviljoen met zittende dames. Achter grote boom links met de rug naar ons toegewend een brede man met mantel.MaastrichtJapanse prenten1904exact1904exactCVR-JP-P0239abc.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 239 a-cCVR.JP-P0239a-cDepot 3-lade 12prentDrieluikLadies are strolling in a garden filled with autumn flowers and plants.serietitelvóórBlokdrukEngelsAutumn Garden2003-09-30Reek, J. vanShuntei, Miyagawa (1873-1914)Matsuki Heikichischenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1310:20:4810:13:0808:37:0213:07:46collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73096Depot 3-lade 11Japanse PrentenCentre CéramiqueKiyochika Kobayashi was een overgangsfiguur. Hij wordt beschouwd als de laatste kunstenaar van de traditionele ukiyo-è prentkunst. Maar tegelijkertijd benutte hij bepaalde aspecten van de Westerse kunst, die hij sinds de beëindiging van het Japanse isolationisme (ca 1860) kon leren kennen. Hierdoor, en door de oprichting van een eigen kunstopleiding in 1894, beïnvloedde hij de jonge meesters die later tot de shin-hanga school worden gerekend. Deze prent stelt het veer over de Sumida rivier bij de Matsuchi heuvel voor. Hij maakt deel uit van een serie van gezichten op Tokio en omgeving, waarin die Westerse invloed zichtbaar is. Het perspectief wordt toegepast, en subtiele licht- en schaduweffecten spelen een hoofdrol. Kiyochika noemde deze soort prenten kosen-ga, dat is 'beelden van zonnestralen'. Hier is dat de reflectie van het door de sombere, bedekte februarilucht getemperde zonlicht op de vers gevallen sneeuw. Een ander, amusant Westers element is het kleine stoomraderbootje op het meest rechtse blad van dit drieluik.MaastrichtJapanse prenten1890circa1880circaCVR-JP-P0240.jpgOntwerperSneeuwCVR-JP-P 240CVR.JP-P0240Depot 3-lade 11prentserietitelvóórBlokdrukDe grote golf bij KanagawaJapansEngelsKisaragiSecond month (February): Snowy scene at a river around Mt. Matsuchi2003-09-30Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1313:07:47collect>internCOLLECT>intern 73097Depot 3-lade 14Japanse PrentenCentre CéramiqueRechts in groen gewaad heer die kleine dame met zwart haar en blauw en rood gewaad omhelst. Hij kijkt om naar links. Achter hem geeft een andere dame zijn zwaard aan terwijl van achter links op handen en voeten een boos kijkende heer met zwarte puntmuts nadert. Achtergrond dramatisch rood en baluw gekleurde lucht: vuur. Rookwolken van de ruines achter hem. aan de boom achter hem hangt een strop.Toyotomi Hideyoshi (16e eeuw) redt zijn moeder Omandokoro van Kato Kiyomasha die haar op wil hangen.MaastrichtJapanse prenten1876exact1876exactCVR-JP-P0241.jpgOntwerperUitgeverKrijgersCVR-JP-P 241CVR.JP-P0241Depot 3-lade 1410prentserietitelexacteBlokdrukEngelsToyotomo Hideyoshi (1537-1598) shielding his mother Omandokoro from Katô Kiyomasa (1562-1611)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Kumagai Shoshichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1310:13:0908:37:0213:07:47collect>internCOLLECT>interncollect>interncollect>intern 73098Depot 3-lade 15Japanse PrentenCentre CéramiqueEen Zen-priester ontmoet zijn courtisane, die de bijnaam “hel-meisje” draagt, en haar gevolg. De priester draagt een schedel, als symbool voor “memento mori”, de vergankelijkheid van schoonheid en leven. Hij leerde haar poëzie en meditatie. Samen bereikten ze verlichting.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0242.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 242CVR.JP-P0242Depot 3-lade 159prentTweeluikIkkyu (1394-1481) was a Zen priest, poet, essayist, calligrapher, aesthete, and critic of the Zen hierarchy. Apparently an inconvenient son of Emperor Gokomatsu, he became an accolyte at age five, and expert in Chinese learning by age fifteen. In 1410, he took up strict meditation, and in 1420, upon hearing a crow's caw, reached Enlightenment. Thereafter, he lived Mad Zen in brothels and taverns, wandering the streets waving a human skull, and had numerous affairs with prostitutes, celebrated in his poems. He criticised the wooden Zen practiced in monasteries, and lived a fusion of Zen and the world. Jigokudayu was a famous courtesan in Sakai, one of Ikkyu's mistresses, who, the tale is, studied meditation with him and eventually achieved Enlightenment. The pair are the subject of novels, kabuki and prints, Jigokudayu usually in a padded robe decorated with scenes from the Buddhist Hell and/or accompanied by ghostly skeletons, to indicate her insight into the fleetingness of beauty and life.serietitelBai-obanexacteBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe priest Ikkyû meets the courtesan Jigokudayû and her attendants2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:26:1310:13:0908:37:02MaastrichtMaastricht13:07:48collect>internCOLLECT>interncollect>interncollect>intern 73099Depot 3-lade 15Japanse PrentenCentre CéramiqueDe Minamoto clan versloeg de Taira clan definitief tijdens een zeeslag. Nadat het gevecht was verloren, sprong de Taira keizer in zee met het Geheime Zwaard en het Grote Zegel en verdronk. De Taira koningin werd gered door Yoshitsune.MaastrichtJapanse prenten1889exact1889exactCVR-JP-P0243ab.jpgOntwerperUitgeverKrijgersCVR-JP-P 243 abCVR.JP-P0243abDepot 3-lade 1522prentHorizontaal tweeluikMinamoto en Kenreimon-in.De laatste decennia van de 12e eeuw woedde in Japan een gruwelijke burgeroorlog waarin de macht van het hof verschoof naar de militairen. Een van de spelers in dit spel was Kenreimon-in, volgens sommige bronnen een hofdame en minnares van het hoofd van de machtige Taira-clan, die de keizer in zijn macht had, volgens andere juist de echtgenote van keizer Takakura (1161-1181). Op deze prent wordt zij tijdens de slag van Dan no Ura (1186) gered van pijlenschietende belagers door het optreden van de held Minamoto no Yoshitsune, een van de grote tegenspelers van de Taira-clan. Later, als haar man, haar zoon en haar broers gesneuveld zijn zal zij intreden in een klooster. De heldendaden van Minamoto no Yoshitsune zijn onderwerp van vele verhalen. I Op het dek van een rodood geschildede boot staat rechts een samurai (prachtig tedetaillerrd kleurig), links in elkaar gedoken in hut in paars geklede dame naar linksvoren gewend. Overal steken pijlen uit de hut. origineel, 1889, 23,9 bij 35,5 cm TweeluikserietitelBai-obanexacteBlokdrukVerbeeld theaterHarde mannen, zachte vrouwenVerbeeld theaterJapansEngelsGenkuro-Hangan Yoshitsune Dan-no-ura ni Kenreimon-in o kyujonasuMinamoto no Yoshitsune rescues the Empress Kenreimon during the sea-battle of Dannoura (1186)2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:26:1310:20:4910:13:0908:37:02MaastrichtMaastricht13:07:49collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73100Depot 3-lade 14Japanse PrentenCentre CéramiqueTwee dwarsfluitspelers `s-nachts, voorste op rug gezien in groen gewaad met witte pofbroek en zwarte puntmuts, achtersrte frontaal, bruin gewaad, Maan is vol, links.MaastrichtJapanse prenten1886-02exact1886-02exactCVR-JP-P0244.jpgOntwerperUitgeverCVR-JP-P 244CVR.JP-P0244Depot 3-lade 1419prentThe courtier Hakuga no Sammi (A.D. 913-980) was an accomplished flute player. One evening he met a mysterious foreigner at Suzaku Gate in Kyoto, and the two played duets together. Dit was de blinde edelman Semimaru.serietitelexacteBlokdrukJapansEngelsSuzakumon no tsukiMoon of Suzaku Gate2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1410:13:0908:37:0313:07:50collect>internCOLLECT>interncollect>interncollect>intern 73101Depot 3-lade 10Japanse PrentenCentre CéramiqueToyotomi Hideyoshi, met rug tegen boom, gezicht naar links toegewend blast op een schlep bij het licht van de maan bij de berg Shizu, waar hideyoshi's leger Shibata katsuie versloeg.MaastrichtJapanse prenten1888-10-10Lengte x BreedteLengte x BreedteBlokBlad32,9 x 22,236,4 x 24,1exact1888-10-10exactcmcmCVR-JP-P0245.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 245CVR.JP-P0245MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, nr 66Depot 3-lade 1066prentDe grote Japanse veldheer Toyotomi Hideyoshi (1536-1598), met rug tegen boom, gezicht naar links toegewend. Na een lange rit door de nacht blaast hij een aanvalssignaal op een ' horogai', een reuzeschelp, bij het licht van de maan bij de berg Shizugatake, waar zijn vijanden een van zijn vestingen belegerden. De episode speelt zich af in het begin van 1583. Shizu Peak moon. Toyotomi Hideyoshi (1536-1598) blows his famous war conch to signal his troops before the crucial battle of Shizugatake in 1582. Hideyoshi's army marched fifty miles during the night to reach the battlefield at dawn, and was victorious. origineel Oban tate e 14,25x 9,5 inch japans album-backing paper, minor marks and flawsserietitelexacteBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenJapansEngelsShizugatake no tsukiShizu Peak moon: Hideyoshi2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1410:13:1008:37:0313:07:51collect>internCOLLECT>interncollect>interncollect>intern 73102Depot 3-lade 14Japanse PrentenCentre CéramiqueAchter een grijze zuil op een balkon knielt een donkerharige dame met wit hemd en een bewerkte paarse mantel naar links. zij kijkt naar bomen. boven haar hangt een lantaarn. Waarschijnlijk is dit de hofdame Murasaki Shikibu, de auteur van het sprookje The tale of Genji.MaastrichtJapanse prenten1889-10-10exact1889-10-10exactCVR-JP-P0246.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 246CVR.JP-P0246Depot 3-lade 1470prentMusrasaki Shikibu (d. early 11th century) in the temple, Ishiyamaderaji, by Lake Biwa where she is said to have written her famous tale Genji Monogatari ('Tale of Genji'). Murasaki Shikibu, born around the year 978, sits at her writing desk on the balcony of the temple at Ishiyama where, after retiring from the court, she wrote her celebrated novel, The Tale of Genji.serietitelexacteBlokdrukJapansEngelsIshiyama no tsukiIshiyama moon2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1410:13:1008:37:0313:07:51collect>internCOLLECT>interncollect>interncollect>intern 73103Depot 3-lade 14Japanse PrentenCentre CéramiqueStaande ten voeten uit in zwarte kimono geklede heer kijkt naar links naar houten constructie in tuin In hand waaier . Sneeuw. Geen maan te zien, roze lucht. Kinto was een Heian geleerde, musicus en dichter. Hij plukt pruimebloesem en dichtte.MaastrichtJapanse prenten1887-01exact1887-01exactCVR-JP-P0247.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 247CVR.JP-P0247Depot 3-lade 1446prentThe courtier Fujiwara no Kinto (966-1041) was a celebrated poet and musician. Snow has fallen on the buildings of the imperial palace during the night and Kinto has gone out into the moonlit courtyard to admire the beauty of the scene. He is moved to compose the following verse, In the midst of glimmering whiteness among the night's moon shadows, I part the snow and pluck plum blossoms. Kinto in court dress.serietitelexacteBlokdrukEngelsKinto picks a plum branch in the moonlight2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1410:13:1008:37:0313:07:52collect>internCOLLECT>interncollect>interncollect>intern 73104Depot 3-lade 10Japanse PrentenCentre CéramiqueIn zwart gewaad met baksteenmotief, op rug gezien staat links de brandweerman te kijken naar de vlammenzee voor hem. Links boven witte maan, recht daaronder witte kubus. Door de vlammen is rechts klein en schimmig de standaarddrager van een concurrerende brandweercompagnie te zien op een dak waar zijn mannen aan het werk zijn.MaastrichtJapanse prenten1886-02Lengte x BreedteLengte x BreedteBlokBlad32,9 x 22,536,1 x 24,5exact1886-02exactcmcmCVR-JP-P0248.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 248CVR.JP-P0248MargesMaatcode passepartoutjaA = 35 x 50 cmStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA - San Francisco, Graphic Society, 1992, nr 22Depot 3-lade 1021prentMet de rug naar de beschouwer staat links een brandweerman te kijken naar de vlammenzee voor hem. Hij is gekleed in zwart gewaad met baksteenmotief, en een helm met een neklap met een japans karakter. In zijn linkerhand houdt hij zijn matoi, de de standaard van zijn compagnie: een op een punt geplaatste kubus onder een bol. Door de rook verschijnt nauwelijks zichtbaar de maan, rechtsonder op het dak van een aangrenzend pand is schimmig de vaandeldrager van een concurrerende compagnie te zien. Firemen watching the moon through smoke. The matoi (standard bearer) for the second district of Edo is seen on his back. Origineel, goede staat, textuur aangebracht door een kalkmengsel (gofun) op de prent te spetteren, albumdoublure Meji periode, beetje vuil.serietitelexacteBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwenEngelsMoon and smoke2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1410:13:1008:37:0313:07:52collect>internCOLLECT>interncollect>interncollect>intern 73105Depot 3-lade 14Japanse PrentenCentre CéramiqueRechts onder schuine boomstam. Het is nacht. middenin een kaalhoofdige naar kijker toe geknielde man in rood gewaad die naar rechts kijkt, links achter hem een van hem afgewende figuur met een stok. Achtergrond in het zwart bomen, in het wit huizen. Takeida Shingen (1521-1573) in het veld om naar het geluid van de krekels te luisteren.MaastrichtJapanse prenten1878-10-18exact1878-10-18exactCVR-JP-P0249.jpgOntwerperUitgeverKrijgersCVR-JP-P 249CVR.JP-P0249Depot 3-lade 1416prentTakeda (Daizendayû) Harunobu ( Nyûdô Shingen, 1521-1573) in a field with a retainer. His bald head indicates that the event illustrated here occurred after 1551 when he converted to the Tendai sect of Buddhism, took the tonsure and assumed the name of Shingen. Someone tried to tell me that this is Takeda listening to crickets! He's lying in the grass with an armed retainer at his back, staring at a mirror and chewing his knuckles. This is a man with stress issues: Uesugi Kenshin and Oda Nobunaga. Takeda Harunobu (1521 - 1573), the Tiger of Kai, was eldest son of a warlord who planned to name another son heir. In 1541, he rebelled and exiled his father. Like Uesugi, Takeda expanded his lands through regular war. In 1551, he took monastic vows as Shingen, which did not stop him: in 1552, his aggression drove the Murakami and Ogasawara to Uesugi for support. In June 1553, The Takeda and Uesugi armies clashed inconclusively near Kawanakajima: in the next decade, the they would meet there five times, but only once fight an all-out battle. Both sides suffered heavy losses, which kept them quiet for a few years. In 1568, Shingen turned south, with enough success that, by 1570, he was the most important warlord east of Mino, and in a position to block Oda's march to power. Hojo Ujimasa made peace with him and, in January 1573, Shingen defeated the Tokugawa-Oda army at Mikatagahara. However, he died in May, leaving only Uesugi with enough power to fight off Oda, until he, too, died in 1578.serietitelexacteBlokdrukEngelsTakeda Harunobu in the field2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Funazu Chujiroschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1510:13:1008:37:0313:07:53collect>internCOLLECT>interncollect>interncollect>intern 73106Depot 3-lade 10Japanse PrentenCentre CéramiqueDoor pijlen geraakte ruiter op de rug gezien, voor een smalle rivier nog twee mannen gedeeltelijk te zien, een ligt in een plas met bloed. Heel heel veel bloed.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad33,2 x 22,535,2 x 24,5exact1886exactcmcmCVR-JP-P0250.jpgOntwerperKrijgersCVR-JP-P 250CVR.JP-P0250Maatcode passepartoutA = 35 x 50 cmDepot 3-lade 10prentToyotomi Hideyoshi, 1537-1598 (ook bekend als Kinoshita Tôkichirô), een van Japan's bekendste veldheren, heeft een pijlenregen overleefd. Als ruiter op de rug gezien, voor een smalle rivier ,met het afgeslagen hoofd van een vijand aan zijn zadel, en een andere verslagen soldaat op de grond in een plas met bloed. Heel, heel veel bloed. N.B.: Eén van de pijlen steekt door de bovenmarge van het blok ! Oban tate-e mounted on Japanese albumpaperserietitelexacteBlokdrukHoutsnede, kleurenHarde mannen, zachte vrouwen2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1510:13:1008:37:0313:07:54collect>internCOLLECT>interncollect>interncollect>intern 73107Depot 3-lade 14Japanse PrentenCentre CéramiqueNaar rechts gewende krijger , zwaard langszij in het donker met toorts. Vleermuizen tegen zwarte achtergrond.MaastrichtJapanse prenten1886-01exact1886-01exactCVR-JP-P0251.jpgOntwerperUitgeverKrijgersCVR-JP-P 251CVR.JP-P0251Depot 3-lade 1421prentNitta no Shiro Tadatsune Entering the Cave with a Torch In 1193, Nitta Tadatsune won the name Shiro by rescuing Minamoto no Yoritomo from a wounded boar while on a hunting trip near Mount Fuji. A few days after this event, he and some friends discovered a cave in the mountain. The others were afraid to enter, but Nitta no Shiro took up a torch and went ahead. They came to a large cavern, in which a goddess appearred to them -- the Buddhists say it was Kannon, the Shinto priests say it was the spirit of Mount Fuji. Either way, the companions were once again struck with terror, while Nitta remained calm. The goddess apparently congratulated him on his bravery, then vanished. Yoshitoshi did a second take on this scene in his New Forms of Thirty-Six Ghosts an interesting composition that suffer,however,s from the oxydising ink he used for the flame which, over time, turns dark, eliminating the heat that is crucial to this scene. Nitta Shirô Tadatsune holding a torch in the mysterious cavern where he saw a vision of the bodhisattva Kannon (end of twelfth century). Vergelijk met de uitbeelding van de zelfde scène in de serie 36 Geesten !serietitelexacteBlokdrukEngelsNitta no Shiro Tadatsune Entering the Cave with a Torch2003-09-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Kobayashi Tetsujirôschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1510:13:1108:37:0313:07:55collect>internCOLLECT>interncollect>interncollect>intern 73108Depot 3-lade 13Japanse PrentenCentre CéramiqueLinks in paarse kimono langharige dame, naar rechts toegewend tussen de grijze bamboe. Achtergrond grijze bomen.MaastrichtJapanse prentenCVR-JP-P0252.jpgOntwerperCVR-JP-P 252CVR.JP-P0252Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vanGekko, Ogata(1859-1920)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1510:13:1108:37:0313:07:55collect>internCOLLECT>interncollect>interncollect>intern 73109Depot 3-lade 10Japanse PrentenCentre CéramiquePortret vanaf de hals van een dame met opgestoken haar, blauwe kimono en rode haarspeld, naar links kijkend.MaastrichtJapanse prentenCVR-JP-P0253.jpgOntwerperCVR-JP-P 253CVR.JP-P0253Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanChoko, Kamoshita (1890-1967)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1510:13:1108:37:0413:07:56collect>internCOLLECT>interncollect>interncollect>intern 73110Depot 3-lade 13Japanse PrentenCentre CéramiqueBlauwe straal van een berg die boven in roze nevelen is gehuld.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0254.jpgOntwerperCVR-JP-P 254CVR.JP-P0254Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1610:13:1108:37:0413:07:56collect>internCOLLECT>interncollect>interncollect>intern 73111Depot 3-lade 13Japanse PrentenCentre CéramiqueRoze klaprozen, blauwe achtergrond.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0255.jpgOntwerperCVR-JP-P 255CVR.JP-P0255Depot 3-lade 13prentwordt nog beschreven - nog te fotograferenexacteBlokdruk2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1610:13:1108:37:0413:07:56collect>internCOLLECT>interncollect>interncollect>intern 73112Japanse PrentenCentre CéramiqueOok voor deze prent is een bezienswaardigheid gekozen die Hiroshige al eerder had afgebeeld, in de prentserie Beroemde gezichten uit de zevenenzestig provincies (1853-1856). Hij kiest bij dit grote drieluik de afbeelding van een panorama in plaats van een detail. Vanuit Awa op het eiland Shikoku kijken we op de Straat van Naruto, de zee-engte die de Stille Oceaan verbindt met de Japanse Binnen-zee. Door het enorme getijdenverschil ontstaat in deze smalle door-gang twee maal per dag een heel woelige zee, met draaikolken die twintig meter doorsnee kunnen bereiken. Deze draaikolken werden ook wel aangeduid als 'nami no hana', 'bloemen van de zee'.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0256abc.jpgOntwerperCVR-JP-P 256 a-cCVR.JP-P0256a-cprentDrieluikexacteBlokdrukDe grote golf bij KanagawaEngelsWhirlpools2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-2717971858IesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1613:07:56collect>internCOLLECT>intern 73113Depot 3-lade 13Japanse PrentenCentre CéramiqueDame met vertrokken gezicht en wapperende rijk bewerkte rode, blauw-bruingeruite en paars bebloemde kimono, blote benen en roze onderbroek springt van rechts in water. Twee reigers vliegen op.MaastrichtJapanse prentenCVR-JP-P0257.jpgOntwerperCVR-JP-P 257CVR.JP-P0257Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1610:13:1208:37:0413:07:57collect>internCOLLECT>interncollect>interncollect>intern 73114Japanse PrentenCentre CéramiqueKusonoki bleef trouw aan de keizer die zich in een hopeloze positie bevond. Hij nam afscheid van zijn 11-jarige zoon en deed zijn best om dapper te zijn. Zijn kleine troepenmacht werd geconfronteerd met een oppermachtig leger. Nadat de veldslag verloren werd, pleegde hij in 1336 zelfmoord.MaastrichtJapanse prenten1889exact1889exactCVR-JP-P0258.jpgOntwerperCVR-JP-P 258CVR.JP-P025821prentTweeluikserietitelBai-obanexacteBlokdrukVerbeeld theaterVerbeeld theaterEngelsKusonoki writes his testament and bids farewell to his son Masatsura at Sakurai2004-02-09Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:26:1610:13:1208:37:04MaastrichtMaastricht13:07:57collect>internCOLLECT>interncollect>interncollect>intern 73115Depot 3-lade 18Japanse PrentenCentre CéramiqueIn oranje gewaad met gele shawl met witte toefjes en een blauwe legging kijkt een kaalhoofdige zwart bebaarde heer naar links, waar hij in van boven links naar onder rechts verlopende stralen geesten ziet.MaastrichtJapanse prentenCVR-JP-P0259.jpgOntwerperCVR-JP-P 259CVR.JP-P0259Depot 3-lade 18prentserietitelexacteBlokdruk2004-02-09Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1710:13:1208:37:0413:07:58collect>internCOLLECT>interncollect>interncollect>intern 73116Depot 3-lade 13Japanse PrentenCentre CéramiqueGeheel naakte dame, naar rechts toegewend en opgestoken haar wringt blauw washandje uit.MaastrichtJapanse prentenlatere versieCVR-JP-P0260.jpgOntwerperCVR-JP-P 260CVR.JP-P0260Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vanGoyo, Hashiguchi (1880-1921)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1710:13:1208:37:0413:07:58collect>internCOLLECT>interncollect>interncollect>intern 73117Depot 3-lade 06Japanse PrentenCentre CéramiqueZeilboten, twee eilanden in midden waarvan een met vuurtoren, grijze bergen op achtergrond, blauwgrijze zee.MaastrichtJapanse prentenCVR-JP-P0261.jpgOntwerperZeegezichtenCVR-JP-P 261CVR.JP-P0261Depot 3-lade 06prentexacteBlokdrukDe vier jaargetijdenEngelsSailing vessels in a bay with islands2004-02-09Reek, J. vanYoshida, Hiroshi (1876-1950)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1710:13:1308:37:0413:07:58collect>internCOLLECT>interncollect>interncollect>intern 73118Depot 3-lade 13Japanse PrentenCentre CéramiqueLinks dame in paarse kimono met witte nopjes, rechts in groengewaad gehulde knielende man die vuurvliegjes in doosje doet: achtergrond silhouetten boom, struiken en van drie mensen die vuurvliegjes aan het vangen zijn. De avond is donker, gele lichtjes (vuurvliegjes).MaastrichtJapanse prentenCVR-JP-P0262.jpgOntwerperCVR-JP-P 262CVR.JP-P0262Depot 3-lade 13prentexacte12Centre CéramiqueBlokdrukVerstilde schoonheid2004-02-09Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:1710:20:0911:41:1710:13:1308:37:04Maastricht13:07:59collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73119Depot 3-lade 10Japanse PrentenCentre CéramiqueLinks dame in zwarte kimono met bloemenmotief, rechts bruin huis met scherm. Achtergrond oranje boomkronen.MaastrichtJapanse prentenCVR-JP-P0263.jpgOntwerperCVR-JP-P 263CVR.JP-P0263Depot 3-lade 10prentserietitelexacteBlokdruk2004-02-09Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1810:13:1308:37:0413:07:59collect>internCOLLECT>interncollect>interncollect>intern 73120Depot 3-lade 09Japanse PrentenCentre CéramiqueTwee meloen etende in Koreaanse dracht gestoken jongens (hoedjes).MaastrichtJapanse prentenCVR-JP-P0264.jpgOntwerperCVR-JP-P 264CVR.JP-P0264Depot 3-lade 09prentexacteBlokdrukEngelsJo-noku-ri Corée2004-02-09Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1810:13:1308:37:0513:07:59collect>internCOLLECT>interncollect>interncollect>intern 73121Depot 3-lade 13Japanse PrentenCentre CéramiqueBomen, mistige groen grijze achtergrond met meer bomen en de silhouetten van een poort en twee mensen. Drie dames in kleirige kimono's met hoofddoekjes op voorgrond.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0265.jpgOntwerperCVR-JP-P 265CVR.JP-P0265Depot 3-lade 13prentexacte10Centre CéramiqueBlokdrukVerstilde schoonheid2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-1217971858IesewfhelmesjpeetersjpeetersjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:1810:20:1811:41:1710:13:1308:37:05Maastricht13:08:00collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73122Depot 3-lade 10Japanse PrentenCentre CéramiquePad links, man op rug gezien links daarnaast water met bootjes. Op achtergrond huis, rokende schoorsteen. Rozerode zonsondergang/opgang.MaastrichtJapanse prentenCVR-JP-P0266.jpgOntwerperCVR-JP-P 266CVR.JP-P0266Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1810:13:1308:37:0513:08:00collect>internCOLLECT>interncollect>interncollect>intern 73123Depot 3-lade 10Japanse PrentenCentre CéramiqueLangharige Dame in paarse kimono met kleurige blokje. Met wierookvaatje links.MaastrichtJapanse prentenCVR-JP-P0267.jpgOntwerperCVR-JP-P 267CVR.JP-P0267Depot 3-lade 10prentexacte14Centre CéramiqueBlokdrukVerstilde schoonheid2004-02-09Reek, J. vanKiyokata, Kaburaki (1878-1972)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:1810:20:2911:41:1810:13:1408:37:05Maastricht13:08:00collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73124Depot 3-lade 10Japanse PrentenCentre CéramiqueDame, met opgestoken haar, in blauw-wit gestreepte kimono.MaastrichtJapanse prenten1700herdruk 1917, authentieke reproductiecirca1700circaCVR-JP-P0268.jpgOntwerperCVR-JP-P 268CVR.JP-P0268Depot 3-lade 10prentHerdruk uit 1917 door Hashiguchi Goyo en Kaburagi Kiyokata van een van de vroegste Japanse kleuerenprenten: de kleuren zijn hier nog met de hand aangebracht i.e. in waterverf ? Checken !exacteBlokdrukEngelsKasakaburero Onnagata2004-02-09Reek, J. vanKiyonobu, Torii (1664-1729)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1910:13:1408:37:0513:08:00collect>internCOLLECT>interncollect>interncollect>intern 73125Depot 3-lade 10Japanse PrentenCentre CéramiqueBoekillustratie. Dame naar links gewend, wat grovere lijnen.MaastrichtJapanse prentenCVR-JP-P0269.jpgOntwerperCVR-JP-P 269CVR.JP-P0269Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanEisen, Tomioka (1864-1905)schenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1911:41:1810:13:1408:37:0513:08:00collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73126Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0270.jpgOntwerperUitgeverCVR-JP-P 270CVR.JP-P0270Depot 3-lade 101prentserietitelexacteBlokdrukEngelsYoshitsune uma-arai Waterfall in Yoshino, Izumi Province2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1910:13:1508:37:0513:08:01collect>internCOLLECT>interncollect>interncollect>intern 73127Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0271.jpgOntwerperUitgeverCVR-JP-P 271CVR.JP-P0271Depot 3-lade 102prentserietitelexacteBlokdrukEngelsAiogaoka Waterfall in the Eastern Capital2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1910:13:1508:37:0513:08:01collect>internCOLLECT>interncollect>interncollect>intern 73128Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0272.jpgOntwerperUitgeverCVR-JP-P 272CVR.JP-P0272Depot 3-lade 103prentserietitelexacteBlokdrukEngelsRôben Waterfall at Mt. Ôyama in Sagami Province2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:1910:13:1608:37:0513:08:02collect>internCOLLECT>interncollect>interncollect>intern 73129Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0273.jpgOntwerperUitgeverCVR-JP-P 273CVR.JP-P0273Depot 3-lade 104prentserietitelexacteBlokdrukEngelsYôrô Waterfall in Mino Province2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2010:13:1608:37:0513:08:02collect>internCOLLECT>interncollect>interncollect>intern 73130Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0274.jpgOntwerperUitgeverCVR-JP-P 274CVR.JP-P0274Depot 3-lade 105prentserietitelexacteBlokdrukEngelsKirifuri Waterfall at Mt. Kurokami in Shimotsuke Province2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2010:13:1608:37:0613:08:05collect>internCOLLECT>interncollect>interncollect>intern 73131Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0275.jpgOntwerperUitgeverCVR-JP-P 275CVR.JP-P0275Depot 3-lade 106prentserietitelexacteBlokdrukEngelsOno Waterfall on the Kisokaidô2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2010:13:1608:37:0613:08:05collect>internCOLLECT>interncollect>interncollect>intern 73132Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0276.jpgOntwerperUitgeverCVR-JP-P 276CVR.JP-P0276Depot 3-lade 107prentserietitelexacteBlokdrukEngelsAmida Waterfall: Inner Mt. Kiso2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2010:13:1708:37:0613:08:05collect>internCOLLECT>interncollect>interncollect>intern 73133Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1835herdruk 19??, authentieke reproductiecirca1835CVR-JP-P0277.jpgOntwerperUitgeverCVR-JP-P 277CVR.JP-P0277Depot 3-lade 108prentserietitelexacteBlokdrukEngelsCave of the Kiyotaki Kannon, Sakanoshita on the Tôkaidô2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)Eijudô, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2010:13:1708:37:0613:08:06collect>internCOLLECT>interncollect>interncollect>intern 73134Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0278.jpgCVR-JP-P 278CVR.JP-P0278Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2110:13:1708:37:0613:08:06collect>internCOLLECT>interncollect>interncollect>intern 73135Depot 3-lade 13Japanse PrentenCentre CéramiqueDit was oorspronkelijk een kalenderblad uit 1765. Later werden de blokken opnieuw gesneden en gedrukt. Harunobu reprint of a young woman rushing to take in the laundry during a sudden rainstorm. In her haste, her sandal has fallen off. Wonderful early design with an interesting depiction of rain.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0279.jpgCVR-JP-P 279CVR.JP-P0279Depot 3-lade 13prentexacte04Centre CéramiqueBlokdrukVerstilde schoonheidA young woman in a summer shower 2004-02-09Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272014-03-182014-03-182014-03-052013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2118:48:5813:45:4115:07:4111:41:2010:13:1708:37:06Maastricht13:08:06collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73136Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0280.jpgOntwerperCVR-JP-P 280CVR.JP-P0280Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2110:13:1808:37:0613:08:07collect>internCOLLECT>interncollect>interncollect>intern 73137Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0281.jpgOntwerperCVR-JP-P 281CVR.JP-P0281Depot 3-lade 16prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2110:13:1808:37:0613:08:07collect>internCOLLECT>interncollect>interncollect>intern 73138Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0282.jpgOntwerperCVR-JP-P 282CVR.JP-P0282Depot 3-lade 16prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2110:13:1808:37:0613:08:07collect>internCOLLECT>interncollect>interncollect>intern 73139Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0283.jpgOntwerperCVR-JP-P 283CVR.JP-P0283Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2210:13:1808:37:0613:08:07collect>internCOLLECT>interncollect>interncollect>intern 73140Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0284.jpgOntwerperCVR-JP-P 284CVR.JP-P0284Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2210:13:1808:37:0713:08:07collect>internCOLLECT>interncollect>interncollect>intern 73141Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0285.jpgOntwerperCVR-JP-P 285CVR.JP-P0285Depot 3-lade 10prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2210:13:1808:37:0713:08:08collect>internCOLLECT>interncollect>interncollect>intern 73142Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0286.jpgOntwerperCVR-JP-P 286CVR.JP-P0286Depot 3-lade 16prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2210:13:1908:37:0713:08:08collect>internCOLLECT>interncollect>interncollect>intern 73143Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0287.jpgOntwerperCVR-JP-P 287CVR.JP-P0287Depot 3-lade 16prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2210:13:1908:37:0713:08:08collect>internCOLLECT>interncollect>interncollect>intern 73144Depot 3-lade 14Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0288.jpgOntwerperCVR-JP-P 288CVR.JP-P0288Depot 3-lade 14prentexacteBlokdruk2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2310:13:1908:37:0713:08:08collect>internCOLLECT>interncollect>interncollect>intern 73145Depot 3-lade 13Japanse PrentenCentre CéramiqueOp de voorgrond een brug met enkele mensen erop. Het regent hevig. Daarachter een rivier met een bootje. Op de achtergrond vage contouren van bomen en een donkere hemel.MaastrichtJapanse prentenauthentieke reproductieCVR-JP-P0289.jpgOntwerperCVR-JP-P 289CVR.JP-P0289Depot 3-lade 13prentexacte15BlokdrukBijschrift: Plotselinge regenval op de Grote Brug. Honderd beroemdegezichten op Edo, van Ando Hiroshige. De regen valt op een brug. Vincent van Gogh wilde net zo goed worden als Hiroshige. In zijn kopie van deze prent lukte dat niet - in ander werk wel.Het Weer2004-02-09Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-122013-05-2917971858IesewfhelmesjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:2310:13:1908:37:0715:22:55Maastricht13:08:08collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73146Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0290.jpgCVR-JP-P 290CVR.JP-P0290prentexacteBlokdruk2004-02-09Reek, J. vanschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2310:13:1908:37:0713:08:08collect>internCOLLECT>interncollect>interncollect>intern 73147Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0291.jpgOntwerperCVR-JP-P 291CVR.JP-P0291prentexacteBlokdruk2004-02-09Reek, J. vannaar Hiroshige, Ando (1797-1858) ?schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2310:13:1908:37:0713:08:09collect>internCOLLECT>interncollect>interncollect>intern 73148Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0292.jpgCVR-JP-P 292CVR.JP-P0292prentexacteBlokdruk2004-02-09Reek, J. vanschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2310:13:1908:37:0713:08:09collect>internCOLLECT>interncollect>interncollect>intern 73149Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0293.jpgOntwerperCVR-JP-P 293CVR.JP-P0293prentexacteBlokdruk2004-02-09Reek, J. vannaar Hiroshige, Ando (1797-1858) ?schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2410:13:2008:37:0713:08:09collect>internCOLLECT>interncollect>interncollect>intern 73150Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0294.jpgOntwerperCVR-JP-P 294CVR.JP-P0294Depot 3-lade 13prentexacteBlokdruk2004-02-09Reek, J. vannaar Hiroshige, Ando (1797-1858) ?schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2410:13:2008:37:0713:08:10collect>internCOLLECT>interncollect>interncollect>intern 73151Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad9,5 x 15,611,5 x 16,8circa1880circacmcmCVR-JP-P0301.jpgOntwerperCVR-JP-P 301CVR.JP-P0301Depot 3-lade 09prentYokobon (small book print) - nog te fotograferenGezicht op brug bij nacht, waarop man op de rug gezien, verlichte huizen op de achtergrondexacteBlokdrukEngelsNight at Yanagabashi2004-10-21Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2410:13:2008:37:0813:08:10collect>internCOLLECT>interncollect>interncollect>intern 73152Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad9,5 x 15,611,5 x 16,8circa1880circacmcmCVR-JP-P0302.jpgOntwerperCVR-JP-P 302CVR.JP-P0302Depot 3-lade 09prentYokobon (small book print)Weids landschap: pad door rijstvelden, met rijstplanter links, boer met beladen paard op pad, midden pijnbomenbosje met hutjeexacteBlokdruk2004-10-21Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2410:13:2008:37:0813:08:10collect>internCOLLECT>interncollect>interncollect>intern 73153Depot 3-lade 10Japanse PrentenCentre CéramiqueDame leest een boek in de Meiji periode.MaastrichtJapanse prenten1900Lengte x BreedteLengte x BreedteBlokBlad21,5 x 29,722,5 x 30,3circa1900circacmcmCVR-JP-P0303.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 303CVR.JP-P0303Margesvrijwel volledig afgesnedenDepot 3-lade 10prentKuchi-e (= book-illustration) Deze prent werd aan een damesroman toegevoegd.Liggend formaat, vrouw naar links gericht leest een brief in cirkelvormig venster, aan de bovenkant door de prentrand afgesneden, vanuit rechtsonder uitbottende bloesemtak voor het beeld langsexacte15Centre CéramiqueBlokdrukVerstilde schoonheidEngelsBeauty2004-10-21Reek, J. vanChoko, Kamoshita (1890-1967)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2410:20:3711:41:2310:13:2008:37:08Maastricht13:08:11collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73154Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad33,5 x 22,535,5 x 23,5cmcmCVR-JP-P0304.jpgOntwerperGeesten en legendenCVR-JP-P 304CVR.JP-P0304MargesMaatcode passepartoutsmal, nauw afgesnedenA = 35 x 50 cmDepot 3-lade 10prentFine impression, color & state. Blind stamped embossing, mica dusting Scene gebaseerd op de Shui hu zhuan, een 13de-eeuwse Chinese roman die in het begin vande 19de eeuw in het Japans werd vertaald o.d.t. Suikoden.serietitelexacteBlokdrukHoutsnede, monochroomHarde mannen, zachte vrouwenEngelsThe village of the Shi clan on a moonlit nigh: Nine dragon tattoo2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2410:13:2008:37:0813:08:11collect>internCOLLECT>interncollect>interncollect>intern 73155Depot 3-lade 17Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad39 x 3041,5 x 33,9cmcmCVR-JP-P0305.jpgOntwerperCVR-JP-P 305CVR.JP-P0305MargesongelijkDepot 3-lade 17prentToestand goed, m.u.v. lijmsporen op achterzijde, dienen te worden verwijderdexacteBlokdrukHoutsnede, kleuren2004-10-21Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2510:13:2108:37:0813:08:12collect>internCOLLECT>interncollect>interncollect>intern 73156Depot 3-lade 12Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1894Lengte x BreedteLengte x BreedteBlokBlad37 x 7335,9 x 72,2circa1894circacmcmCVR-JP-P0306abc.jpgOntwerperSenso-e (oorlog)CVR-JP-P 306 a-cCVR.JP-P0306a-cMargesongelijkDepot 3-lade 12prentDrieluikSenso - E (Battle-print)Bergachtig landschap, samurai (of roverhoofdman) krijgt vanaf berghoogte op gebouwencomplex neer, rechts tussen de bomen groep soldaten (of rovers) Drieluik, bestaande uit drie losse, maar overlappende bladen. Toestand middelmatig, enigszins verzuurd, met name de overlappingenexacteBlokdruk2004-10-21Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2510:20:5710:13:2108:37:0813:08:12collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73157Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad33,9 x 22,934,3 x 23,1De prent werd niet in een boek geschoven, daardoor ontbreken de vouwen., latere druk van een Meiji prentcmcmCVR-JP-P0307.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 307CVR.JP-P0307MargesminimaalDepot 3-lade 10prent? Meisje in badpak met strohoed op strand Toestand: perfect, behalve twee stroojes paperen plakband op achterzijdeexacte17Centre CéramiqueBlokdrukVerstilde schoonheid2004-10-21Reek, J. vanKogyoschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2510:20:4511:41:2410:13:2108:37:08Maastricht13:08:12collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73158Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad37,9 x 25,738,5 x 26,1authentieke reproductiecmcmCVR-JP-P0308.jpgOntwerperCVR-JP-P 308CVR.JP-P0308MargesnauwelijksDepot 3-lade 10prentDrie dames in gesprek onder twee papaplu's in de regenexacteBlokdrukHoutsnede, (authentieke) reproductiedruk2004-10-21Reek, J. vanKiyonaga, Torii (1752-1815)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2510:13:2108:37:0813:08:12collect>internCOLLECT>interncollect>interncollect>intern 73159Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad34 x 22,440,1 x 26,7authentieke reproductiecmcmCVR-JP-P0309.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 309CVR.JP-P0309Depot 3-lade 10prentserietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsTenjio Shrine Hill2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2510:13:2108:37:0813:08:13collect>internCOLLECT>interncollect>interncollect>intern 73160Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,2 x 1529 x 16,2verkleinde reproductiecmcmCVR-JP-P0310.jpgOntwerperKrijgersCVR-JP-P 310CVR.JP-P0310MargesjaDepot 3-lade 10prentexacteBlokdrukHoutsnede, kleurenEngelsKabuki Actor, fan-print2004-10-21Reek, J. vanBuncho, Ippitsusai (1725?- 1794)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2610:13:2208:37:0813:08:13collect>internCOLLECT>interncollect>interncollect>intern 73161Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad37,8 x 24,839,7 x 26cmcmCVR-JP-P0311.jpgOntwerperCVR-JP-P 311CVR.JP-P0311MargessmalDepot 3-lade 10prentMinami = Shinagawa, een van de etappes aande Tokaido, bekend om its gau quarters. Deze prent is de rechterkant van een tweeluik. Hij toont drie courtisanes voor een open, getralied venster bij volle maan. De prent is voorzien van een eigen passepartout ( 48 x 33 cm) van de uitgever, met toelichting in het Japans en het Engels.serietitelexacte80Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidEngelsMinami Juniko- September2004-10-21Reek, J. vanKiyonaga, Torii (1752-1815)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2610:20:5211:41:2410:13:2308:37:09Maastricht13:08:14collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73162Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1803Lengte x BreedteLengte x BreedteBlokBlad37,2 x 25,339,3 x 26,1moderne herdruk, authentieke reproductieexact1803exactcmcmCVR-JP-P0312.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 312CVR.JP-P0312MargessmalDepot 3-lade 10prentserietitelexacte07Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidEngelsGirl dressing a companion's hair2004-10-21Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)schenking2013-01-272015-05-272014-03-182014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2618:49:1413:47:2010:20:5911:41:2410:13:2308:37:09Maastricht13:08:14collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73163Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1840Lengte x BreedteLengte x BreedteBlokBlad18,1 x 24,421 x 27,3moderne herdruk, authentieke reproductiecirca1835circacmcmCVR-JP-P0313.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 313CVR.JP-P0313MargesjaDepot 3-lade 1029prentde zg. Kyoka of Sanoki editieLandschap met reizigers die met veerboot rivier oversteken, eem dorp achter de dijk aan de overkant, enkele pijnbomen, rieten daken rechtsonder op de voorgrond. Over de serie: On each print is a comic poem (kyoka) hence known as the Kyoka Tokaido. Otherwise known as the Sanoki Tokaido. 29. Mitsuke. The road descends between green slopes, with pine trees (one and two) on either side towards a ford. In the centre is a mounted traveller, and roofs of two houses to right in foreground.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukJapansEngelsMitsukeMitsuke2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)Sanokischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2610:13:2408:37:0913:08:14collect>internCOLLECT>interncollect>interncollect>intern 73164Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1824Lengte x BreedteLengte x BreedteBlokBlad17,5 x 25,118, 2 x 26begin eeuw1800begin eeuwcmcmCVR-JP-P0314.jpgZeegezichtenCVR-JP-P 314CVR.JP-P0314MargessmalDepot 3-lade 10prentVergelijk met prent uit serie van andere kunstenaar: TOTOYA HOKKEI has left a series of thirteen prints entitled Shokoku Meisho, Famous Views of Various Provinces, remarkable for their very unusual shape, which is a long, narrow, oblong form, measuring 7 in. by 15¼ in. The title of the series and the sub-title of the plate is on a square label divided into three panels, the signature, Kiko Hokkei, being in the left-hand compartment, publisher Yeijudo of Yedo. (See Plate 19.) These prints are very rare indeed, but a set of eleven sheets appeared in the Miller sale, 1911, one of them being illustrated in the catalogue thereto, entitled The Village of Musashi, showing a winding road through rice-fields, along which three men on horseback are passing, and a great half-moon resting on the horizon and geese flying across it. Another view of this series, but not included in the Miller set, is here illustrated at Plate 19, Illustration 3, representing a three-masted European ship of the period of the Armada saluting as she passes Mount Inasa, at the entrance to Nagasaki Harbour. The masterpiece of the set is a view entitled Sumida River, Musashi, showing a ferry-boat in a downpour of rain, which has recently been noted by the writer from an American collection. (See Note, Appendix II, for titles of plates.)exacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsA Dutch Ship Fires a Salute off Deshima2004-10-21Reek, J. vanschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2610:13:2508:37:0913:08:15collect>internCOLLECT>interncollect>interncollect>intern 73165Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad16,4 x 10,518,5 x 11,5circa1916cmcmCVR-JP-P0315.jpgOntwerperOkubi-e (grote hoofden)CVR-JP-P 315CVR.JP-P0315MargesjaDepot 3-lade 10prent... New Portraitsgezicht à trois-quart schuin van achteren van acteur. Is geplakt op vel met gedrukte Japanse ondertitel, i.e. afkomstig uit boekje - verzamelingAsian Collection / www.woodblockprint.comexacteBlokdrukHoutsnede, kleurenEngelsA Kabuki Actor2004-10-21Reek, J. vanShunsen, Natori (1886-1960)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2710:13:2508:37:0913:08:15collect>internCOLLECT>interncollect>interncollect>intern 73166Depot 3-lade 10Twee formaten aanwezig. Miniatuurformaat en ongeveer a4formaat. miniatuur moet waarschijnlijk terug in verzamelband kisokaido. nog uitzoeken.Japanse PrentenCentre CéramiqueRechts een rivieroever met daarop mensen en dieren bij een huisje en een boom. Daarachter en links ervan een rivier met daarover een brug. Op de brug lopen mensen in de schemering. Het is volle maan.Op de achtergrond de vage contouren van een berg.MaastrichtJapanse prenten1842Lengte x BreedteLengte x BreedteBlokBlad18,3 x 28,822,3 x 32,4moderne herdruk, authentieke reproductie1834cmcmCVR-JP-P0316.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 316CVR.JP-P0316Depot 3-lade 1028prentVoorgrond: Man leidt gezadeld paard over rivieroever, twee kinderenspelen met hond en varkentje, achtergrond: schimmig silhouet van brug met reizigers, daarachter bergen en volle maan 28 Nagakubo Past the Kasadori Pass, travellers walked along a gently downhill road to reach the post town of Nagakubo. This was a bustling junction stage with the Wada Pass to the south and the Zenkoji Road branching out form the Kisokaido Highway. In the centre of the picture is the Wada Bridge across the Yoda River. 28. Nagakubo (Hiroshige.) The full moon on the river, with travellers crossing a trestle-bridge and mountains looming through the mist beyond. On the near bank, children playing with dogs and a man leading a horse, on the cloth of which is the publisher's mark, a great tree and a house with bamboos to right. Signed, Hiroshige. Seals, Ichiryusai, Kinjudo, and plate number 28. 28a Another state. The distant mountains are not seen to right of the central tree. 28b Another state. The mountain range does not appear. Note :- This print, in Mr. Oscar C. Raphael's collection, is in such fine condition and so sharply printed as to go far to justify the assumption that it is the first state. It is unusual for a block to be added and difficult to see a reason for it in this instance. On the other hand, the wear of the block shown as between 28 and 28a might have given a reason for cutting the worn part away altogether. There are, however, no signs of wear in Mr. Raphael's print, and the order in which editions are here placed is given with all reserve. Station 28. NAGAKUBO. Perhaps the masterpiece of the whole series. A very fine moonlight and mist effect with figures, one on horseback, crossing a bridge over a river , in the foreground, a tree growing by the edge of the river, a man leading a horse, and two children playing with dogs. In the background are mountains printed from colour-blocks (graded black) only, omitted in late issues, in which also the colour is much weaker. The bridge, the figures crossing it, and the tree, are all printed in dead black, the whole forming a very fine composition and relying for its effectiveness upon the use of black graded to various tones, and the deep blue of the river in the foreground shading off to a misty grey in the dim distance. This view is very uncommon, particularly fine copies of the first issue, and has been much reproduced. (See Plate 13.)serietitelexacte20BlokdrukHoutsnede, (authentieke) reproductiedrukBijschrift: Nagakubo, een van 69 haltes van de Kisokaido, van Ando Hiroshige. De reizigers bereiken een brug.Het WeerJapansEngelsNagakubuNagakubu2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi-Hoeido (1ste dee part) and Kinjudo (2nd part), Kinjudo.schenking2013-01-272015-05-272013-09-182013-09-182013-06-122013-05-2917971858IesewfhelmesjpeetersjpeetersewfhelmesewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:2711:41:2510:13:2508:37:0915:25:22Maastricht13:08:16collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73167Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1793Lengte x BreedteLengte x BreedteBlokBlad22,2 x 15,523,5 x 18,4latere vrije bewerking, authentieke reproductiecirca1792circacmcmCVR-JP-P0317.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 317CVR.JP-P0317Depot 3-lade 10prentGeisha met kopje thee of sake, tegen grijze wand waarop landschapsprent In passepartout van uitgever ( 30 x 21 cm). Utamaro heeft nog ander prenten gemaakte waropOkita staat afgebeeld. Deze moderne herdruk lijkt geen authentieke reproductie, maar een moderne, vrije interpretatie van de oorspronklijke prent. AHkita was a beautiful waitress at the Naniwaya tea-house near Asakusa Temple in the city of Edo. When Utamaro created this print of her, she would have been about fifteen years old. Utamaro also included a cartouche in the shape of a poem card in the upper left portion of the print with a poem by Katsura-no-Mayuzumi that further attests to the allure of Okita: Resting at the tea-house in Naniwaya district, Myriad as the reeds of Naniwa Bay Are those who come running at the name of this shop Each passerby has to stop.exacte78Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidEngelsThe Waitress Okita of the Naniwaya Teahouse2004-10-21Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2710:24:1911:41:2510:13:2508:37:09Maastricht13:08:17collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73168Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36,3 x 2536,5 x 25,4cmcmCVR-JP-P0318.jpgOntwerperActeursCVR-JP-P 318CVR.JP-P0318Margesdeels afgesnedenDepot 3-lade 10prentexacte67Centre CéramiqueBlokdrukVerstilde schoonheidEngelsAn actor carrying an open umbrella in a scene form a Kabuki play2004-10-21Reek, J. vanKunisada, Utagawa (1786-1865)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:2710:24:2811:41:2510:13:2508:37:09Maastricht13:08:17collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73169Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880Lengte x BreedteBlad21,2 x 30,3circa1880circacmCVR-JP-P0320.jpgOntwerperCVR-JP-P 320CVR.JP-P0320MargesgeenDepot 3-lade 10prentWestern-style prints ? is dat een formele serie, of gewoon een genre ? Wellicht uit de serie Tokyo Meisho-zu = Gezichten op de beoremde plekken in Tokyo = pictures of the Famous Places in Tokyo ?Terras onder de bomen in een park, met tafels waarop vesrchillende groepjes dames converseren, rechtsonder komt een man een bospad op. Geen marges misschien iets afgesneden.exacteBlokdrukHoutsnede, kleurenEngelsAt the park2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2810:13:2608:37:0913:08:18collect>internCOLLECT>interncollect>interncollect>intern 73170Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880Lengte x BreedteBlad20 x 31,2exact1880exactcmCVR-JP-P0321.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 321CVR.JP-P0321MargesgeenDepot 3-lade 10prentWestern-style prints ? is dat een formele serie, of gewoon een genre ? Wellicht uit de serie Tokyo Meisho-zu = Gezichten op de beoremde plekken in Tokyo = Pictures of the Famous Places in Tokyo ?Landschap: lage horizon, meer met veerbootje met drie figuren op weg naar eilandje tussen rietkragen, met huisje onder twee herfstige bomen, wolkenhemel met regenboog.- Geen marges, verm. langs randen blok afgesneden.Vergelijk met andere, staande) prent van Kiyochika: http://www.liveauctioneers.com/item/5073671 Lot 39. Title: Crossing the River at Hashiba in Tokyo. Artist: Kiyochika, Kobayashi, 1847-1915. Series: One Hundred Views of Musashi. Date: 1884. Medium: woodblockexacteBlokdrukHoutsnede, kleurenEngelsHashiba Ferry at Twilight2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2810:13:2608:37:0913:08:18collect>internCOLLECT>interncollect>interncollect>intern 73171Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1885Lengte x BreedteLengte x BreedteBlokBlad23 x 31,822,8 x 34,7circa1885circacmcmCVR-JP-P0322.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 322CVR.JP-P0322MargesjaDepot 3-lade 10prentWestern-style prints ? is dat een formele serie, of gewoon een genre ? Wellicht uit de serie Tokyo Meisho-zu = Gezichten op de beoremde plekken in Tokyo = Pictures of the Famous Places in Tokyo ?Gezicht op kanaal in park, hoge dennebomen aan weerszijden,tempel of paleis op de achtergrond, een dame met parasol en met een kind aan de hand wandelt links langs het kanaal naar de tempel toe.exacteBlokdrukHoutsnede, kleurenEngelsView of Ueno Park2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2810:13:2608:37:1013:08:19collect>internCOLLECT>interncollect>interncollect>intern 73172Depot 3-lade 17Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1923Lengte x BreedteLengte x BreedteBlokBlad38,8 x 27,045,5 x 28,5 cmexact1923exactcmcmCVR-JP-P0323.jpgOntwerperCVR-JP-P 323CVR.JP-P0323Margesjabron identificatie: http:--www.bijinga.com-woodblocks-hiromitsu_nakazawa-details-03286.html en http:--www.artelino.de-articles-taisho_prints.aspDepot 3-lade 17prentSupplement bij het Verzamelde werk van de Japanse toneelschrijver Chikamatsu Monzaemon (1653-1725), uitgegeven in 1923, bevat18 houtsneden elk werk gemaakt door een bekende eigentijdse Japanse kunstenaar.Vergelijk met prent uit serie van andere kunstenaar: TOTOYA HOKKEI has left a series of thirteen prints entitled Shokoku Meisho, Famous Views of Various Provinces, remarkable for their very unusual shape, which is a long, narrow, oblong form, measurAsian Collection / www.woodblockprint.comexacteBlokdrukHoutsnede, kleurenEngelsHeroine Matsukaze2004-10-21Reek, J. vanNakazawa, Hiromitsu (1874-1964)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2810:13:2608:37:1013:08:19collect>internCOLLECT>interncollect>interncollect>intern 73173Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1879Lengte x BreedteBlad35, x 23,5exact1879exactcmCVR-JP-P0324.jpgOntwerperUitgeverCVR-JP-P 324CVR.JP-P0324MargesgeenDepot 3-lade 10prentof: Heroes and heroines who have been regarded as standards of moral leadership and success ?Jongeman in reisgewaad (mantel, hoed) komt aan bij een rietgedekt huis met twee gesluierde dames onder een veranda. Decoratieve marges, tekstcartouche in voorstelling en op marge Onderdeel van een serie waaraan veel kunstenaars bijdroegen, Yasuij 11 prenten.serietitelAsian Collection / www.woodblockprint.comexacteBlokdrukHoutsnede, kleurenEngelsNuns at Sagano2004-10-21Reek, J. vanYasuji, Inoue (1864 -1889)Matsuki Heikichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2810:13:2608:37:1013:08:19collect>internCOLLECT>interncollect>interncollect>intern 73174Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1881Lengte x BreedteLengte x BreedteBlokBlad20,6 x 32,323,5 x 35,1moderne herdruk circa 1950exact1881exactcmcmCVR-JP-P0325.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 325CVR.JP-P0325MargesjaSmith, Kiyochika, Artist of Meiji Japan, Plate #49, page 50.Depot 3-lade 10prentSeries titled loosely as Tokyo Landscapes.Rivier, links op de voorgrond paviljoen, op achtergrond brug tussen twee stadsdelen die beide in brand staan, op de voorgrond langs het water vluchtende bewoners en toeschouwersexacteBlokdrukHoutsnede, (authentieke) reproductiedrukJapansEngelsHamacho yori utsusu Ryogoku taikaBig Fire at Ryogoku from Hama-cho2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)Kyoto: Mariashobu Publisherschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2910:13:2608:37:1013:08:20collect>internCOLLECT>interncollect>interncollect>intern 73175Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1881Lengte x BreedteLengte x BreedteBlokBlad19,9 x 31,122,5 x 34,2moderne herdruk circa 1950, authentieke reproductieexact1881exactcmcmCVR-JP-P0326.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 326CVR.JP-P0326MargesjaSmith, Kiyochika, Artist of Meiji Japan, Plate #51, page 39.Depot 3-lade 10prentSeries titled loosely as Tokyo Landscapes.Nachtelijke scene: oever vol publiek bij boom, onder lijn met lampions, verlichte skyline aan de horizon: in het midden een spetterend vuurwerkexacteBlokdrukHoutsnede, (authentieke) reproductiedrukJapansEngelsIkenohata hanabiFireworks at Ikenohata Pond2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)Kyoto: Mariashobu Publisherschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2910:13:2708:37:1013:08:21collect>internCOLLECT>interncollect>interncollect>intern 73176Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten2000Lengte x BreedteLengte x BreedteBlokBlad20,4 x 32,124,1 x 36,6latere versieeeuw1900eeuwcmcmCVR-JP-P0327.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 327CVR.JP-P0327Depot 3-lade 10prentHouten brug in de mist (of rook ?) op de achtergonrd, voorgrond: oever met wilg, aangelegde bootjes, passante, en vrouw met pijp op steigerexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsTwo ladies on a river bank near a bridge2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2910:13:2708:37:1013:08:21collect>internCOLLECT>interncollect>interncollect>intern 73177Depot 3-lade 11Japanse PrentenCentre CéramiqueDeze prent laat het effect zien van de superieure bewapening van de Japanse slagschepen op hun dappere, maar technisch minder geavanceerde tegenstanders. Een Chinese kruiser wordt geraakt door een Japanse voltreffer, de manschappen redden zich het vege lijf in reddingssloepen of springen overboord om naar de nabije kust te zwemmen. Hoe dramatisch ook, het lijkt alsof de nachtelijke sfeer het onderwerp van de prent is, eerder dan de gebeurtenis zelf. Ook technisch is het een superieure prent. Let bijvoorbeeld op het effect van de houtnerf van het blok in de weergave van de nachtelijke hemel.MaastrichtJapanse prenten1894Lengte x BreedteLengte x BreedteBlokBlad35,6 x 70,836,1 x 70,8exact1894exactcmcmCVR-JP-P0328.jpgOntwerperSenso-e (oorlog)CVR-JP-P 328CVR.JP-P0328Margesboven, smalDepot 3-lade 11prent... scènes uit de Chinees-Japanse oorlogDrieluik: zee, nacht (wassende maan) met rots links en eiland op de horizon, op de horizon rechts vloot die kanonnen afvuurt, cenraal oorlogsschip dat getroffen wordt en explodeert, op de voorgrond reddingsboten met bemanning die zich op de rots links in veiligheid brengt. Onze zeeslag bij Phung-To, Korea (1894) Deze prent laat het effect zien van de superieure bewapening van de Japanse slagschepen op hun dappere, maar technisch minder geavanceerde tegenstanders. Een Chinese kruiser wordt geraakt door een Japanse voltreffer, de manschappen redden zich het vege lijf in reddingssloepen of springen overboord om naar de nabije kust te zwemmen. Hoe dramatisch ook, het lijkt alsof de nachtelijke sfeer het onderwerp van de prent is, eerder dan de gebeurtenis zelf. Ook technisch is het een superieure prent. Let bijvoorbeeld op het effect van de houtnerf van het blok in de weergave van de nachtelijke hemel. Maten zijn van totaal, drieluik bestaat uit drie bladen, waarvan de twee linkse aan elkaar geplakt zijn.Mooie afdrukAsian Collection Japanese Print Auction PO BOX 2010, White Marsh, VA 23183, USA | www.woodblockprint.comexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsChosen toyoshima kaisenNaval Battle near Phung-to, Korea2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:2910:13:2708:37:1013:08:21collect>internCOLLECT>interncollect>interncollect>intern 73178Depot 3-lade 13Japanse PrentenCentre CéramiqueTwee vrouwen houden hun hoeden vast in de wind. Hun kimono's waaien in de wind.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad29,6 x 21,530,5 x 22,6authentieke reproductiecmcmCVR-JP-P0329.jpgOntwerperCVR-JP-P 329CVR.JP-P0329Margeslinks en bovenpapierDepot 3-lade 13prentTwee dames met strooien hoeden die ze vasthouden tegen de wind wandelen over een heuveltje, links rietpluimen. links boven wilgentakken, boven geschulpte decoratieve rand (kunnen geen wolken zijn)verm. authentieke reproductieexacte12BlokdrukHoutsnede, (authentieke) reproductiedrukBijschrift: Twee dames aan de wandel op een winterse dag, van Suzuki Harunobu. Ook vrouwen raken verward door de wind. (het moet zijn: winderige dag)Het WeerGoedEngelsTwo ladies out walking on a windy day2004-10-21Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272013-09-182013-06-122013-05-29Iesewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2013-06-112013-07-30Centre Céramique14:26:2910:13:2708:37:1015:21:16Maastricht13:08:22collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73179Depot 3-lade 01Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad22,1x 15,623,6 x 19herdruk 19??, authentieke reproductie1794cmcmCVR-JP-P0330.jpgOntwerperCVR-JP-P 330CVR.JP-P0330MargesjapapierDepot 3-lade 01prentNaar rechts gewend portret à trois-quart tot middel van een Kabuki acteur | moderne authentieke reproductie, in wit passepartout van de uitgever (National Museum of Japan ?)exacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsOniji, an Actor2004-10-21Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)schenking2013-01-272015-05-272015-05-272014-03-112013-09-182013-09-182013-06-12Iesjpeetersewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt17:04:0014:26:3020:18:1211:41:2810:13:2708:37:1013:08:22collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73180Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1893Lengte x BreedteLengte x BreedteBlokBlad32,4 x 21,535,6 x 24,2circa1893circacmcmCVR-JP-P0331.jpgOntwerperCVR-JP-P 331CVR.JP-P0331Margesasymmetrischpapier, albumdoublureDepot 3-lade 13prentTwee dames bij een houtskoolkomfoor, één speelt luit, beide kijken uit een rond venster naar een bloesemtak met een zingende nachtegaal. Zijwand met gedecoreerd behang en tekstcatouches. | Blinddruk in de tekstcartoucheserietitel? Want schijnbaar uitzelfde album asl volgende nummer ? Asian Collection Japanese Print Auction PO BOX 2010, White Marsh, VA 23183, USA | www.woodblockprint.comexacteBlokdrukHoutsnede, kleurenGoed2004-10-21Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3010:13:2808:37:1013:08:22collect>internCOLLECT>interncollect>interncollect>intern 73181Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1893Lengte x BreedteLengte x BreedteBlokBlad32,5 x 22,135,5 x 24exact1893exactcmcmCVR-JP-P0332.jpgOntwerperCVR-JP-P 332CVR.JP-P0332Margesasymmetrischpapier, albumdoublureDepot 3-lade 13prentTwee bijin of schoonheden, hier vermoedelijk dames van lichte zeden, staan onder een boom bij een houten huis- schuur te praten, vanuit de achtergrond nadert een man (een potentiële klant ?), gevolgd door een dienaar met lantaarn, verder op de achtergrond het silhouet van een andere man met zwaard. De maansikkel schijnt door de wolken. | blinddruk in de tekstcartouche.serietitelAsian Collection Japanese Print Auction PO BOX 2010, White Marsh, VA 23183, USA | www.woodblockprint.comexacte11Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsStreetwalker: The Ohnin Era (1467-1468)2004-10-21Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3010:24:3611:41:2810:13:2808:37:11Maastricht13:08:23collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73182Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,6 x 18,728 x 20,3latere versiecmcmCVR-JP-P0333.jpgOntwerperCVR-JP-P 333CVR.JP-P0333MargesjapapierDepot 3-lade 13prentDame op de rug gezien, in blauwe kimono, met lampion, wandelt langs verlicht huis , zicht op dorpje aan zeekust, vlucht kraanvogelsexacteBlokdrukHoutsnede, kleurenEngelsLady lighting herself with a lantern on a walk at night2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3010:13:2808:37:1113:08:23collect>internCOLLECT>interncollect>interncollect>intern 73183Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1799Lengte x BreedteLengte x BreedteBlokBlad25,3 x 18,229,6 x 22,5herdruk 19??, datering:??, authentieke reproductieeeuw1700eeuwcmcmCVR-JP-P0334.jpgOntwerperCVR-JP-P 334CVR.JP-P0334MargesvolledigpapierDepot 3-lade 13prentTwee dames zitten aan weerszijden van een grote lier ? luit, een bestudeert enkele (muziek)boekjes, de ander doet iets met haar nagels (het plectrum ?) Moderne authentieke reproduktieexacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsTwo ladies with a lyre2004-10-21Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3110:13:2808:37:1113:08:23collect>internCOLLECT>interncollect>interncollect>intern 73184Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad33,8 x 21,735,2 x 24,1cmcmCVR-JP-P0335.jpgOntwerperCVR-JP-P 335CVR.JP-P0335MargesasymmetrischpapierDepot 3-lade 13prentLandschap, gezicht op de berg Chikuba, op een winderige dag, op de voorgrond loopt vrouw met landbouwgereedschap langs een riviertje naar een brug, waarop een man die een lastpaard aan de teugel leidt. | Blinddruk in tekstcartoucheexacteBlokdrukHoutsnede, kleurenGoedEngelsView of Mt. Chikuba2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3110:13:2808:37:1113:08:24collect>internCOLLECT>interncollect>interncollect>intern 73185Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,2 x 28,630 x 41,8authentieke reproductiecmcmCVR-JP-P0336.jpgOntwerperCVR-JP-P 336CVR.JP-P0336Margesvolledigpapier, blinddrukDepot 3-lade 16prentGezicht op baai met op de middengrond lange hoge brug, vol passanten met paraplu's, op de voorgrond haventje met wat bootjes en dame met paraplu. | Grijzige tonen, rimpelingen in het water mooi weergegeven in roze en zachtblauw en blinddruk | gedrukt op nauwelijks waarneembaar lichtblauw getint papier. | Vermoedeljk authentieke reproductie.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsView of rainfall on *Shin-ou-Hashi, in To-Kei * New great bridge2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3110:13:2908:37:1113:08:24collect>internCOLLECT>interncollect>interncollect>intern 73186Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,5 x 37,828,3 x 42latere versiecmcmCVR-JP-P0337.jpgOntwerperCVR-JP-P 337CVR.JP-P0337MargesvolledigpapierDepot 3-lade 16prentWinters landschap, lage horizon, verspreide huizen door elektriciteitsmasten en -kabels verbonden, passanten, sommigen met paraplu, riksja. | Vermoedelijk authentieke reprdouctieexacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsTownscape in winter2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3110:13:2908:37:1113:08:24collect>internCOLLECT>interncollect>interncollect>intern 73187Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1975Lengte x BreedteLengte x BreedteBlokBlad24,6 x 37,227,9 x 40,3exact1975exactcmcmCVR-JP-P0338.jpgOntwerperCVR-JP-P 338CVR.JP-P0338MargesvolledigpapierDepot 3-lade 16prentEen gezicht in het stadje Taxco in Mexico Later impression from original blocks. Komatsu printer's seal on versoE-BayexacteBlokdrukHoutsnede, kleurenGoedEngelsTaxco Mexico2004-10-21Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3110:13:2908:37:1113:08:24collect>internCOLLECT>interncollect>interncollect>intern 73188Japanse PrentenCentre CéramiqueBewolkte maannacht: spoordijk langs de zeekust bij Shinagawa, met telegraafpalen, stoomtrein, de verlichte vensters van de passagierswagons weerspiegeld in het kanaal op de voorgrond.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad20,6 x 32,323,6 x 35,8latere versiecmcmCVR-JP-P0339.jpgOntwerperCVR-JP-P 339CVR.JP-P0339MargesvolledigpapierprentBewolkte maannacht: spoordijk langs de zeekust bij Shinagawa, met telegraafpalen, stoomtrein, de verlichte vensters van de passagierswagons weerspiegeld in het kanaal op de voorgrond.| Latere (her)druk: Fine impression of a later printing with gauffrage (nb: maar ik zie die blinddruk niet). De eerste spoorweg van Japan, tussen Shinbashi en Yokohama, werd geopend in het vijfde jaar van de Meji periode (i.e. 1873). Omdat het ter hoogte van Shinagawa moeilijk was het benodigde land te verwerven, werd daar een spoordijk gebouwd even uit de kust, waarover de trein lange jaren zou rijden. De uitbeelding van de locomotief, wellicht een van de eerste tien die in de VS werden aangeschaft, is wellicht niet correct.Auction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, januari 2006exacteBlokdrukHoutsnede, kleurenGoedJapansEngelsTakanawa Ushimachi Oboro GekkeiA Faint Moonlight Night in Takanawa Ushi-machi2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3210:13:2908:37:1113:08:25collect>internCOLLECT>interncollect>interncollect>intern 73189Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1858Lengte x BreedteLengte x BreedteBlokBlad33,6 x 2236,6 x 25reprodruktie 19??, authentieke reproductiecirca1856circacmcmCVR-JP-P0340.jpgOntwerperUitgeverCVR-JP-P 340CVR.JP-P0340MargesjapapierDepot 3-lade 09118prentSterverlichte winternacht, onder de kale boom links verzamelen zich de vossen van het Inari-tempeltje (shrine) bij Oji: bij de vlammen van het fox-fire, dwaallichtjes (in feite het schijnsel van luminiscente rottende paddestoelen). Artist Hiroshige created a woodblock print that invokes the spooky side of foxes. Here, fox spirits congregate at Oji, near Kyoto, their flame-shaped bodies invoking foxfire. This mysterious glowing light appears in forests and is caused by a luminescent fungi growing on rotting trees. The elongated foxes seem to be in the very act of transformation between fire and fox — and human. In the distance, eyes of approaching foxes mirror the twinkling night skies. BOTH IN TECHNIQUE AND EXPRESSION, this haunting masterpiece is a unique achievement in the history of Japanese woodblock prints, providing a fitting concluding print to the series One Hundred Famous Views of Edo. Although it is conventionally considered to be one of the best three prints in the series, it really falls into a class of its own. In particular, it is the only print in the entire series that involves fantasy. In the late substantial, when the print first appeared, the world of Japanese color prints was in fact dominated by themes of the fantastic, but the aging Hiroshige held fast to his ingrained reliance on the certainties of the observed world. Here alone he adventured into the world of spirits. The theme depicted had been widely reported in Edo essays and gazetteers since the mid-17th century. It was said that on New Year's Eve, all the foxes of the eight Kanto provinces would gather at a particular tree near Oji Inari Shrine, the headquarters of the regional Inari cult. There they would change their dress to become presentable for a visit to the shrine, where they would be given orders for the coming year. On the way, they gave forth distinctive flames kitsunebi by which local farmers were able to predict the crops of the coming year -- some say by the shadows they cast, others by their numbers. It is an interesting coincidence that the word foxfire exists in English as a literal translation of kitsunebi. Although the cultural nuances differ, both words were used to explain strange lights at night, such as the burning of swamp gases or the glow of luminescent fungi, and both were ascribed to the fox, the animal that in both East and West, fools people. LET OP ! DIT IS NAAR ALLE WAARSCHIJNLIJKEID EEN FOTOGRAFISCHE REPRODUCTIE.serietitelSotheby's MiamiexacteBlokdrukFotografische reproductie ? van houtsnede, kleurenGoedJapansEngelsOji, Shozoku-yenokiUnder the Nettle-Tree at Oji: Jack-o'-Lantern on New Year's Eve2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)Uoya Eikichischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3210:13:2908:37:1113:08:25collect>internCOLLECT>interncollect>interncollect>intern 73190Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1852Lengte x BreedteLengte x BreedteBlokBlad36,2 x 2536,2 x 25exact1852exactcmcmCVR-JP-P0341.jpgOntwerperUitgeverCVR-JP-P 341CVR.JP-P0341Margesgeenpapier, albumdoublureDepot 3-lade 13prentThe witch Nyo-getsu-ni, carrying a sword and bell, with a mirror hanging on her breast, and a torch alight at both ends in her teeth, followed up a snowy mountain-slope at night by Arai Maru. Condition Very good. Retains Japanese album backingserietitelJapan Print Gallery (Peter O'Rorke) 43 Pembridge Road Notting Hill, London, W11 3HGexacteBlokdrukHoutsnede, kleurenGoedEngelsAshida2004-10-21Reek, J. vanKuniyoshi, UtagawaSumiyoshi-ya Masagoroschenking2013-01-272015-05-272013-09-182013-06-1217971861Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3210:13:3008:37:1113:08:26collect>internCOLLECT>interncollect>interncollect>intern 73191Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1958Lengte x BreedteLengte x BreedteBlokBlad37,9 x 24,942,7 x 28,5exact1958exactcmcmCVR-JP-P0342.jpgOntwerperUitgeverCVR-JP-P 342CVR.JP-P0342MargesjapapierDepot 3-lade 13prentDame in grijze gedecoreerde kimono onder groen parasol in de schaduw van en kersenboom in bloesem. | zg. dai-oban formaat | Very Fine. Skillfully executed bokashi (gradation of colors) shading, highly detailed, crisp key-lines.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, januari 2006exacteBlokdrukHoutsnede, kleuren, contouren figuur in blinddrukuitstekendJapansEngelsHanakageApril: Shade of Cherry Blossoms: Hanakage2004-10-21Reek, J. vanOnuma, ChiyukiTokyo: Sobunshaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3210:13:3008:37:1213:08:27collect>internCOLLECT>interncollect>interncollect>intern 73192Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1934Lengte x BreedteLengte x BreedteBlokBlad32,6 x 21,537,3 x 24,6(of datering 1936 ?)circa1934circacmcmCVR-JP-P0343.jpgOntwerperCVR-JP-P 343CVR.JP-P0343MargesjapapierDepot 3-lade 13prentDeze figuur komt vrijwel hetzelfde voor op de beroemde prent van drie meisjes bij een luxe auto, dit lijkt een detailportret van één van de drie. De achtergrond: wolken en maan in dit ex. rvijwel uitsluitend in blindduk, heel licht grijzig aangezet, in andere ex. geel of heel fijn lichtblauw aangezet. Ook de kleur van de kimono variëert in andere ex.Dame in beige kimono, naar links gewend, à trois-quart. Achtergrond wolken in blind-druk !!Het zegel van deze prent (ook andere x. ervan) wijkt af van het meer ganbare zegel van Shuho (een herfstblad)serietitelexactekleine scheurtjes in randenBlokdrukHoutsnede, kleuren, blinddrukGoedEngelsYoung Woman2004-10-21Reek, J. vanShuho, Yamakawa (1898-1944)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3210:13:3008:37:1213:08:27collect>internCOLLECT>interncollect>interncollect>intern 73193Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1920Lengte x BreedteLengte x BreedteBlokBlad47 x 13,550,8 x 19latere, posthume herdruk 1981, latere versiecirca1920circacmcmCVR-JP-P0344.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 344CVR.JP-P0344Depot 3-lade 05prentserie van 12 ???Jonge vrouw, ten voeten uit, naar links gewend, slaat haar kimono dicht, houdt de ceintuur in haar mond. Nadruk, maar van absolute topkwaliteit, verm. uit: (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981) Is bewaard in de originele 'presentation folder': i.e. een passepartout, met los vel zijdepapier, dat in een kartonnen omslag is gelegd met opgeplakte labels in het Japans.Wonderful, delicate Goyo bijin-ga image. One of only 16 lifetime images done by Goyo (11 bijin-ga, 4 landscapes, 1 kacho-e). (uit tekst bij andere 'beauty, maar slaat evengoed hier op !) Beschrijving van latere herdruk (recarved) in Artelino, van deze prent: Title Beauty after Bath reproduction - fukkoku Artist Goyo Hashiguchi 1880-1921 Biography Short Biography Signature Goyo Seal artist's seal Dated originally in 1920. This re-carved edition was made probably in 1950s.Medium/Technique Woodblock print. Impression excellent . (re-carved) Colors excellent . mica background Condition excellent - very good . two pin size holes on the right margin corners. Description Beauty is putting on a light summer robe after a bath. Note Carver Maeda Kentaro, printer chujo Koshio were printed on the back. Width Item 7.7 inches = 19.5 cm Height Item 19.3 inches = 49.0 cm Literature Newland, Amy R., and S. Hamanaka, The Female Image: 20th Century Prints of Japanese Beauties, Leiden: Hotei, 2000, ISBN 90 74822 20 7, -exacte52Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidEngelsAfter the Bath: Young Beauty Binds her Kimono2004-10-21Reek, J. vanGoyo, Hashiguchi (1880-1921)Yuyudoschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3310:24:4511:41:3010:13:3008:37:12Maastricht13:08:28collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73194Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1933Lengte x BreedteLengte x BreedteBlokBlad40,6 x 25,648,2 x 32,2herdruk 1980exact1933exactcmcmCVR-JP-P0345.jpgOntwerperUitgeverCVR-JP-P 345CVR.JP-P0345Margesvolledig, ongelijkNewland en Hamanaka 2000, p. 134, pl. 180. | Blair's 1936 Toledo Exhibition, Plate #136.papierDepot 3-lade 13prentof: Misty Spring of: Hazy Springtime MoonNaar rechts gewende jonge vrouw in paarse kimono, en profil dai oban formaat. | Oboro Haru (Hazy Moon in the Spring). Beauty is looking at the hazy moon. Cherry petals are falling around her. | Lifetime total 21 images (most 1927-33). Re-strike published as small-immediately sold out edition (100 copies) in the mid-1980's by Ishukankokai Publisher of Tokyo (with red moneybag seal).Authentieke herdruk (recarved edition), editie van 100 exemplaren | uitgever Iju-Kanko-kai's (zijn zegel, een geldzakje) in linkermarge, graveur: Ito Susumu, drukker: Uchikawa Matashiroserietitelexacte54Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedJapansEngelsOboru haruHazy Moon in the Spring2004-10-21Reek, J. vanKotondo, Torii (1900-1976)Iju-Kanko-kaischenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3310:25:0111:41:3010:13:3008:37:12Maastricht13:08:29collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73195Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1957Lengte x BreedteLengte x BreedteBlokBlad36,8 x 24,1 cm40 x 27,5exact1957exactcmcmCVR-JP-P0346.jpgOntwerperUitgeverCVR-JP-P 346CVR.JP-P0346Margesvolledig, ongelijkGrund 2001, p. 19, nr. 79papierDepot 3-lade 13prentof: RoofsGezicht op de daken van een wijk van houten huizen - barakken van één verdieping: winternacht, sneeuw, verlichte ramen, paar mensen met lataarn, zee op de achtergrond | There was a self-published version of this design in 1975.exacteBlokdrukHoutsnede, kleurenuitstekendJapansEngelsEchigo no UmiThe Sea of Echigo2004-10-21Reek, J. vanKasamatsu, Shiro (1898-1991)Unsodoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3310:13:3108:37:1213:08:29collect>internCOLLECT>interncollect>interncollect>intern 73196Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1954Lengte x BreedteLengte x BreedteBlokBlad36,6 x 24,3 cm40 x 27exact1954exactcmcmCVR-JP-P0347.jpgOntwerperUitgeverCVR-JP-P 347CVR.JP-P0347Margesvolledig, ongelijkGrund 2001, nr. 51papierDepot 3-lade 13prentof: Girl on the shore, FukuuraMeisje met hoofddoek in kimono en schort, met grote vis in rechterhand, loopt over kade voorbij markstalletje, op het droge gesleepte bootjes, daarachter baai, havenpier met mast en baliekluivers, zee met eiland en zeiltjes in het verschiet. Prachtige deels in blinddruk gedrukte wolkenhemel.Toestand: uitstekendGraveur: Nagashima, drukker: ShinmiexacteBlokdrukHoutsnede, kleuren, blinddrukuitstekendJapansEngelsFukuura: Hama no MusumeA fisher girl on the beach at Fukuura bay2004-10-21Reek, J. vanKasamatsu, Shiro (1898-1991)Unsodoschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3310:13:3108:37:1213:08:30collect>internCOLLECT>interncollect>interncollect>intern 73197Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1878Lengte x BreedteLengte x BreedteBlokBlad32,1 x 2135,5 x 23exact1878exactcmcmCVR-JP-P0348.jpgOntwerperUitgeverCVR-JP-P 348CVR.JP-P0348Margesja, maar nota bene !Eric van den Ing en Robert Schaap, Beauty and Violence: Japanese Prints by Yoshitoshi 1839-1892, Bergeyk (Society for Japanese Arts), 1992, pp. 116-119Depot 3-lade 13prentTegen een woeste (brand-?) lucht schiet Minamoto Yorimasa, ten voeten uit, naar rechts gewend, zijn boog af, zijn schildknaap knielt rechts voor hem. NOTA BENE: de bovenkant van de boog dringt door tot voorbij de rand van de afbeelding (is zelfs enigszins door de rand van het papier afgesneden)serietitelexacteBlokdrukHoutsnede, kleurenEngelsMinamoto Yorimasa (1106-80) and his squire2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Funazu Chujiroschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3310:13:3108:37:1213:08:30collect>internCOLLECT>interncollect>interncollect>intern 73198Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad33,3 x 22,435,7 x 24exact1880exactcmcmCVR-JP-P0349.jpgOntwerperUitgeverCVR-JP-P 349CVR.JP-P0349John Stevenson, Yoshitoshi's One Hundred Aspects of the Moon, Redmond (WA)- San Franciso ( Graphic Society), 1992, no. 99Depot 3-lade 16prentKogo, a renowned Koto player who was exiled to Saga, responds Minamoto-no-Nakakuni's flute by a Koto music Minamoto,in het groen met een zwarte muts, bij zijn paard, speelt de dwarsluit, in het paviljoentje met rieten dak rechts achter begeleidt Kogo hem op zijn koto, de volle maan achter de schimmen van een paar dunne boompjes.serietitelexacte74Centre CéramiqueBlokdrukVerstilde schoonheidEngelsThe Moon at the Saga-no-moor: Flute player and Koto player2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3410:25:0911:41:3110:13:3108:37:12Maastricht13:08:30collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73199Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1899Lengte x BreedteLengte x BreedteBlokBlad33,5 x 22,436,5 x 25,2herdruk 19??, datering:??eeuw1800eeuwcmcmCVR-JP-P0351.jpgOntwerperCVR-JP-P 351CVR.JP-P0351MargesjaStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA: San Francisco, Graphic Society, 1992, - plate 9Depot 3-lade 13prentSamurai met getrokken zwaard, ten voeten uit, kijkt op naar maansikkel die half door v ogel wordt afgedekt Tsuki Hyakushi, Ugo no Sangetsu (One Hundred Aspects of the Moon, Mountain Moon after Rain) Soga Goro Tokimune, one of the Soga Brothers, looks up the flying hototogisu (Its cry was believed to call the spirits to the next world, a symbol of the transience of life) before his final battle.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsMountain Moon After Rain: Tokimune2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3410:13:3108:37:1213:08:31collect>internCOLLECT>interncollect>interncollect>intern 73200Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1899Lengte x BreedteLengte x BreedteBlokBlad33,2 x 22,436,1 x 25,4herdruk 19??, datering:??eeuw1800eeuwcmcmCVR-JP-P0352.jpgOntwerperCVR-JP-P 352CVR.JP-P0352MargesjaStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA: San Francisco, Graphic Society, 1992, - plate 9Depot 3-lade 13prentIn the Yugao chapter, the fourth of fifty-four, Genji (the Shining Prince) accidentally stumbles on a dilapidated house and garden on his way to visit the old nurse who cared for him as a child. He notices that the house is covered with beautiful white flowers—yugao, literally 'evening face,' the 'floral opposite' of asagao, morning-glory—and sends his servant to ask the lady of the house if he might have a few of the flowers. Her servant brings the flowers on a fan, together with a poem written with graceful calligraphy. In the Heian period (the story takes place some time in the tenth century), this exchange was sufficient to initiate a love affair between Genji and the mistress of the house. John Stevenson explains: Wraith-like, not conforming to the normal standard of Heian beauty, which in the Chinese Tang tradition was distinctly chubby, the lady fascinated Genji. She refused to tell him her history or her name, so he called her Yugao after the flowers. Eventually she accepted his invitation to visit one of his lavish villas, where they consummated their delicate passions. She died within a few hours, fading as quickly as a yugao flower, killed by the jealous spirit of one of Genji's former mistresses. Genji mourned her more deeply than he did most of his lost loves. [In Yoshitoshi's print, number 29 in the series] Yugao's ghost wafts wistfully through her garden on a night of the full moon: yugao is known also as 'moonflower.' Flowers and vines show through the ghost's transparent body. Her figure seems to have no volume, as if projected onto a surface, like a screen. The shade of blue used for Yugao's eye and lips is subtly different from that used for the background wash, making them stand out without over-emphasising them, blue lips were a convention to indicate a person who was dead or dying. Also highlighted are the yellow centers of the flowers, in the original print the white petals are embossed. The gourd is shaded on one side to give an impression of roundness. The colors have been beautifully printed to shade into nothingness at the bottom of the picture.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsThe Yugao Chapter from The Tale of Genji2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3410:13:3108:37:1213:08:31collect>internCOLLECT>interncollect>interncollect>intern 73201Depot 3-lade 13Japanse PrentenCentre CéramiqueBaadsters genieten van het water in een bassin tegen een bergwand.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36,4 x 24,139,2 x 26,8cmcmCVR-JP-P0353.jpgOntwerperCVR-JP-P 353CVR.JP-P0353MargesongelijkDepot 3-lade 13prentClose-up van een bebost rots landschap, in een tegen de rotswand gemonteerd houten bassin geniet twee dames van een bad.exacte61Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheid2004-10-21Reek, J. vanKasamatsu, Shiro (1898-1991)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3410:25:1811:41:3210:13:3208:37:13Maastricht13:08:32collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73202Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad22,3 x 35,626,2 x 38,4authentieke reproductiecmcmCVR-JP-P0354.jpgOntwerperCVR-JP-P 354CVR.JP-P0354Depot 3-lade 13prentWinterlandschap bij nacht, het sneeuwt: gezicht op haven met gemeerde schepen, op voorgrond kade met loodsen, kruiers en een gezelschap met lastpaard en aantal mensen met besneeuwde paraplu'sexacteBlokdrukHoutsnede, (authentieke) reproductiedruk2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3510:13:3208:37:1313:08:32collect>internCOLLECT>interncollect>interncollect>intern 73203Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1834Lengte x BreedteLengte x BreedteBlokBlad25,3 x 38,128 x 41,7herdruk 20e eeuw, authentieke reproductiecirca1834circacmcmCVR-JP-P0355.jpgOntwerperCVR-JP-P 355CVR.JP-P0355MargesongelijkpapierDepot 3-lade 10prentBesneeuwd heuvelachtig landschap, op de voorgrond recht een huisje of pagode bij een pijnboom, van daaruit een (door de stroming ?) in een bocht lopende pontonbrug naar de overkant van een brede rivier, passanten op de brug. Prent opgeplakt op karton, met zijdepapier, een gedrukte Japanse beschrijving, het geheel in een fraaie bedrukte enveloppe.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsPontoon Bridge at Sano, Kozuke Province, Ancient View2004-10-21Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3510:13:3208:37:1313:08:33collect>internCOLLECT>interncollect>interncollect>intern 73204Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1876Lengte x BreedteLengte x BreedteBlokBlad32,4 x 21,235,8 x 22,7exact1876exactcmcmCVR-JP-P0356.jpgOntwerperUitgeverCVR-JP-P 356CVR.JP-P0356MargesongelijkprentSamurai te paard, met boog, vergezeld door schildknaap met lans, beide op de rug gezien, kijkt naar hek (barrière van Nakoso) rechts op de achtergrond, links bloeiende kersenboom.Hachiman Taro Yoshiie (Minamato no Yoshiie) - 1041-1108 was a renowned archer. He made a famous poem while vrossing the Nakoso barrier, I thought this gusty barrier was a mere name, but why do the wild cherry blossoms so cover the path?.Hachiman Taro -- the name means `Eldest Son of the God of War' -- was the sobriquet of Minamoto no Yoshiie (1039-1106), one of the great heroes of Japanese military history and legend.serietitelexacteBlokdrukEngelsHachiman Taro Yoshiie at Nakoso Barrier2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Kumagai Shoshichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3510:13:3208:37:1313:08:33collect>internCOLLECT>interncollect>interncollect>intern 73205Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888-03-02Lengte x BreedteLengte x BreedteBlokBlad35,9 x 23,837,1 x 25,2exact1888-03-02exactcmcmCVR-JP-P0357.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 357CVR.JP-P0357Margeslinks en bovenDepot 3-lade 104prentAn urban widow of the Kansei era (1789-1801). A woman reading her book, her cat sleeping beside her on a Kotatsu (a low table also serving as a brazier). Het eyeborws are painted in light blue, which indicates that they had been shaved, following the customs of married women in the Edo period. The cat is hiding its head under the front paws to keep warm. Opgeplaktserietitelexacte22Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsWarm: An Urban Widow of the Kansei era (1789-1801)2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3517:03:1711:41:3210:13:3208:37:13Maastricht13:08:34collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73206Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888-02-12Lengte x BreedteLengte x BreedteBlokBlad23,6 x 36,137,1 x 25,1exact1888-02-12exactcmcmCVR-JP-P0358.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 358CVR.JP-P0358MargesMaatcode passepartoutlinks en bovenA = 35 x 50 cmJohn Stevenson, Yoshitoshi's Women: The Woodblock-Print Series Fûzoku sanjûnisô (rev. ed.), Seattle - London 9University of Washington Press, 1995, nr. 9Depot 3-lade 109prentEen okujuchû was een hofdame die dienst deed in de privévertrekken van de shogun in Edo of in het huishouden van een machtige daimyo, en was meestal zelf van adellijke geboorte. Deze dame in een fraaie grijze kimono heeftgeschoren wenkbrauwen en zwartgeverfde tanden, en is dus al gehuwd, zij kijkt over een balustrade van rood lakwerk. Zij draagt een beursje met een versiering van zilveren kettinkjes in haar mouw. A high ranking maid in the Bunsei era (1818-30). A lady with the fashionably black lacquered teeth of a young married lady, looks over a red lacquered railing. She is holding a pouch with intricate silver chain decorations and pearl jewels on her Obi sash, which also contains a mirror, tissue paper and other necessities of a lady of breeding.Goede staat, blinddruk in wit van de verschillende kragen van haar ondergewaad, albumdoublureserietitelexacte27Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidEngelsAmused: A high-ranking maid in the Bunsei era (1818-1830)2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3617:04:0411:41:3310:13:3308:37:13Maastricht13:08:34collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73207Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1885Lengte x BreedteLengte x BreedteBlokBlad33 x 22,337,2 x 25,1circa1885circacmcmCVR-JP-P0359.jpgOntwerperCVR-JP-P 359CVR.JP-P0359MargesongelijkDepot 3-lade 09prentTaira no Tadamori (1096-1153) served the Emperor Go-Shirakawa. One night, as the Emperor was on his way to visit his favourite consort, he and his retinue were disconcerted to see in the gloom a shining figure with spikes growing out of its head, standing beside a chapel. Fearing a demon, the Emperor ordered Tadamori, a lowly escort, to kill it. As he approached the demon-figure, Tadamori began to think it looked somewhat less threatening, and resolved to capture it alive. It turned out to be the agéd monk who was charged with keeping the oil lamps lit, carryin a jug of oil, a covered flame, and wearing a straw head-cover off of which the flame had been reflected. As a reward for his bravery and good sense, Tadamori was given the Emperor's consort as a wife. She was already pregnant by Shirakawa, and Tadamori adopted the royal bastard as his own son, naming him Kiyomori. Although the latter story may or may not be true, it would have appealled to the populace as an explanation of Kiyomori's lifelong meglomaniacal ambitions and the inability of the Imperial House to control him (see below).serietitelexacteBlokdrukEngelsTaira no Tadamori and the oil priest2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3610:13:3308:37:1313:08:35collect>internCOLLECT>interncollect>interncollect>intern 73208Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1920-01Lengte x BreedteLengte x BreedteBlokBlad28,8 x 4531 x 48,2latere, posthume druk 1981, latere versieexact1920-01exactcmcmCVR-JP-P0360.jpgOntwerperUitgeverSneeuwCVR-JP-P 360CVR.JP-P0360MargesongelijkDepot 3-lade 05prentSneeuwlandschap: gezicht op brug die naar stad leidt, heuvels op de achtergrond. Het sneeuwt.Nadruk, maar van goede kwaliteit, verm. uit: (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981) Is bewaard in de originele 'presentation folder': i.e. een passepartout, met los vel zijdepapier, dat in een kartonnen omslag is gelegd met opgeplakte labels in het Japans.exacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsSanjo Bridge, Kyoto2004-10-21Reek, J. vanGoyo, Hashiguchi (1880-1921)Tanseishaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3610:13:3308:37:1313:08:35collect>internCOLLECT>interncollect>interncollect>intern 73209Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,7 x 38,626,2 x 39,2cmcmCVR-JP-P0361.jpgOntwerperCVR-JP-P 361CVR.JP-P0361MargesjaDepot 3-lade 09prentTegen zachtgroene achtergrond. close-up van bloeiende plant (is het een hibiscus ?) waar een mus omheenvliegt.exacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsSparrow and Hibiscus2004-10-21Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3610:13:3308:37:1313:08:36collect>internCOLLECT>interncollect>interncollect>intern 73210Depot 3-lade 17Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1916Lengte x BreedteLengte x BreedteBlokBlad42,7 x 27,943,3 x 29,2exact1916exactcmcmCVR-JP-P0362.jpgOntwerperCVR-JP-P 362CVR.JP-P0362MargesjaDepot 3-lade 17prentElegante dame staat in de branding, houdt grote luchtbel in haar hand. Zeer fraaie prent met blinddrukeffecten nr. 171 van een oplage van ????exacte82Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidEngelsSpirit of the Sea2004-10-21Reek, J. vanLum, Bertha (1869 - 1954)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3710:25:2611:41:3310:13:3308:37:13Maastricht13:08:36collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73211Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1920Lengte x BreedteLengte x BreedteBlokBlad39 x 2743,2 x 30,3posthume (her-)druk 1981, latere versieexact1920exactcmcmCVR-JP-P0363.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 363CVR.JP-P0363MargesongelijkThe Female Image, Plate #18. Blair's Toledo Museum 1930 Exhibition, plate #4.Depot 3-lade 05prentVolgens Ukiyo-è Gallery: Portrait of Maiko Chiyo of Gion, Kyoto. Tegen een zachtroze achtergrond, borstportret van dame in groene kimono, naar links gewend à trois quar,t houdt spiegeltje in linkerhand terwijl ze haar lippen stift. mica op de achtergrond ?, blinddrukeffecten, Nadruk, maar van goede kwaliteit, verm. uit: (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981). Is bewaard in de originele 'presentation folder': i.e. een passepartout, met los vel zijdepapier, dat in een kartonnen omslag is gelegd met opgeplakte labels in het Japans. Beschrijving Artelino: Title Lady and Lip Stick. Artist Goyo Hashiguchi 1880-1921 Biography Short. Signature Goyo ga. Seal artist's seal. Publisher Tansei-sha. Impression excellent . embossed, (recarved edition). Colors excellent . mica background, mica sprinkled on the figure. Condition excellent. Rating 1 = excellent. Description A lady is applying lip color. This is recarved edition of Goyo prints published by Tansei-sha around 1980. Total edition size is unknown. 14 designs of Goyo prints were included in one set. Note carver Uetani, printer Sasaki. Format Dai-Oban. Width Item 17.1 inches = 43.5 cm. Height Item 12.2 inches = 31.0 cm. Er bestaat een andere latere editie, beschreven door Ukiyo-e Gallery, dat is een andere dan de onze (vgl inscripties in de marge links): Title Girl Holding Lipstick (Benifude moteru onna). Date 1920 (later edition, by Uesugi Keiichiro, c1960's/70's). Series na. Publisher Yuyudo. Seal, Carver/Printer Matsuda Torazu/Uesugi Keiichiro. Image Size 10.25 x 15.25 Impression Fine. Sumptuous pink mica background, gold metallic highlights to collar, gauffraged birds and haircover. Condition Pristine. (no flaws noted). Reference/Illus The Female Image, Plate #18. Blair's Toledo Museum 1930 Exhibition, plate nr. 4. Comments Portrait of Maiko Chiyo of Gion, Kyoto. Item nr JS-1233 Price $800 (Reserved)+AH358exacte51Centre CéramiqueBlokdrukVerstilde schoonheidJapansEngelsBenifude moteru onnaGirl holding lipstick: Portrait of Maiko Chiyo of Gion, Kyoto2004-10-21Reek, J. vanGoyo, Hashiguchi (1880-1921)Tanseishaschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3710:25:3611:41:3410:13:3408:37:14Maastricht13:08:37collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73212Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1920Lengte x BreedteLengte x BreedteBlokBlad52,7 x 29,554,2 x 35posthume (her-)druk 1981, latere versieexact1920exactcmcmCVR-JP-P0364.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 364CVR.JP-P0364MargesongelijkDepot 3-lade 05prentBeschrijving Ukiyo-e Gallery: Title Young Woman in a Summer Kimono (Natsu Yosoi no Musume) Date 1920, August (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981) Series Limited Edition of 150 prints. Publisher Tanseisha Publisher .Seal, Carver/Printer Uetani/Suzuki. Image Size 12 5/8 x 20 3/4 (oversize/tall). Impression Fine. Sumptuous soft amber mica background and white mica background to colorful obi sash, gaffrage to ribbed paper lantern, subtle bokashi shading to face and hanging lantern, highly detailed carving. Condition Pristine. (No flaws noted--still in original presentation folder.).Reference/Illus The Female Image, Plate 21. Comments Striking, elegant Goyo bijin-ga image. One of only 16 lifetime images done by Goyo (11 bijin-ga, 4 landscapes, 1 kacho-e).exacte53Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidJapansEngelsNatsu yosoi no musumeYoung Woman in a Summer Kimono2004-10-21Reek, J. vanGoyo, Hashiguchi (1880-1921)Tanseishaschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3710:25:5611:41:3410:13:3408:37:14Maastricht13:08:38collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73213Depot 3-lade 05Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1920Lengte x BreedteLengte x BreedteBlokBlad44,3 x 27,945 x 30,7posthume (her-)druk 1981, latere drukexact1920exactcmcmCVR-JP-P0365.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 365CVR.JP-P0365MargesongelijkDepot 3-lade 05prentBorststuk van naar links gewende jongevrouw, à trois-quart, in zwarte kimono tegen grijze achtergrond, die met handdoekl haar wang afveegt. Mooie blinddruk effecten (de ring). Nadruk, maar van goede kwaliteit, verm. uit: (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981) Is bewaard in de originele 'presentation folder': i.e. een passepartout, met los vel zijdepapier, dat samen met nr P 364 in een kartonnen omslag is gelegd met opgeplakte labels in het Japans. == Editie was beperkt tot 150 ex. Conditie ander ex.): Fine. Medium grey mica background, gold metallic pigment on ring, highly detailed carving. Bescrhijving Ukiyo-è Gallery: Title Woman Holding a Towel (Tenugui moteru Onna). Date 1920 (60th Anniversary Commemorative Edition, sanctioned by Goyo's family, Dec 1981). Series na. Publisher Tanseisha Publisher. Seal, Carver/Printer Limited Edition of 150 prints. Image Size 11 x 17 1/4. Impression Fine. Medium grey mica background, gold metallic pigment on ring, highly detailed carving. Condition Pristine. Still in original presentation folder.(No flaws noted.).Reference/Illus The Female Image, Plate 19. Comments A truely impressive, tall print. One of only 16 lifetime images done by Goyo (11 bijin-ga, 4 landscapes, 1 kacho-e).exacteBlokdrukHoutsnede, kleurenJapansEngelsTenugui moteru OnnaWoman Holding a Towel2004-10-21Reek, J. vanGoyo, Hashiguchi (1880-1921)Tanseishaschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3710:13:3408:37:1413:08:38collect>internCOLLECT>interncollect>interncollect>intern 73214Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1848Lengte x BreedteBlad36,6 x 24,5authentieke reproductie1847cmCVR-JP-P0366.jpgOntwerperKrijgersCVR-JP-P 366CVR.JP-P0366MargesMaatcode passepartoutgeenA = 35 x 50 cmDavid R. Weinberg, Kuniyoshi: The Faithful Samurai, Leiden (Hotei Publishing), 2000.Depot 3-lade 10prentMet zijn rechtervoet op een rotsblok richt de samurai Mase Chudayu Masa-aki zijn boog recht uit de afbeelding. De achtergrond is gevuld met de tekst die het verhaal vertelt. tekst uit Harde mannen, zachte vrouwen: DE ZEVENENVEERTIG TROUWE VAZALLEN. De feodale leenheer Asano werd door zijn rivaal Kira uit Edo in 1701 gedwongen zelfmoord te plegen. Zijn samoerai verloren hun rechten. 46 van deze zg. ronin zonnen op wraak. Anderhalf jaar later overvielen deze samoerai zonder meester de vijand en brachten het hoofd van Kira naar het graf van Asano. De ronin mochten elk een gedicht schrijven en ge-zamenlijk zelfmoord, hara-kiri plegen. Hun monument bestaat nog. De gebeurtenissen werden vastgelegd in een toneelstuk, Chûshingura of De zevenenveertig trouwe vazallen. Een ronin richt een pijl tijdens de aanval. Met zijn rechtervoet op een rotsblok richt de samurai Mase Chudayu Masa-aki zijn boog recht uit de afbeelding. De achtergrond is gevuld met de tekst die het verhaal vertelt. Utagawa Kuniyoshi (ca 1797-1861). Masa-aki schiet een pijl af (ca 1847-1848). Uit de serie Verhalen van de ware trouw van de dappere vazallen (of De Moedige krijgers).serietitelexacteBlokdrukHoutsnede, kleurenEngelsMase Chudayu Masa-aki aiming an arrow2004-10-21Reek, J. vanKuniyoshi, Utagawaschenking2013-01-272015-05-272013-09-182013-06-1217971861Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3710:13:3408:37:1413:08:39collect>internCOLLECT>interncollect>interncollect>intern 73215Depot 3-lade 11Japanse PrentenCentre CéramiqueDit is een van de bekendste prenten van Toshi Yoshida, een onder-deel van de serie over Afrika waarvoor hij tijdens een aantal reizen in de zeventiger en vroege tachtiger jaren materiaal verzamelde. Kilimanjaro is een Afrikaanse berg, maar de prent sluit wel mooi aan bij de vele Japanse prenten die de berg Fuji als onderwerp hebben. Kilimanjaro past ook in de Japanse traditie omdat in de prent veel aandacht wordt besteed aan het atmosferische, de weersomstandigheden, de tijd van de dag. Net als zijn vader Hiroshi, in zijn beroemde prent van een zeilboot (zie nrs. 3 en 10 ), maakte Toshi verschillende versies van dezelfde prent: naast deze weergave van de Kilimanjaro bij zonsopgang maakte Toshi ook versies als Kilimanjaro evening en Kilimanjaro cloudy.MaastrichtJapanse prenten1977Lengte x BreedteLengte x BreedteBlokBlad27 x 6031,4 x 64,4druk uit 1984exact1977exactcmcmCVR-JP-P0367.jpgOntwerperLandschappenCVR-JP-P 367CVR.JP-P0367MargesongelijkDepot 3-lade 11prentSavanne met buffels en zebra's in de ochtendschemering, KIlimanjaro rijst boven de ochtendnevel uit en vangt het morgenrood. Special edition (raised seal, me gedrukte signatuur), 1984 Comments bij ex van editie van 1977: Pencil signed, self cut, Due to the popularity of this design, two more versions using the same blocks, Evening and Cloudy Day, were produced in editions of 1000 each, in 1983.Comments bij editie van 1984: The blocks for this design were carved by the artist, and the design was originally published in 1977. According to Eugene Skibbe in Yoshida Toshi: Nature, Art and Peace, the first printing of this design was sold out, and a second special edition of that version, using a white cloud middle layer, instead of blue, was issued in 1984. The Toshi Yoshida Raised Seal Edition prints were produced during Toshi's final illness, when he was too weak to sign his prints, and can be distinguished from the posthumous prints. They bear a printed signature with embossed seal next to the signature. During this period, however, he kept supervising all of the printing at his studio.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsKilimanjaro, Morning2004-10-21Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3813:08:40collect>internCOLLECT>intern 73216Depot 3-lade 05Japanse PrentenCentre CéramiqueEen vrouw zit bij het raam op een winterse dag: zij warmt zich in een zg. kotatsu, de Japanse versie van de stoof, met een grote gewatteerde deken eroverheen.MaastrichtJapanse prenten1929Lengte x BreedteLengte x BreedteBlokBlad40,8 x 2647,8 x 32,7latere herdruk eind 20e eeuw, tweede drukexact1929exactcmcmCVR-JP-P0368.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 368CVR.JP-P0368MargesongelijkAmy R. Newland, S. Hamanaka, The Female Image: 20th-Century Prints of Japanese Beauties, Leiden (Hotei), 2000, p. 129, pl. 172Depot 3-lade 05prentA Lady is warming herself in a kotatsu (Japanese traditional foot warmer usually built into the floor. The snow is falling outside. Latere herdruk van topkwaliteit door Koike Shigeru (houtsnijder) en Uchikawa Matashiro (drukker), is bewaard in de originele 'presentation folder': i.e. een passepartout, met los vel zijdepapier, dat in een kartonnen omslag is gelegd met opgeplakte labels in het Japans. Beschrijvingh Artelino: Title Snow. Artist Kotondo Torii 1900-1976 Biography Short Biography. Signature Kotondo. Seal artist's seal. Dated originally in 1929, this is a re-carved edition published in late Showa. Publisher Ishukankokai. Medium/Technique Woodblock print. Impression excellent . (re-carved edition) printed on a sanso water marked Japanese paper. Colors excellent. fine gradations. Condition excellent. Description Yuki (The Snow) A lady is warming herself in a kotatsu (Japanese traditional foot warmer usually built into the floor). The snow is falling outside. Note carver Koike Shigeru, printer Uchikawa Matashiro. Width Item 13.2 inches = 33.5 cm. Height Item 19.1 inches = 48.5 cm. Literature Newland, Amy R., and S. Hamanaka, The Female Image: 20th Century Prints of Japanese Beauties, Leiden: Hotei, 2000, ISBN 90 74822 20 7, - pg. 129, pl.172. Note This print was hand-made by skillful artisans after a great original of a famous woodblock print. Sheets printed during the artist's lifetime are either very expensive or no longer available.exacte55Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidJapansEngelsYukiSnow2004-10-21Reek, J. vanKotondo, Torii (1900-1976)Ishukankokaischenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3810:26:0511:41:3510:13:3408:37:14Maastricht13:08:40collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73217Japanse PrentenCentre CéramiqueDeze prent toont een religieus festival, een gebeurtenis uit het leven van een machtig lid van de Tokugawa clan, die van 1603 tot 1868 de shogun leverde, de machtigste man van Japan. Deze grote religieuze processie speelt zich af bij de Nikko tempel, even buiten het Chiyoda paleis in Edo, de residentie van de shogun. Twee enorme heraldische leeuwen worden in de processie meegedragen. Door het grote aantal samurai, soldaten en boogschutters heeft de processie eerder een dynastisch en propagandistisch dan een religieus karakter. Typerend voor Chikanobu is de manier waarop hij de mistflarden weergeeft.MaastrichtJapanse prenten1898Lengte x BreedteLengte x BreedteBlokBlad35,4 x 23,5 (3x)35,4 x 23,5 (3 x)1897cmcmCVR-JP-P0369a-c.jpgOntwerperUitgeverCVR-JP-P 369 a-cCVR.JP-P0369a-cMargesgeenprentDrieluik[ of: chiyoda no on-omote (??????) = Chiyoda Palace: Outside the WallsLET OP: FOTO IS (NOG ?) FOUTIEF GENUMMERD CVR-JP-P0469 Triptiek: Lange processie voorafgegaan door groene draak trekt van tempel rechtsachter door tempelpoort door oprijlaan naar links voren. Opgeplakt op album papier , Meji periode ? Vergelijk album geveild Butterfields Auctioneers Corp. - San Francisco – 2004: Lot 4109 : Hashimoto Chikanobu (1838-1912): album of eighteen oban tate-e triptychs and one oban tate-e hexaptych Description: Hashimoto Chikanobu (1838-1912): album of eighteen oban tate-e triptychs and one oban tate-e hexaptych. Each from the series entitled Chiyoda no on omoto ([Scenes] Outside the Chiyoda Palace), signed Yoshu Chikanobu, dated Meiji 30 (1897), published by Fukuda Hatsujiro, mounted in a double-sided accordion fold album with the original title strip to the exterior, the triptychs preceded by a hexaptych depicting a court procession, very good impressions, color, and conditions.serietitelexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsThe Great Festivities at the Nikko Shrine2004-10-21Reek, J. vanChikanobu, Toyohara (1838-1912)Fukuda Hatsujiroschenking2013-01-272015-05-272013-09-18Iesewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3811:41:3513:08:41collect>internCOLLECT>interncollect>intern 73218Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1899Lengte x BreedteLengte x BreedteBlokBlad21,9 x 34,625,5 x 39,5herdruk 19??, datering:??, authentieke reproductieeeuw1800eeuwcmcmCVR-JP-P0370.jpgOntwerperCVR-JP-P 370CVR.JP-P0370Depot 3-lade 09prent46Reproduktie, niet erg mooiexacteBlokdrukHoutsnede, (authentieke) reproductiedruk2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3810:13:3508:37:1413:08:43collect>internCOLLECT>interncollect>interncollect>intern 73219Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenCVR-JP-P0371.jpgOntwerperCVR-JP-P 371CVR.JP-P0371Depot 3-lade 16prent46 - in Tokyo ? volgens mij NIET Nihon BashiAvond, gezicht op stenen brug met één grote boog, ervoor links aan palen gemeerde bootjes, huizen met licht, rechts idem, achter de brug links boom en hoog gebouw, boomtoppen op de achtergrond.serietitelexacteBlokdruk2004-10-21Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3810:13:3508:37:1413:08:44collect>internCOLLECT>interncollect>interncollect>intern 73220Depot 3-lade 16Japanse PrentenCentre CéramiqueEen geisha brengt sake naar een klant. De geisha op de achtergrond wacht op klanten.MaastrichtJapanse prenten1871Lengte x BreedteLengte x BreedteBlokBlad34,1 x 22,737,0 x 25,3exact1871exactcmcmCVR-JP-P0372.jpgOntwerperCVR-JP-P 372CVR.JP-P0372MargesvolledigDepot 3-lade 16prent46Interieur van een restaurant, een dame in blauwe kimono draagt doosje met fles erop naar veranda, andere dame knielt op de achtergrond. Mooi exemplaar. In eigen passepartout.serietitelUkiyo-E Prints, Port Townsend, Washington, USAexacte79Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidEngelsTwo Geisha's in a Restaurant2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3910:26:1511:41:3510:13:3508:37:14Maastricht13:08:44collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73221Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888-05-15Lengte x BreedteLengte x BreedteBlokBlad35,9 x 24,536,2 x 25exact1888-05-15exactcmcmCVR-JP-P0373.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 373CVR.JP-P0373Margesboven, linksDepot 3-lade 10prentDame in bruin-gestreepte kimono steekt olielampje in huisschrijntje aan. Mooi ex., gedoubleerdserietitelexacte45Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidHarde mannen, zachte vrouwenEngelsDark: A Wife during the Meiji era (1867-1912)2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:3917:05:1511:41:3610:13:3508:37:15Maastricht13:08:44collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73222Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1890-01-15Lengte x BreedteLengte x BreedteBlokBlad34,7 x 23,535,8 x 23,6exact1890-01-15exactcmcmCVR-JP-P0374.jpgOntwerperCVR-JP-P 374CVR.JP-P0374Margesdeels afgesnedenStwvwnaon 1992, cat. nr. XI, pp. 40-41papierDepot 3-lade 1811prentdoos 36 geesten, 15de-eeuws manuscript, nog bewaard in de Dojo tempel, Dojo-ji, een stuk voor het Noh-theater, in 1753 bewerkt tot een stuk voor het Kabuki theater, Musume Dojo-ji, [ = Het meisje van de Dojo Tempel]Vrouw in rijke gewaden komt druipnat uit de rivier zetten, de groene kimono suggereert de schubben van een slang. Prachtige druk met mooie blinddruk effecten, met name in het patroon van de kimono. De gerafelde marge is onderdeel van de prent (trompe-l'oeuil). Kiyohime was the daughter of an innkeeper. On his annual pilgrimage to the Kumano Shrine, the young monk, Anchin, stayed at the inn, and brought Kiyohime a present. As she grew up, Kiyohime developed a passionate love for Anchin, which she finally declared. Horrified, he fled to his monastery, Kiyohime in pursuit. The Hidaka River was too flooded to cross, so she changed to a serpent to swim over. Seeing her coming, Anchin hid under the temple bell. The serpent coiled around the bell, and the heat of her lust melted the bell, killing both. This is an instructive print, because, in 1865, Yoshitoshi had done an almost identical print. Comparison of the two marks how far he had grown as an artist in the intervening years, and how much he was changing the assumptions of his art. The second print shows the impact of realism on his depiction of the human body and clothing, an awareness of the mind within the subject, a subtle depiction -- entirely lacking in the first -- of Kiyohime's transformation, a masterly grasp of composition and action, and the amazing fluidity of line that was uniquely Yoshitoshi. http://www.sinister-designs.com/graphicarts/ghosts.htmlserietitelexactete nauw afgesneden links en onderBlokdrukHoutsnede, kleurenGoedJapansEngelsKiyohime Hidaka-gawa ni jatai to naru zuKiyohime Changing into a Serpent at Hidaka river2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3910:13:3508:37:1513:08:45collect>internCOLLECT>interncollect>interncollect>intern 73223Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1856Lengte x BreedteLengte x BreedteBlokBlad34,4 x 22,837,9 x 25,7herdruk circa 1930-1940, authentieke reproductie1853cmcmCVR-JP-P0375.jpgOntwerperUitgeverCVR-JP-P 375CVR.JP-P0375MargesjaDepot 3-lade 16prentEen vijftal met een monumentaal soort pagodes opgebouwde schepen in een rivier (de Kisogawa of de Tenno) of meer worden omgeven door kleine met lampionen versierde bootjes.Provinz Owari - Tenno-Fest auf dem Kisogawa. Westlich von Nagoya gelegen, liegt die für seine vielen Schreine bekannt Stadt Tsushima. Auf dem nahegelegenen Fluss Kisogawa findet jeweils im Juli in der Abenddämmerung das grosse Tenno-Fest statt.The Owari Tsushima Tenno Festival, held each year on the fourth Saturday and Sunday of July, brings 500-year-old traditions to life. The highlight of this event is the evening festival, when five straw ships decorated with paper lanterns cross the Tenno River, Illuminated by innumerable lanterns, the surface of the water sparkles brilliantly.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsThe Tenno-festival at Tsushima Island in the Owari Province2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)Koshiheischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:3910:13:3508:37:1513:08:46collect>internCOLLECT>interncollect>interncollect>intern 73224Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1856herdruk circa 1930-1940, authentieke reproductie1853CVR-JP-P0376.jpgOntwerperUitgeverCVR-JP-P 376CVR.JP-P0376Depot 3-lade 07prentVanaf hoog punt of in vogelvlucht gezien gezicht op de havenstad Toba, aan een baai waarin schepen voor anker liggen, eilanden en zeilen in de verte. Repro. Die Hafenstadt Toba, in der Edo-Periode eine Festungsstadt der Familie Kuki, entwickelte sich zum wichtigsten Ausgangsort für Pilger zu den Ise-Schreinen.serietitelexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsMt. Hiyori and Toba Bay in Shima Province2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)Koshiheischenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4010:13:3608:37:1513:08:47collect>internCOLLECT>interncollect>interncollect>intern 73225Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36,2 x 16,639,2 x 17,5authentieke reproductiecmcmCVR-JP-P0377.jpgOntwerperCVR-JP-P 377CVR.JP-P0377MargesjaDepot 3-lade 07prentTak camelia's onder dikke sneewlaag waar twee huismussen omheenvliegen. Mooie authentieke reproductie (misschien van het Adachi Institute of Woodcut Printing ?), blind-drukeffecten This print shows camellia flowers under a heavy covering of snow and two sparrows flapping their wings vehemently. It seems almost as if one were viewing a real scene in one's own garden. The seven -character verse couplet reads, Crows and kites contend for food, sparrows contend for the nest. The isolated existence (of the tree) by the pond is subject to frequent wind and snow.exacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsCamellias and Sparrows in Snow2004-10-21Reek, J. vanHiroshige, Ando (1797-1858)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4010:13:3608:37:1513:08:48collect>internCOLLECT>interncollect>interncollect>intern 73226Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad26,4 x 18,427,1 x 19,5datering: 1765 - 19??, authentieke reproductie1765cmcmCVR-JP-P0378.jpgOntwerperCVR-JP-P 378CVR.JP-P0378MargessmalDepot 3-lade 07prentParodie van... Kinko ?In een golvende zee zwemt een karper ? of andere grote vis met een in blauw met rode kimono geklede dame op zijn rug, die leest in een lange boekrol. Een geschulpte rand boven sugereert een wolkenhemel.exacteBlokdrukHoutsnede, (authentieke) reproductiedrukJapansMitate no Kinko2004-10-21Reek, J. vanHarunobu, Suzuki (1724-1770)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4010:13:3608:37:1513:08:48collect>internCOLLECT>interncollect>interncollect>intern 73227Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1890Lengte x BreedteLengte x BreedteBlokBlad32 x 21,634 x 21,6 (marges opgeplkant albumblaauthentieke reproductiecirca1890circacmcmCVR-JP-P0379.jpgOntwerperCVR-JP-P 379CVR.JP-P0379MargesgeenDepot 3-lade 07prentJongedame in blauwe kimono, staat in de deuropening van balkon, droogt haar gezicht, kijkt naar kar met rood halsbandje, bloesemende oleander o.i.d. op de achtergrond A bijin stands drying her hair in the doorway of a house, looking down at a pet cat Marges afgesneden, opgeplakt op zachtroze albumblad.serietitelexacte13Centre CéramiqueBlokdrukVerstilde schoonheidEngelsAfter the Bath2004-10-21Reek, J. vanToshikata, Mizuno (1866-1908)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:4010:26:2411:41:3710:13:3608:37:15Maastricht13:08:49collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73228Depot 3-lade 11Japanse PrentenCentre CéramiqueHet eerste grote Japanse succes in Japans-Russische oorlog was de slag bij de Yalu rivier, op de grens van Korea en Mantsjoerije. Op 29 april 1904 veroverde de Japanners het plaatsje Chiu-lien-cheng (in het Japans Kyuren-jo). In deze prachtige prent toont Kiyochika de aan de bestorming voorafgaande nachtelijke beschieting. Ook hier een bedrieglijk kalme scène die de spanning van het conflict in zich draagt.Nacht, zware regenbui, Centraal een officier te paard met sabel op heuveltop kijkt naar rechts, in diepe duistere nevel gehulde vallei, waar lichteffecten van vijandelijke batterij te zien zijn en ontploffende granaat daarboven, links: drie soldaten bij kanon, waaruit de rookwolk vande afgeschoten granaat nog zichtbaar is. Prachtige vrijwel monochrome prent.MaastrichtJapanse prenten1904Lengte x BreedteLengte x BreedteBlokBlad35,4 x 68,535,7 x 68,5waarschijnlijk1904waarschijnlijkcmcmCVR-JP-P0380abc.jpgOntwerperSenso-e (oorlog)CVR-JP-P 380 a-cCVR.JP-P0380a-cMargesMaatcode passepartoutalleen restantje bovenC = 70 x 100 cm?, In Battle's Light, cat.r. 21, p. 48Depot 3-lade 11prentDrieluikserietitelexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsFiring at Kyuren-jo in the rain2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4013:08:49collect>internCOLLECT>intern 73229Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1899Lengte x BreedteLengte x BreedteBlokBlad20,7 x 32,323,3 x 35,4herdruk circa 1930-1940, datering ??, authentieke reproductieeeuw1800eeuwcmcmCVR-JP-P0381.jpgOntwerperCVR-JP-P 381CVR.JP-P0381MargesjaDepot 3-lade 07prentNacht, het sneeuwt, een rijtuigje (victoria), getrokken door één paard, met de kap omhoog, spoedt door de besneeuwde stad. Een hondje rent mee. Links onder een lantaarnpaal een passant onder een grote paraplu. Moderne reproduktieexacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsA chaise hurrying through the snowy night2004-10-21Reek, J. vanKiyochika, Kobayashi (1847-1915)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4110:13:3608:37:1513:08:50collect>internCOLLECT>interncollect>interncollect>intern 73230Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1890Lengte x BreedteLengte x BreedteBlokBlad32,1 x 22,437,1 x 25,1exact1890exactcmcmCVR-JP-P0382.jpgOntwerperUitgeverCVR-JP-P 382CVR.JP-P0382MargesjaStevenson, John, Yoshitoshi's One Hundred Aspects of the Moon, Redmond, WA: San Francisco, Graphic Society, 1992, - plate 87Depot 3-lade 07prentForse peuter, in zwart-wit geblokt speelpakje, met lange haren, slaat de worstelwedstrijd van een wit konijn en een grijze baviaan gade, links een rots (berg) met daarachter de volle maan. Formaat Oban tate-e, mooie druk met blinddruk (het witte konijn, cartouche) en duidelijk zichtbare houtnerf. The strong boy, Kintoki, plays a referee for the suma match of a monkey and a rabbit. The boy lives in the Ashigara mountains where he grew up with wild animals and the half human spirit, Yamauba, as his adopted mother. He later became a legendary hero as one of Minamoto no Raiko's famous Four Retainers.serietitelexacteBlokdrukHoutsnede, kleurenJapansEngelsKintokiyama no tsukiMoon of Kintoki's Mountain2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-12-022015-05-272013-09-182013-06-12Iesewfhelmesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt09:41:2514:26:4110:13:3708:37:1513:08:50collect>internCOLLECT>internCOLLECT>interncollect>interncollect>intern 73231Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1850Lengte x BreedteLengte x BreedteBlokBlada: 35,7 x 24, 7 - b: 36 x 24,736,3 x 49,2circa1850circacmcmCVR-JP-P0383ab.jpgOntwerperCVR-JP-P 383 abCVR.JP-P0383abMargesalleen bovenDepot 3-lade 09prentHorizontaal tweeluikTweeluik. A crucified man struggles from his bondage. In the foreground, a ghost's decomposed body offers a vessel with magical flames flaring from it. The third ghost restrains the sword of our hero. One of Kuniyoshi's most ghoulish designs.exacteBlokdrukHoutsnede, kleuren2004-10-21Reek, J. vanKuniyoshi, Utagawaschenking2013-01-272015-05-272013-09-182013-06-1217971861Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4110:13:3708:37:1613:08:50collect>internCOLLECT>interncollect>interncollect>intern 73232Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1883-12-07Lengte x BreedteLengte x BreedteBlokBlad33,4 x 22,535,3 x 23,4exact1883-12-07exactcmcmCVR-JP-P0384.jpgOntwerperUitgeverCVR-JP-P 384CVR.JP-P0384Margesongelijk, links beetje scheeft afgesnedenDepot 3-lade 139prentGang in woning, een deur naar een kamer met een rijk behangsel van gele zijde met rode chrysanten en verlicht door een schemerlamp(ion) wordt tersluiks opengeschoven door een blootvoetse krijger (of rover of moordenaar) met getrokken zwaard. http://www.robynbuntin.com/ItemDetail.asp?ProductID=2305: From the series, Yoshitoshi's Courageous Warriors published by Tsunajima Kamekichi. Here we see Endo Musha Morito about to enter Kesa Gozen's bedroom with his sword drawn. Kesa Gozen was the wife of a palace guard, Watanabe Wataru. She attracted the attention of her cousin, Endo Musha Morito. Though she repeatedly rejected his advances, his persistence did not stop. So she pretended to agree to his plans and told him that he must kill her husband first. On the night in question, Kesa cut off her long hair and tied it in male fashion and went to sleep in the bed that her husband usually slept in. At midnight Endo entered the bedroom and cut of the head in the dark and discovered in horror that he had beheaded Kesa Gozen. Distraught by what he had done, he became a monk and to atone for his crime he stood under the icy Nachi waterfall. http://www.sinister-designs.com/graphicarts/courageous.html: Endo Musha Morito became obsessed with his cousin, Kesa Gozen, the wife of a palace guard. Though she repeatedly rejected his advances, she became concerned that he might harm her husband to win possession of her. So she pretended to acquiesce, but insisted he kill her husband before they could be united. That night, Kesa cut her hair in male fashion and slept in her husband's bed. Endo crept in in the dark and beheaded the sleeper, discovering later that he had beheaded Kesa Gozen. Overwhelmed by guilt, he became the monk, Mongaku, and stood under the icy Nachi waterfall to atone. Although Endo is both the subject and the title of the print, it strikes me that the courageous one in this story is Kesa, not her stalker. Conditie: mooi, goede kleuren, ongelijk afgesneden, links enigszins scheef, daardoor ook marginale inscripties verloren gegaan.serietitelexacteBlokdrukHoutsnede, kleurenEngelsEndo Musha Muritô approaching Kesa Gozens's bedroom2004-10-21Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Kobayashi Tetsujirôschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4110:13:3708:37:1613:08:51collect>internCOLLECT>interncollect>interncollect>intern 73233Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1939Lengte x BreedteLengte x BreedteBlokBlad17,1 x 2420 x 26,9exact1939exactcmcmCVR-JP-P0385.jpgOntwerperCVR-JP-P 385CVR.JP-P0385Depot 3-lade 13prentAvond: gezicht op stadswijk links langs rivier, de verlichte ramen van de huizen spiegelen in het water, enkele aken varen rechts uit beeld. Moderne herdruk (signaturen meegedrukt).exacteBlokdrukHoutsnede, (authentieke) reproductiedrukEngelsFrom the Ryogoku Bridge2004-10-21Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4110:13:3708:37:1613:08:52collect>internCOLLECT>interncollect>interncollect>intern 73234Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36,4 x 2439 x 26,51933, 1989, latere druk1933cmcmCVR-JP-P0386.jpgOntwerperUitgeverCVR-JP-P 386CVR.JP-P0386Margesja, blok is scheef of blad gedruktDepot 3-lade 13prentAvond, Steiger steekt uit in zee, twee lantaarns op uiteinde weerspiegelen in het licht rimpelende water: een aantal zeeschepen liggen op de rede, wolken. Twee figuren, op de rug gezien, op de steiger bij de linker lantaarn. Posthumous edition, printed in the Heisei Period (beginning 1989), by the original publisher - Watanabe Color Print Co., from the original blocksexacteBlokdrukHoutsnede, kleurenEngelsHarbor at Night, Otaru2004-10-21Reek, J. vanHasui, Kawase (1883-1957)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4210:13:3708:37:1613:08:52collect>internCOLLECT>interncollect>interncollect>intern 73235Depot 3-lade 13Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad28,5 x 20,533 x 22,5cmcmCVR-JP-P0387.jpgOntwerperCVR-JP-P 387CVR.JP-P0387Margesongelijk, NB: prent loopt doorin de margeDepot 3-lade 13prentMet gevouwen handen springt een in zachtgroene kimono geklede jonge dame in de boeggolf van een stalen schip. Haar haren wapperen door de marge van de prent. Zogenaamde kuchi-e prent, i.e. een boekillustratie (bij welke roman ?) -This print shows a tragic heroine with hands together in prayer, jumping into the ocean. Beautifully printed with her hair flowing out into the upper marginexacteBlokdrukHoutsnede, kleurenEngelsJumping Overboard2004-10-21Reek, J. vanEigyoku (actief ca 1900)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4210:13:3808:37:1613:08:52collect>internCOLLECT>interncollect>interncollect>intern 73236Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad35,7 x 23,837,2 x 25,3cmcmCVR-JP-P0388abcde.jpgOntwerperCVR-JP-P 388 a-eCVR.JP-P0388a-eMargeselk blad marges links en bovenDepot 3-lade 10prentVijfluikDe vijf eerste bladen (van links af) van een negenluik met de optocht van een feodale heer. Mooie prent, maar DUS NIET COMPLEET !.exactemoet eigenlijk gerestaureerd wordenBlokdrukHoutsnede, kleurenredelijk2004-10-21Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4210:13:3808:37:1613:08:53collect>internCOLLECT>interncollect>interncollect>intern 73237Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteBlad17,2 (straal) x 50 cm (grootste lengte)cmCVR-JP-P0389.jpgCVR-JP-P 389CVR.JP-P0389Depot 3-lade 09prentonbekende ontwerperEen waaierblad, geheel blanco, met daarop een vrouwenfiguur, tot het middel, met parasolexacteBlokdruk2004-10-21Reek, J. vanschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4210:13:3808:37:1613:08:53collect>internCOLLECT>interncollect>interncollect>intern 73238Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad38,8 x 27,545,1 x 29,1cmcmCVR-JP-P0390.jpgOntwerperCVR-JP-P 390CVR.JP-P0390Margesja, ongelijkDepot 3-lade 10prentClose-up van vrouw met hoofddoek in de sneeuw, Comments: Silver metallic highlights and gofun. From a set of 18 prints published as supplements to The Complete Works of Chikamatsu, which consisted of 16 volumes, plus two additional images. Variant / interpretatie van een grote kostbare prent van de heldin Umekawa, verkocht Sotheby voor ca EU 10.000,- Tsunetomi a été étudiant à Osaka dans l'atelier d'Ineno Toshitsune, lui-même élève de Yoshitoshi. Peintre, graveur et illustrateur installé à Osaka, il s'inscrit dans la tradition de l'ukiyo-e en représentant des bijinga, portraits de belles femmes.Ce portrait en gros plan, qui peut être identifié à l'héroine Umekawa dans Meido no Hikayuki de Chikamatsu Monzaemon, a une composition proche de sa plus importante estampe publiée en 1925. L'artiste utilise le mica pour le fond sur lequel sont appliqués de gros flocons de neige réalisés en gofun, des motifs en gaufrage et mica ornent le vêtement.serietitelexacteBlokdrukHoutsnede, kleurenEngelsThe Heroine Umekawa in Meido no Hiyaku2004-10-21Reek, J. vanTsunetomi, Kitano (1880-1947)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4210:13:3808:37:1613:08:53collect>internCOLLECT>interncollect>interncollect>intern 73239Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteBlad37 x 48 cmcmCVR-JP-P0391.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 391CVR.JP-P0391Margesja (maar is ingelijst)Katalin de Walterskirchen, Maurice de Vlaminck: Catalogue raisonné de l'oeuvre gravé, 1974prentGezicht op het dorpje Montigny-sur-Avre: landweg loopt van rechtsvoor naar linksachter, rechts een viertal huizen en hutjes, links de zijkant van een huis, winderige wolkenlucht Kleurenlithografie uit serie ???, nr 27-200, in de plaat gesigneerd, niet autograaf gesigneerd, opgezet in passepartout en bijpassende lijst zonder glas.Maurice de Vlaminck woonde in de omgeving van Montigny-sur-Avre, in de région Haute-Normandie: Attiré par le charme des paysages de la région, ce grand peintre de notre temps a vécu dans le village de Rueil-la-Gadelière de 1929 jusqu'à sa mort en 1958. Avec ses amis Braque et Dufy, il est à l'origine du fauvisme, mouvement né au début du siècle qui rejette perspectives et valeurs de l'art classique, exalte la couleur et cerne souvent le contour des objets d'un trait noir. Devant la mairie : buste de Maurice de Vlaminck, en bronze, réalisé en 1962 par son ami Paul Belmondo. Son regard porte vers l'horizon et les ciels tourmentés que le fauviste a souvent peint sur ses toiles. Dans le cimetière : sa tombe dont l'épitaphe rappelle son attachement à la nature : Je n'ai jamais rien demandé, la vie m'a tout donné. J'ai fait ce que j'ai pu, j'ai peint ce que j'ai vu.serietitelexacteBlokdrukLithografie2005-12-02Reek, J. vanVlaminck, Maurice de (1876-1958)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4310:13:3808:37:1613:08:54collect>internCOLLECT>interncollect>interncollect>intern 73240Japanse PrentenCentre CéramiqueEen boer was onder de indruk van de schoonheid van Yatsuhashi. Zij wees hem af, omdat ze een meester had. Boos wachtte hij het paar op bij de poort van Yoshiwara. Toen het koppel arriveerde, vermoordde hij eerst de meester. De vrouw ontsnapte naar de veranda en struikelde. Zijdepapier valt van haar kimono. Het licht valt op zijn met bloedspetters bedekte gelaat. Hij gaat opnieuw toeslaan.MaastrichtJapanse prenten1886-01-02Lengte x BreedteLengte x BreedteBlokBlada: 33,6 x 22,4 b: 33,6 x 23a + b: 35,7 x 47exact1886-01-02exactcmcmCVR-JP-P0392ab.jpgOntwerperUitgeverCVR-JP-P 392 abCVR.JP-P0392abMargesMaatcode passepartoutiets afgesnedenB = 50 x 70 cmSinichi Segi, Yoshitoshi: The Splendid Decadent, Tokyo-New York- San Francisco (Kodansha) 1985, nr. 33, pp. 66-67 (kleurenafbeelding10prentHorizontaal tweeluikDe boer Jirôzaemon uit Sano vermoordt de courtisaneYatsuhashi in Edo (ca 1720) | Tweeluik, Donkere veranda: een schurk met grote lantaarn bedreigt met bebloed zwaard op de grond gevallen courtisane die pak zijdepapier heeft laten vallen. Scène uit het Kabuki toneelstuk Kagotsorube sato no eizamel [= Aftermath in the flower-bedecked streets]. Conditie: mooi, kleine restauratie, licht vuil (met name de lantaarn), marge links iets afgesnedenserietitelBai-obanexacteBlokdrukHoutsnede, kleurenVerbeeld theaterHarde mannen, zachte vrouwenVerbeeld theaterEngelsSano Jirôzaemon murdering a courtesan2005-12-02Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:26:4310:13:3908:37:16MaastrichtMaastricht13:08:55collect>internCOLLECT>interncollect>interncollect>intern 73241Depot 3-lade 13Japanse PrentenCentre CéramiqueIn zijn Japanse gezichten koos Toshi vaak voor minder bekende locaties. De prenten die hij naar aanleiding van zijn buitenlandse reizen maakte geven juist vaak beroemde plekken weer, befaamde toeristische attracties. In Kilimanjaro, morning en hier in zijn weergave van een beroemde geologische rotsformatie van vulkanische oorsprong in Utah, laat hij zien dat zulke plaatsen niet voor niets zo beroemd zijn. Toch is het onderwerp van de prent hier eerder de in ontelbare kleurnuances verschuivende avondlijke hemel, dan Monument Valley zelf.MaastrichtJapanse prenten1971Lengte x BreedteLengte x BreedteBlokBlad30,2 x 49,837 x 55,3exact1971exactcmcmCVR-JP-P0393.jpgOntwerperLandschappenCVR-JP-P 393CVR.JP-P0393Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 13prentLandschap bij avond, gezicht op de woestijn van Monument Valley, USA, met rood schemerende bergen (geërodeerde vulkaankegels), volle maan in centrum.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsMonument Valley2005-12-02Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4313:08:56collect>internCOLLECT>intern 73242Japanse PrentenCentre CéramiqueWei-Hai-Wei is een schiereiland in de Chinese provincie Shandung, met een belangrijke marinehaven. Hier had het restant van de Chinese vloot zich na een verpletterende nederlaag in september 1894 moeten terugtrekken. Japanse troepen landden bij de stad en wisten de vestingwerken te omzeilen. Op 2 februari 1895 moest het Chinese garnizoen zich overgeven aan de Japanners. De meeste oorlogsprenten uit deze tijd spelen een rol in de oorlogspropaganda. Zij laten de actie van de oorlog zien: actie van complete legeronderdelen, gezien van een afstand in een veld- of zeeslag, of de actie van individuele oorlogshelden. Deze prent verwijst alleen maar naar toekomstige actie: de Japanse troepen zijn net ontscheept en stellen zich nu op in slagorde om op te marcheren naar hun doel. De aandacht voor de weersomstandigheden (let ook op het warme jasje van het paard van de bevelhebber) laat zien de Kiyochika zich probeerde in te leven in de werkelijkheid van de oorlog, zoals die door de gewone soldaat werd beleefd.MaastrichtJapanse prenten1895Lengte x BreedteLengte x BreedteBlokBlada: 35,1 x 23,3 - b: 35 x 23,5 - c: 34,7 x 23,2geheel: 35,2 x 69,7exact1895exactcmcmCVR-JP-P0394abc.jpgOntwerperUitgeverSenso-e (oorlog)CVR-JP-P 394 a-cCVR.JP-P0394a-cMargesminimaal, boven en links van blad bprentDrieluikTriptiek, 3 losse bladen: Een scène uit de Chinees-Japanse oorlog, een bataljon soldaten, commanderende officier te voet (links) rapporteert aan bereden officier (met bril!) in de dik vallende sneeuw, schemer. Goede staat, afgesneden, gedrieën opgeplakt op vel albumbacking. Beschrijving ex. Museum of Fine Arts, Boston: Japanese, Meiji era, 1895 (Meiji 28). Artist: Kobayashi Kiyochika, Japanese, 1847–1915. Publisher: Takekawa Seikichi (Sawamuraya Seikichi), Japanese. Vertical ôban triptych, 35.8 x 71.6 cm (14 1/8 x 28 3/16 in.). Woodblock print (nishiki-e), ink and color on paper. Signed: Kiyochika. Inscriptions: Marks: Artist's seal: KiyochikaexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsIkaiei jôriku shingun no zu??Illustration of the Landing and Advance to Weihaiwei2005-12-02Reek, J. vanKiyochika, Kobayashi (1847-1915)Takekawa Seikichischenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4313:08:56collect>internCOLLECT>intern 73243Japanse PrentenCentre CéramiqueDeze prent, een verticaal tweeluik, is een uitbeelding van een van de verhalen uit de Suikoden, de Japanse versie van een beroemde Chinese raamvertelling uit de dertiende eeuw, Verhalen van de waterlinie. Deze gaat over een bende vrijbuiters die zich, net als Robin Hood, verzette tegen een corrupte en onrechtvaardige overheid. Een minister zond de soldaat Riku om een van hen, Rin Chû, te vermoorden. Rin Chû was schildwacht in een afgelegen buitenpost, en Riku stak zijn wachthuisje in brand. Maar Rin Chû had vanwege de kou in een naburige tempel onderdak gezocht, en had het allemaal zien gebeuren. Zo kon hij zijn moordenaar verrassen en hem zelf de dood insturen. Hoewel Yoshitoshi niet als landschapskunstenaar te boek staat, laat deze prent zien dat hij techniek en sfeer van de natuuruitbeelding in zijn vingertoppen had: het gure winterweer, met de sneeuwjacht, de ijzige kou die uit de grijze tinten naar voren komt, het desolate gebied: alles benadrukt de tragiek van de uitgebeelde legende.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad70,7 x 23, 7 cm70,7 x 23,7 cmexact1886exactcmcmCVR-JP-P0395ab.jpgOntwerperUitgeverKrijgersCVR-JP-P 395 a,bCVR.JP-P0395abMargesMaatcode passepartoutafgesnedenC = 70 x 100 cmprentverticaal tweeluikIn blauwe kimono geklede, bebaarde krijger met bebloede speer in de hand, staat bij lijk van verslagen collega of vijand, waar een speer uit de rug ? steekt (anatomie is onduidelijk ? is het hoofd ook afgeslagen ?), dikke sneeuw, sneeuwstorm goede staat, vertikaal tweeluik, niet gedoubleerd, losse vellen, gespetterdesneeuw, mooie calligrafie in linker bovenhoek. Deze prent werd op 1 september 1887 in een tweede editie uitgebracht door de uitgever Hasegawa Tsunejirô. Nog checken welke dit is (verm. de eerste.).exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsHyôshito Rin Chû sanshibinyô no mae ni oito riku gukô o korosuRin Chû Kills Officer Riku near the Temple of the Mountain Spirit2005-12-02Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Matsui Eikichischenking2013-01-272015-05-272013-03-21Iesewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4314:42:5713:08:58collect>internCOLLECT>interncollect>intern 73244Depot 3-lade 13Japanse PrentenCentre CéramiqueIn 1967 en in 1972 reisde Toshi in Afrika, waar hij gegrepen werd door het leven van de wilde dieren van de savanne. De reizen leverde hem inspiratie voor een groot aantal prenten van het Afrikaanse landschap, en van de plaats van de dieren daarin. Deze prent van een kudde vluchtende Thomson's gazellen laat zien hoe modern Toshi dacht: zijn beeld is beïnvloed door fotografie vanuit een rijdende auto, waardoor de achtergrond tot een streperige massa wordt. De snelheid van de gazellen wordt daardoor goed uitgedrukt.MaastrichtJapanse prenten1972Lengte x BreedteLengte x BreedteBlokBlad30,2 x 50 cm34,4 x 55,5 cmexact1972exactcmcmCVR-JP-P0396.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 396CVR.JP-P0396MargesMaatcode passepartoutjaB = 50 x 70 cmDepot 3-lade 13prentverticaal tweeluikAfrikaans landschap: scherp een kude rennende Thomson's gazelles in door de snelheid als strepen weergegeven savannelandschap, wolkenlucht. Goede staat, nr 592 van een oplage van 600exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsThomson's Gazelles2005-12-02Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4413:08:59collect>internCOLLECT>intern 73245Japanse PrentenCentre CéramiqueDeze prent is gebaseerd op een waar gebeurd verhaal: Oschigi, de tienerdochter van een groenteman in Edo, vluchtte tijdens een brand in een naburige tempel, waar zij op een jonge monnik, Kabori Samon, verliefd werd. Om een excuus te hebben om hem nog eens terug te kunnen zien, stak zij in 1683 haar eigen huis in brand. Dat liep nogal uit de hand: de halve stad brandde af. Nadat zij als de brandstichtster was ontmaskerd werd zij zelf veroordeeld tot de brandstapel. Uit schaamte pleegde haar geliefde zelfmoord. Het verhaal sprak aan, en er werd een stuk voor het kabuki theater op gebaseerd. Oshichi klimt hier op een wachttoren, om haar geliefde te vinden, of om te ontsnappen aan het vuur, waarvan de hitte haar kimono op doet waaien. Beneden zijn de al gealarmeerde brandweermannen te zien, in hun karakteristieke beschermende kostuums en met hun insignes.MaastrichtJapanse prenten1885-12-25Lengte x BreedteLengte x BreedteBlokBlad71,2 x 24,371,2 x 24,6exact1885-12-25exactcmcmCVR-JP-P0397ab.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 397 abCVR.JP-P0397abMargesMaatcode passepartoutafgesneden, links smal randjeC = 70 x 100 cmprentverticaal tweeluikTitel als (foutief ??) vertaald in Beauty and Violence: Pine, Bamboo, and plum: the framed painting at Yushima. Vrouw in paarse kimono ontsnapt via bamboe ladder uit brandend, zwart houten huis of uitkijktoren, beneden vlammen en brandweerlieden met standaarden Deze prent werd op 1 september 1887 in een tweede editie uitgebracht door de uitgever Hasegawa Tsunejirô. Nog checken welke dit is (verm. de eerste.). losse bladen niet helemaal goed afgesneden, waardoor ze niet goed aansluiten, verder goede staat, verticaal tweeluik, gezamenlijk opgeplakt op albumdoublureexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsShôchikubai yushima no kakegakuOshichi leaves burning house2005-12-02Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Matsui Eikichischenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4413:08:59collect>internCOLLECT>intern 73246Japanse PrentenCentre CéramiqueDe hier afgebeelde scène is afkomstig uit Momoijigari, een beroemd toneelstuk in het No-theater. In het gezelschap van Kijo, naar het zich laat aanzien een mooie prinses, bewondert de legendarische held Taira no Koremochi (883-953) de herfstkleuren in het esdoorn-bos op de Togakushi berg. Maar de prinses is geen dame maar een demon. Nog net op tijd ontdekt Koremochi dat, als hij haar ware trekken weerspiegeld ziet in een vijver. Hij zal zijn zwaard trekken en haar in een furieus gevecht op de bergtop uiteindelijk overwinnen. Yoshitoshi was door dit verhaal gefascineerd: hij beeldde het nog in een tweetal andere prenten af. In deze uitbeelding is het bijzonder dat een uiterst gewelddadige strijd wordt aangekondigd in een op het oog zo idyllische scène: de stilte voor de storm.MaastrichtJapanse prenten1887Lengte x BreedteLengte x BreedteBlokBlad70,6 x 23 cm70,6 x 23 cmexact1887exactcmcmCVR-JP-P0398ab.jpgOntwerperGeesten en legendenCVR-JP-P 398 abCVR.JP-P0398abMargesMaatcode passepartoutafgesnedenC = 70 x 100 cmprentverticaal tweeluikVerticaal landschap bij vijver: elegante gesluierde dame en samoerai kijken naar hun spiegelbeeld in de vijver: de samoerai ziet aan het spiegelbeeld dat de dame in feite een lelijke oude demon is. Hij trekt zijn zwaard. Deze scènes is ook vrijwel identiek afgebeeld in de serie 36 Geesten (nr. 16). Maple viewing (1887). De hier afgebeelde scène is afkomstig uit Momoijigari, een beroemd toneelstuk in het No-theater. In het gezelschap van Kijo, naar het zich laat aanzien een mooie prinses, bewondert de legendarische held Taira no Koremochi (883-953) de herfstkleuren in het esdoorn-bos op de Togakushi berg. Maar de prinses is geen dame maar een demon. Nog net op tijd ontdekt Koremochi dat, als hij haar ware trekken weerspiegeld ziet in een vijver. Hij zal zijn zwaard trekken en haar in een furieus gevecht op de bergtop uiteindelijk overwinnen. Yoshitoshi was door dit verhaal gefascineerd: hij beeldde het nog in een tweetal andere prenten af. In deze uitbeelding is het bijzonder dat een uiterst gewelddadige strijd wordt aangekondigd in een op het oog zo idyllische scène: de stilte voor de storm.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsTaira no Koremochi Togakushi-yama ni akki o taijisu zuMaple Viewing: Taira no Koremochi Vanquishing the Demon of Mount Togakushi2005-12-02Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4413:09:00collect>internCOLLECT>intern 73247Depot 3-lade 13Japanse PrentenCentre CéramiqueOok in deze prent is de snelheid van de voort rennende struisvogels door middel van horizontale strepen in het gras van de savanne weergegeven, onder een zwaarbewolkte hemel. Door het glas is het moeilijk zichtbaar, maar voor het drukken van deze grandioze wolkenlucht is - naast kleurenblokken - ook gebruik gemaakt van een blinddruk blok, waardoor de randen van de wolken in reliëf in het papier zijn gedrukt.MaastrichtJapanse prenten1984Lengte x BreedteLengte x BreedteBlokBlad22,9 x 59 cm26,7 x 64,cmexact1984exactcmcmCVR-JP-P0399.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 399CVR.JP-P0399Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 13prentRennende troep struisvogels op als strepen weergegeven steppe, lage horizon, mooie veelkleurige wolkenlucht mooie staat, nr. 176 van een oplage van 1200exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsOstrich2005-12-02Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4413:09:00collect>internCOLLECT>intern 73248Depot 3-lade 13Japanse PrentenCentre CéramiqueDe strakke, geabstraheerde tekenstijl van Toshi's gezicht op Peggy's Cove in Canada sluit aan bij zijn vroegere stripachtige prenten zoals Het Station van Santa Fe en Vail, Colorado. De toepassing van een veel rijker, genuanceerder kleurschema, met een grotere nadruk op het atmosferische aspect, slaat echter een brug naar het weer meer figuratieve werk van zijn laatste jaren. Let op het effect van de houtnerf van het blok in de weergave van de grijze herfstlucht.MaastrichtJapanse prenten1975Lengte x BreedteLengte x BreedteBlokBlad26,9 x 59,5 cm30,7 x 64 cmexact1975exactcmcmCVR-JP-P0400.jpgOntwerperCVR-JP-P 400CVR.JP-P0400MargesMaatcode passepartoutongelijkB = 50 x 70 cmDepot 3-lade 13prentLandschap: gezicht op baai met aan de overkant landtong met vuurtoren, huisjes en torenspits, grijs weer. mooie staat, geen oplagecijferexactegeen eigen fotoBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsPeggy's Cove, Canada2005-12-02Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4413:09:01collect>internCOLLECT>intern 73249Depot 3-lade 11Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888-06-22Lengte x BreedteLengte x BreedteBlokBlad36,2 x 24,140,6 x 27exact1888-06-22exactcmcmCVR-JP-P0401.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 401CVR.JP-P0401MargesMaatcode passepartoutjaA = 35 x 50 cmDepot 3-lade 1132prentJapanse dame in Europees kostuum met strooien hoed en parasol, wandelt tussen de irissenserietitelexacte50Centre CéramiqueBlokdrukHoutsnede, (authentieke) reproductiedrukVerstilde schoonheidEngelsStrolling: A Lady of the Meji Period2005-12-02Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-03-182013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:4512:34:2111:41:4110:13:4008:37:17Maastricht13:09:01collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73250Depot 3-lade 15Japanse PrentenCentre CéramiqueKawase Hasui is een van de twee belangrijkste landschapskunstenaars in de shin-hanga traditie, en de belangrijkste ontwerper in de 'stal' van prentuitgever Watanabe. Een gereserveerde persoonlijkheid, die zich helemaal op zijn werk concentreerde. Dat werk bestond vrijwel uitsluitend uit atmosferische, poëtische weergaven van het eigen Japanse landschap. Zijn grote verdienste werd erkend door zijn benoeming in 1956 tot 'Ningen Kokuho', 'Levend nationaal erfgoed'. Deze prent is een eigen interpretatie van het Japanse landschappelijke gegeven bij uitstek, de berg Fuji. Het is een naar Westerse maatstaven realistische weergave van dit motief, uitgevoerd in de traditionele Japanse techniek. De verstilde atmosfeer, de winterlucht, de kou die bijna te voelen is, maken het tot een van de beste voorbeelden van de shin-hanga prentkunst.MaastrichtJapanse prenten1944Lengte x BreedteLengte x BreedteBlokBlad33,6 x 46,736,4 x 50,4exact1944exactcmcmCVR-JP-P0402.jpgOntwerperUitgeverLandschappenCVR-JP-P 402CVR.JP-P0402Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 15prentGezicht, overdag, helder winterweer, gezicht op de Fuji-Yama, op de voorgrond een dorp met dikbesneeuwde daken, bomen, een moeder met kind wandelt het dorp in.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsMount Fuji from Yoshida2005-12-02Reek, J. vanHasui, Kawase (1883-1957)Watanabe Shozaburoschenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4513:09:01collect>internCOLLECT>intern 73251Depot 3-lade 15Japanse PrentenCentre CéramiqueToshi Yoshida, de zoon van Hiroshi Yoshida, is één van de belangrijkste Japanse prentkunstenaars van de 20ste eeuw. Hij legde zich met name op het landschap toe, en is in deze tentoonstelling rijk vertegenwoordigd (nrs. 13 en 18-26). In deze prent is een traditioneel Japans thema afgebeeld: de kersenbloesem of sakura. Deze prunus of sierkers is in Japan bijzonder geliefd vanwege zijn prachtige witte bloesem, licht met roze doorschoten. De boom bloeit ongeveer een week, nog voor het blad uitloopt. Die week is in Japan een feestweek: veel mensen gaan naar de parken om het bloeien van de kersenbloesem, en het vallen van de blaadjes te zien. Traditioneel is deze kortdurende schoonheid een symbool van de vergankelijkheid van het leven, een betekenis die ook in eigentijdse Japanse cultuuruitingen, zoals de manga, het Japanse stripverhaal, nog voortleeft.MaastrichtJapanse prenten1970Lengte x BreedteLengte x BreedteBlokBlad30,5 x 49,737 x 55 cmexact1970exactcmcmCVR-JP-P0403.jpgOntwerperSneeuwCVR-JP-P 403CVR.JP-P0403MargesMaatcode passepartoutjaB = 50 x 70 cmDepot 3-lade 15prentBloesemende kersentak, deel van stam van de boom, tegen een gele achtergrond.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsCherry Blossoms2005-12-02Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4513:09:02collect>internCOLLECT>intern 73252Depot 3-lade 11Japanse PrentenCentre CéramiqueHiroshi Yoshida en zijn zoon Toshi (vgl. nrs 12-19) zijn de belangrijkste leden van een hele dynastie prentkunstenaars. Hiroshi werd sterk beïnvloed door Westerse kunst . Al in 1899 bracht hij zijn eerste bezoek aan de Verenigde Staten, en hij zou ook later nog heel veel reizen (Amerika, Europa, India, Oost-Azië). Door zijn contacten had hij een groot aandeel in de bevordering van de appreciatie van Japanse kunst buiten zijn vaderland. Zeilboot – Namiddag is een herschepping uit 1926 door Yoshida zelf van een prent uit 1921, waarvan de blokken in de grote aardbeving van Tokio in 1923 verloren waren gegaan. Deze monumentale prent werd door Yoshida zelf uitgebracht in zes versies: voor elke afdruk werden dezelfde blokken gebruikt, maar steeds op een andere manier en met andere kleuren ingeïnkt. De serie gaf zo een beeld van de fases van de dag bij verschillende weersomstandigheden. Deze versie geeft een heiige namiddag weer.MaastrichtJapanse prenten1926Lengte x BreedteLengte x BreedteBlokBlad50,7 x 3653,8 x 39,3latere drukexact1926exactcmcmCVR-JP-P0404.jpgOntwerperZeegezichtenCVR-JP-P 404CVR.JP-P0404Maatcode passepartoutC = 70 x 100 cmDepot 3-lade 11prentZee, mooie windstille dag: zeilschip (type jonk) met klein roeibootje erachter, weerspiegelt in het water, hoge horizon Mooi exemplaar van een latere druk (kan als het echt moet ook in passepartout B] Very large (double-oban), beautiful Yoshida sailboat image. Seldom seen--impressively large format and difficult to print. This is the blue background 'Afternoon' version (without the distant boats left), five other variant states exist for this image (using different colors).1926. Impressed signature lower margin, circa 1950's/60'sserietitelexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsHansen - gogoSailing boat: Afternoon2005-12-02Reek, J. vanYoshida, Hiroshi (1876-1950)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4513:09:02collect>internCOLLECT>intern 73253Depot 3-lade 11Japanse PrentenCentre CéramiqueKatsuyuki Nishijima is een eigentijdse kunstenaar die is opgeleid in de traditie van de 'creatieve' prentkunst, de sosaku-hanga. De kunstenaar beheerst alle stappen van de techniek van de klassieke kleurenhoutsnede, en verzorgt deze ook eigenhandig. Nishijima's interesse in de technische aspecten van zijn kunst blijkt uit het handboek dat hij daarover heeft geschreven. Ook in zijn onderwerpskeuze sluit Nishijima aan bij de traditie van de sosaku-hanga en de shin-hanga, zoals Kawase Hasui (vgl. nr 11): verstilde landschappen, vaak in de winter. Met prentreeksen als Negenzestig haltes van de Kisokaido-weg grijpt hij zelfs bewust terug op de oudere ukiyo-è prentkunst van bijvoorbeeld Hiroshige (nr 5). Zijn behandeling en techniek is echter veel eigentijdser: typerend is zijn voorkeur voor close-ups van de klassieke Japanse architectuur, en het experimenteren met gecombineerde technieken: hier heeft hij de 'eerste sneeuw van het seizoen ' uitgebeeld door witte verf over de prent te spatten, in plaats van deze met een blok te drukken.MaastrichtJapanse prenten1999Lengte x BreedteLengte x BreedteBlokBlad39,2 x 54,546,5 cm 61,9einde eeuw1975einde eeuwcmcmCVR-JP-P0405.jpgOntwerperSneeuwCVR-JP-P 405CVR.JP-P0405MargesMaatcode passepartoutjaC = 70 x 100 cmDepot 3-lade 11prentHatsuyuki (The First Snow of the Season): The heavy snow is falling on the old town.Straat in stad met lage huizen, grijs, links op de achtergrond een hoger gebouw. Gelijkmatig over het beeld verspreide sneeuwvlokken (spettertechniek) mooie druk, nr 50 van een oplage van 100Artelino, item 15076exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsHatsuyukiFirst Snow of the Season2005-12-02Reek, J. vanNishijima, Katsuyuki (1945 - )schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4513:09:03collect>internCOLLECT>intern 73254Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten2002Lengte x BreedteLengte x BreedteBlokBlad39,3 x 4851, 8 x 58,8exact2002exactcmcmCVR-JP-P0406.jpgOntwerperSneeuwCVR-JP-P 406CVR.JP-P0406Maatcode passepartoutC = 70 x 100 cmprentDorp met boerenhuizen en -schuren in bergland bedekt met dennenbos, zware sneeuwval, links voorgrond: figuur onder rode paraplu wandelt naar links volgens leverancier zg. waterless lithography, in kleuren (zij hetvrij monochroomvan toon), nr 16van een oplage van 100exacteBlokdrukLithografieEngelsBetween two snows2005-12-02Reek, J. vanWilliams, Brian (1950- )schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4613:09:03collect>internCOLLECT>intern 73255Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten2005Lengte x BreedteLengte x BreedteBlokBlad49,6 x 52,655 x 60,61986cmcmCVR-JP-P0407.jpgOntwerperLandschappenCVR-JP-P 407CVR.JP-P0407Maatcode passepartoutC = 70 x 100 cmprentBloeiende appelboom tegen heuvellandschap origineel: verm. olieverf op doek, 95 x 100 cm. Zg Giclée Reproduction, via digitale fotografische technieken vervaardigde reproductie van dit werk. Nr. 9 van een oplage van 240 exemplaren.exacteBlokdrukReproductie2005-12-02Reek, J. vanCreyghton, Patrick (1934- )schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4610:13:4108:37:1813:09:04collect>internCOLLECT>interncollect>interncollect>intern 73256Depot 3-lade 12Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1997exact1997exactCVR-JP-P0408.jpgOntwerperLandschappenCVR-JP-P 408CVR.JP-P0408Depot 3-lade 12prentWeids Zuid-Limburgs landschap gezien vanaf heuvel van waaraf landweg tussen korenvelden de diepte in loopt. origineel: olieverf op doek, 60 x 85 cm. Zg Giclée Reproduction, via digitale fotografische technieken vervaardigde reproductie van dit werk. Nr. 16 van een oplage van 240 exemplaren.exacteBlokdrukReproductie2005-12-02Reek, J. vanCreyghton, Patrick (1934- )schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4610:13:4108:37:1813:09:04collect>internCOLLECT>interncollect>interncollect>intern 73257Depot 3-lade 15Japanse PrentenCentre CéramiqueOver de prentkunstenaar Yasu Kato is niet veel bekend, behalve dat hij ook als illustrator van kinderboeken werkzaam was. Hij is duidelijk geïnspireerd door Europese, met name Franse, prentkunst. Hij reisde veel en dat komt in zijn werk tot uiting, met name in stadsgezichten (Venetië, Neurenberg, een plaatsje in Rusland). Het werk van Kato is een goed voorbeeld van de sosaku-hanga richting, de 'creatieve prentkunst', die ervan uitgaat dat de kunstenaar zelf alle fases van de prent voor zijn rekening neemt. De kunstenaar werkt niet vanuit een dwingende traditie, maar put vrij uit zijn eigen scheppende kracht. Die vrijheid van behandeling komt in dit stadsgezicht tot uiting: dit wintergezicht op Hoorn, vanaf het IJsselmeer, is nauwelijks als een Hollands landschap herkenbaar. Ook de kleuren zijn bijzonder: let op de gele lucht. De kleuren zijn vermoedelijk verschillend voor elk van de 20 exemplaren van de oplage van deze prent.MaastrichtJapanse prenten1977-02Lengte x BreedteBlad33,5 x 45,3exact1977-02cmCVR-JP-P0409.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 409CVR.JP-P0409Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 15prentGezicht over water naar oever met stadsgezicht, grote ronde toren in het midden, tegen gele lucht. De keopel is de grrote Neo-Gotische kerk gebouwd ca 1880 (op kosten van jvr. Melort van Middelharnis)nr 9 van een oplage van 20exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsFresh Snow in Horn, Holland2006-01-30Reek, J. vanKato, Yasu (1907- )schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4613:09:04collect>internCOLLECT>intern 73258Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1832Lengte x BreedteLengte x BreedteBlokBlad34,8 x 51,834,8 x 51,8reproductie circa 2004, authentieke reproductieexact1832exactcmcmCVR-JP-P0410.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 410CVR.JP-P0410Margesgeenlinnenprint papierDepot 3-lade 09prent(aanw juni 2007)Oranje orchideën met donker groenblauwe bladeren tegen een blauwe achtergrond: reproductie op canvas-textured paper, naar de eerste druk van het origineelVermoedelijk fotografische reproductieArtPrint CollectionexacteBlokdrukFotografische ? reproductie naar kleurenhoutsnedeGoedEngelsOrange Orchids2006-01-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4610:13:4208:37:1813:09:06collect>internCOLLECT>interncollect>interncollect>intern 73259Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1832Lengte x BreedteLengte x BreedteBlokBlad25,3 x 37,125,8 x 37,6herdruk circa 1930exact1832exactcmcmCVR-JP-P0411.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 411CVR.JP-P0411MargesMaatcode passepartoutnauwelijksA = 35 x 50 cmpapierDepot 3-lade 06prent(aanw juni 2007)Bleekroze lelies tegen een bleekblauwe achtergrond.Reproductiedruk door The National Museum Collection, 1930s (of Limited Commemorative edition, 1980er jaren ?), exemplaar afkomstig uit collectie Robert O. Muller (1911-2003)authentieke reproductie uitgegegen door het Japanse Nationale MuseumFuji Arts (William G. Fagan) | afkomstig uit collectie Robert O. Muller (1911-2003)exacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsLilies2006-01-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4710:13:4208:37:1813:09:06collect>internCOLLECT>interncollect>interncollect>intern 73260Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1832Lengte x BreedteLengte x BreedteBlokBlad25,6 x 38,126,2 x 39,1herdruk 1930, authentieke reproductieexact1832exactcmcmCVR-JP-P0412.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 412CVR.JP-P0412MargesMaatcode passepartoutnauwelijksA = 35 x 50 cmpapierDepot 3-lade 06prent(aanw juni 2007)Zacht roze-blauwe hortensia, met een zwaluw in duikvlucht, gele achtergrond. | Herdruk door The National Museum Collection, 1930s, exemplaar afkomstig uit collectie Robert O. Muller (1911-2003)authentieke reproductie uitgegegen door het Japanse Nationale MuseumFuji Arts (William G. Fagan) | afkomstig uit collectie Robert O. Muller (1911-2003)exacteBlokdrukHoutsnede, (authentieke) reproductiedrukGoedEngelsHydrangea and swallow2006-01-30Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4710:13:4208:37:1913:09:06collect>internCOLLECT>interncollect>interncollect>intern 73261Depot 3-lade 13Japanse PrentenCentre CéramiqueDe begaafde, veelbelovende kunstenaar Hashiguchi Goyo stierf jong aan hersenvliesontsteking. Zijn werk past in de traditie van de nieuwe, creatieve prentkunst van de eerste helft van de 20ste eeuw. Hij was zeer nauw betrokken bij het drukken van de veertien prenten die tijdens zijn leven verschenen, en dat zijn allemaal meesterwerken. Na zijn dood werden ze samen met een aantal door andere kunstenaars voltooide werken door zijn familie (her)uitgegeven. Van deze prent zijn drukken in verschillende kleurstellingen bekend, in één van de eerste drukken van Goyo zelf is het blok met de regenstralen in zilver gedrukt.MaastrichtJapanse prenten1918Lengte x BreedteBlad35,3 x 48,4latere druk circa 1930, latere versieexact1918exactcmCVR-JP-P0413.jpgOntwerperUitgeverLandschappenCVR-JP-P 413CVR.JP-P0413Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 13prentLandschap: in een kletterende regen trekt een paard en wagen naar een bruggetje over een riviertje Tweede druk van het origineelexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsRain at Yabakei2006-01-30Reek, J. vanGoyo, Hashiguchi (1880-1921)Tanseishaschenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4713:09:07collect>internCOLLECT>intern 73262Japanse PrentenCentre CéramiqueDit verticale tweeluik vertoont een scène uit een romanfeuilleton dat verscheen tussen 1829-1842, De valse Murasaki en Genji op het platteland. Dit was een bewerking van het belangrijkste monument van de klassieke Japanse literatuur, Het verhaal van Genji, een roman die wordt toegeschreven aan Murasaki Shikibu, een Japanse adellijke dame uit de 11de eeuw. Hoofdpersoon is Prins Genji, en het hele verhaal draait om zijn avonturen, voornamelijk op het amoureuze vlak: hij is de Japanse versie van Don Juan. Ook in de bewerking spelen amoureuze avonturen een hoofdrol, zoals in de hier afgebeelde scène uit het vierde hoofdstuk. Hierin ontsnappen de held Ashikaga Mitsuuji en zijn geliefde Tasogare aan het toezicht van haar moeder om samen de nacht door te brengen in een oude tempel. Ze hebben zich in een bamboe mat gerold, zodat het blinken van Mitsuuji's zwaard niet zal opvallen, en misschien ook wel om zich te beschermen tegen de regen, maar die wordt niet op alle versies van de prent afgebeeld. Het sombere landschap onderstreept de spanning en de angst van de geliefden, die tegen elkaar kruipen tegen de kou. Deze grote intimiteit viel niet in goede aarde bij de autoriteiten: een herdruk schijnt te zijn verboden.MaastrichtJapanse prenten1885-08exact1885-08exactCVR-JP-P0414ab.jpgOntwerperGenjiCVR-JP-P 414 abCVR.JP-P0414abMaatcode passepartoutAfwijkendprentHorizontaal tweeluik? . serie ? van acht verticale tweeluiken, zonder titel of: Genji in the provincesVerticaal tweeluik: Genji en een dame, schuilen samen onder een rieten matje tegen de regen in een berglandschap met riviertje. Beschrijving van een triptiek van Yoshitoshi uit 1883 met hetzelfde thema: http://www.fitzmuseum.cam.ac.uk/gallery/yoshitoshi/works/P.16-2003_SE.html. False Murasaki and a Rural Genji = Nise murasaki inaka genji. Nise murasaki inaka genji. Colour print from woodblocks, with blind embossing (karazuri), textile printing (nunomezuri) and borderless shading (atenashi bokashi), printed with extra bokashi clouds around moon. Ôban format vertical diptych. Block-cutter: Negishi Chokuzan. Publisher: Matsui Eikichi. 0/08/1885. Keyes 474.The title comes from Ryutei Tanehiko's serial novel Nise murasaki inaka genji (False Murasaki and a Rural Genji) of 1829-42, which reset the 11th-century classic Tale of Genji in the 15th century. This scene comes from chapter 4.The main protagonist Ashikaga Mitsuuji and his lover Tasogare escape the watch of her mother, Shinonome, and flee to spend the night together in an old temple. Yoshitoshi evokes both the mood and specific descriptive elements in the novel: the blind that Mitsuuji wraps round them to stop his sword shining in the moonlight, their wariness as they look out for Shinonome and her henchmen, the brilliant moon and the banks of cloud, the desolate moor with its tangle of plume-grass and miscanthus, and the sudden shower of rain before they glimpse the flickering temple light in the distance. The atmosphere of the landscape is heightened by the subtle printing, especially the effect of the clouds around the bird and moon, which varies in each impression. The popularity of Tanehiko's novel inspired something of a Genji craze, with associated hair-fashions and product names, and dramatised versions of the book. Tanehiko's novel was originally illustrated by Kunisada and it inspired many prints by other artists including Kuniyoshi and various of Kunisada's pupils. Kunisada made a triptych of this same scene in 1851, marking the production of two kabuki dramatisations of the novel in the autumn of that year. Although Yoshitoshi was obviously influenced by these earlier versions, his own version is typically individual in terms of its complex design, colour and emotional intensity. In showing Shinonome threatening Tasogare rather than Mitsuuji, he brings it closer to the scene in chapter 4 of the original Genji, in which the spirit of a neglected lover kills Genji's new lover Yugao during the night. The pattern on Mitsuuji's costume is based on the traditional symbol (Genjimon) for chapter 4 of Genji.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsInaka genjiRural Genji2006-01-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4713:09:08collect>internCOLLECT>intern 73263Depot 3-lade 15Japanse PrentenCentre CéramiqueOmdat zijn moeder na haar tweede huwelijk in Seoul woonde, kwam Jacoulet regelmatig in Korea, en hij reisde ook naar China. Hij hield ervan om het dagelijkse leven van de gewone mensen die hij op straat zag vast te leggen. Hier observeerde hij een Chinees stel dat pauzeert in zijn werkzaamheden om snel iets te eten.MaastrichtJapanse prenten1948Lengte x BreedteBlad46,4 x 36,1exact1948exactcmCVR-JP-P0415.jpgOntwerperCVR-JP-P 415CVR.JP-P0415MargesMaatcode passepartoutjaB = 50 x 70 cmDepot 3-lade 15prentClose-up van werkman en vrouw die met de rug naar elkaar toe een kom kop soep drinken.exacte83Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidDe grote golf bij Kanagawa2006-01-30Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-272014-01-162013-09-18Iesewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:4710:26:4111:41:44Maastricht13:09:09collect>internCOLLECT>interncollect>interncollect>intern 73264Depot 3-lade 13Japanse PrentenCentre CéramiqueIn deze kleurrijke prent experimenteert Toshi met een eigentijdse, Westerse stijl, die goed past binnen de populaire beeldcultuur van de zestiger en vroeg-zeventiger jaren. Het is een figuratief werk, maar de tekening is sterk versimpeld, wordt bijna geheel teruggebracht tot een decoratief, felgekleurd patroon. Het sluit daardoor aan bij Toshi's volledig abstracte werk.MaastrichtJapanse prenten1971Lengte x BreedteBlad37,5 x 54,5exact1971exactcmCVR-JP-P0416.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 416CVR.JP-P0416Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 13prentKleurig gezicht op het perron van het staion van Santa Fe, met veel reizigers die op de trein wachteneigenhandig in potloodexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsThe Station of Santa Fe, New Mexico2006-01-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4813:09:10collect>internCOLLECT>intern 73265Japanse PrentenCentre CéramiqueDeze prent illustreert een episode uit de Gempeij oorlog (1180-1884) tussen de rivaliserende Taira en Minamoto clans. Op 18 maart 1184 versloeg Minamoto no Yoshitsune de Taira op het strand van Ichinotani. Een deel van de Taira onvluchtten op hun schepen, veel van hun eigen clanleden weerloos achterlatend op het strand. Onder hen was Taira no Atsumori, die door Kumagai Naozane werd uitgedaagd en verslagen. Pas toen hij Atsumori zijn helm afnam om hem de genadeslag te geven, zag hij dat zijn tegenstander nauwelijks zestien jaar was, de leeftijd van Naozane's eigen zoon. Hij wilde zijn leven sparen, maar Atsumori zelf weigerde dat. Uit wroeging werd Naozane later priester. Deze tragische scène was een van de meest geliefde in de Japanse literatuur en het theater. Hij is dan ook vaak uitgebeeld. Het bijzondere van Yoshitoshi's benadering is dat de eigenlijk held, Atsumori, zelf vrijwel onzichtbaar is: het kleine figuurtje links dat tevergeefs de zee in was gereden om zijn schepen nog te bereiken, en zo de op hem aanstormende vijand te ontwijken. Het drama wordt nog benadrukt door de slingerlijn van de opfladderende vlucht vogels.MaastrichtJapanse prenten1885-12-25Lengte x BreedteLengte x BreedteBlokBlad71,5 x 23,971,5 x 23,9exact1885-12-25exactcmcmCVR-JP-P0417ab.jpgOntwerperUitgeverSenso-e (oorlog)CVR-JP-P 417 abCVR.JP-P0417abMargesMaatcode passepartoutafgesnedenAfwijkendprentverticaal tweeluikVerticaal tweeluik. Close-up van achteren van een krijger te paard op het strand, gekleed in zwart kostuum, die met een zwarte waaier zwaait, een zwerm vogeltjes vliegt om hem heen, een tegenstander te paard nadert in de branding. Zeer mooie druk , Laquer printing. Het verhaal is ontleend aan de Heike Monogatari = Het verhaal van HeikeexacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaJapansEngelsIchinotani kassenThe battle of Ichinotani2006-01-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Matsui Eikichischenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4813:09:10collect>internCOLLECT>intern 73266Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1885-07Lengte x BreedteBlad77,3 x 25,5exact1885-07exactcmCVR-JP-P0418ab.jpgOntwerperUitgeverCVR-JP-P 418 abCVR.JP-P0418abMargesMaatcode passepartoutalleen boven en linksAfwijkendprentverticaal tweeluikVerticaal tweeluik: rivierwater met diagonale golven, waaronder een enorme karper zichtbaar is, die door een kleuter met woest krulhaar wordt gepakt. Op rots op achtergrond kijkt in elegante kledij gestoken dame toe. Mooie druk. This object appears is from the Special Exhibit: From Edo to Meiji: Yoshitoshi's Strange Tales May 26–September 9, 2007 In case of discrepancy, use wall label as final authority. Though their stories are different, this image is similar to that of no. 23: a robust young hero rides a giant carp. Kintaro ('Golden Boy') grew to be exceptionally strong and is customarily depicted with red skin. He spent his boyhood with his aristocratic mother, who after the death of her husband left the Heian court to raise him alone in the mountains. Here Kintaro clutches the fish for a wild ride. His mother has been gathering firewood, with her long hair loose and carrying a lily, she looks for him. A small turtle paddles out of the way. This is one of several ambitious designs that Yoshitoshi created in the mid-1880s in the unusual format of a vertical diptych. Each diptych has a well-considered and effective composition, the verticality of this design is appropriate for the format. As in the design for no. 38, the color grading (bokashi) is complex, especially on the riverbank and the swirling lines denoting the water. signed: Oju Yoshitoshi ga | publisher: Matsui | engraver: Chokuzan | printed: 7th month. De hieronder volgende object tekst gebaseerd op de info van Jan van Reek klopt niet, het verhaal van wraak op de karper die de moeder zou hebben opgegeten refereert aan Benkei ofwel Oniwakamura (Duivel's kind), niet aan Kintaro, vgl prent nr. ### uit de serie 36 geesten. Deze prent is gebaseerd op een oude Japanse legende waar veel versies van bestaan. Nadat haar echtgenoot Kintoki in ongenade viel en kort daarna stierf, vluchtte zijn weduwe naar de bossen van Ashigara, waar zij beviel van een zoon: Kintaro, de 'gouden jongen'. Kintaro, een kruising tussen Hercules en Mowgli, groeide op met de dieren van het woud, en bleek onnoemelijk sterk te zijn. Volgens een versie van het sprookje werd hij als baby in het bos gevonden door Yama Uba, die hem opvoedde als haar eigen zoon. Toen zij ongelukkigerwijze in het water viel, en door de reuze karper werd verorberd, aarzelde Kintaro geen moment om haar te wreken: hier zien we hem in een bitter gevecht met de vis.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsGolden boy Kintaro riding a giant carp2006-01-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Matsui Eikichischenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4813:09:11collect>internCOLLECT>intern 73267Japanse PrentenCentre CéramiqueHôryûkaku is een paviljoen van het kasteel van Koga aan de Tonegawa rivier. In de 18de-eeuwse heldenroman De acht honden van de Satomi clan is het de locatie van een beroemd geworden gevecht tussen twee krachtspatsers, Inuzuka Shino en Inukai Genpachi, dat hier is afgebeeld. Een vlucht vogels fladdert verschrikt om de kemphanen heen. Deze prent is een mooi voorbeeld van de ingehouden energie die Yoshitoshi mee wist te geven aan zijn gevechtsscènes, waar hij beroemd om werd. Het doet denken aan een scène uit een Kung Fu film, wat niet zo vreemd is: beide staan in de traditie van de oosterse vechtsporten of -kunsten. De agressie van de figuren staat in vreemd contrast met het vredige rivierlandschap op de achtergrond.MaastrichtJapanse prenten1885-10Lengte x BreedteLengte x BreedteBlokBlad70 x 23,470 x 23,4exact1885-10exactcmcmCVR-JP-P0419ab.jpgOntwerperUitgeverKrijgersCVR-JP-P 419 abCVR.JP-P0419abMargesMaatcode passepartoutvolledig weggesnedenAfwijkendprentHorizontaal tweeluikJapanse titel: Hôryûkaku ryôyû tsutomu. Beauty and violence, cat. nr. 51: : Gevecht van Inuzuka en Inukai op het dak van een paviljoen. Verticaal tweeluik An episode is shown from the book Tale of eight dogs of the Santomi Clan. Two heroes chase each other on the roof of Koga Castle. Eventually, they will fall into the Tone River on their way to new adventures. The picture looks like a scene from a Kung Fu movie. Rekius Deze prent werd heruitgegevn in 1887, 1 spetember, door Hasegawa - checken van welke editie ons ex. is.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsTwo Brave Men on the Roof of Hôryûkaku2006-01-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Matsui Eikichischenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4813:09:12collect>internCOLLECT>intern 73268Japanse PrentenCentre CéramiqueKuniyoshi was een leerling van de beroemde ukiyo-è meester Toyo-kuni Utagawa (1769 - 1825), aan wie hij zijn naam ontleende. Hij specialiseerde zich in historische en legendarische oorlogstaferelen, waarvan deze prent een voorbeeld is. Deze geeft een mooi beeld van hoe de natuur ook in zo'n dramatische scène een belangrijke rol kan spelen: de onstuimige, door toverkrachten opgejaagde zee neemt het gehele beeldvlak in. Minamoto no Yoshitsune was een krijgsheld uit de 12de eeuw, hoofdverantwoordelijke voor het verslaan van de Taira clan in de Gempeij oorlog (1180-85). Tijdens latere avonturen wordt zijn schip aangevallen door de wraakzuchtige geesten van de Taira, die zij eerder in de slag bij Dannaoura hadden verslagen. Dankzij de bovennatuurlijke gaven van zijn kompaan, de priester-soldaat Benkei, weten zij de geesten te weerstaan.MaastrichtJapanse prenten1841Lengte x BreedteLengte x BreedteBlokBlad35,7 x 7535,7 x 751839cmcmCVR-JP-P0420abc.jpgOntwerperSenso-e (oorlog)CVR-JP-P 420 a-cCVR.JP-P0420a-cMargesMaatcode passepartoutgeenC = 70 x 100 cmprentDrieluikKuniyoshi was een leerling van de beroemde ukiyo-è meester Toyo-kuni Utagawa (1769 - 1825), aan wie hij zijn naam ontleende. Hij specialiseerde zich in historische en legendarische oorlogstaferelen, waarvan deze prent een voorbeeld is. Deze geeft een mooi beeld van hoe de natuur ook in zo'n dramatische scène een belangrijke rol kan spelen: de onstuimige, door toverkrachten opgejaagde zee neemt het gehele beeldvlak in.Minamoto no Yoshitsune was een krijgsheld uit de 12de eeuw, hoofdverantwoordelijke voor het verslaan van de Taira clan in de Gempeij oorlog (1180-85). Tijdens latere avonturen wordt zijn schip aangevallen door de wraakzuchtige geesten van de Taira, die zij eerder in de slag bij Dannaoura hadden verslagen. Dankzij de bovennatuurlijke gaven van zijn kompaan, de priester-soldaat Benkei, weten zij de geesten te weerstaan.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsThe Taira Ghosts Attacking Yoshitsune's Ship at Daimotsu Bay2006-01-30Reek, J. vanKuniyoshi, Utagawaschenking2013-01-272015-05-2717971861Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4913:09:12collect>internCOLLECT>intern 73269Depot 3-lade 11Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1797Lengte x BreedteLengte x BreedteBlokBlad37,3 x 25,537,5 x 25,8herdruk circa 1930?circa1797circacmcmCVR-JP-P0421.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 421CVR.JP-P0421MargesMaatcode passepartoutmarginale marge links en bovenA = 35 x 50 cmAsano / Clark, The Passionate Art of Kitagawa Utamaro, 1995, cat. nr. 67Depot 3-lade 11prentThis is one of a group of ôban three-quarter length portraits published by Moriya Jihei, c. 1797. Cats. Nos. 267-270 are the four designs currently known. == Asano / Clark, The Passionate Art of Kitagawa Utamaro, 1995, cat. nr. 67)LET OP: Van deze prent bezitten we ook een modernere herdruk: CVR/JP/P 514.Man met pijp leunt over scherm, is in gesprek met dame die haar sluier over haar gezicht trekt nogal smoezelig, erg verkleurd (verzuurd papier), ? latere herdruk, al of niet van de originele blokken ? checken ! t.z.t. schoonmaken (Jacques v. Kronenberg ?). Man en vrouw in grijze, respectievelijk grijsgroene kimono, de linker leunt op een kamerscherm en rookt een pijp, de rechter kijkt door de doorzichtige stof van de mantel van de ander, neutale zachtgrijze achtergrond. This is one of a group of ôban three-quarter length portraits published by Moriya Jihei, c. 1797. Cats. Nos. 267-270 are the four designs currently known. == Asano / Clark, The Passionate Art of Kitagawa Utamaro, 1995, cat. nr. 67)exacteBlokdrukHoutsnede, (authentieke) reproductiedrukJapansEngelsTsuitate no danjoMan and woman beside a free-standing screen2006-01-30Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)Moriya Jiheischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4910:13:4308:37:1913:09:13collect>internCOLLECT>interncollect>interncollect>intern 73270Depot 3-lade 15Japanse PrentenCentre CéramiqueTijdens een van zijn reizen in de Stille Zuidzee bezocht Jacoulet het eiland Yap, het hoofdeiland van een klein eilandenrijk in Micronesië. Hier beeldde hij het jonge lokale opperhoofd Saragan af, vergezeld van zijn slaaf Forum. Het landschap benadrukt de rol van de hoofdpersoon: de bomen (of totempalen ?) met de spiegelgladde oceaan erachter suggereren zijn troon als heerser van een idyllisch eiland.MaastrichtJapanse prenten1949Lengte x BreedteLengte x BreedteBlokBlad39 x 29,846,5 x 35,5exact1949exactcmcmCVR-JP-P0422.jpgOntwerperCVR-JP-P 422CVR.JP-P0422MargesMaatcode passepartoutjaB = 50 x 70 cmDepot 3-lade 15prentJonge Polynesische vorst op een gezeten onder palmen of totempalen, aan de rand van de zee, vergezeld van jonge, schaars geklede slaaf.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsThe Young Chief Saragan and his slave Forum Tomil, Yap2006-01-30Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4913:09:14collect>internCOLLECT>intern 73271Depot 3-lade 15Japanse PrentenCentre CéramiqueDe hedendaagse kunstenaar Motosugu (of Motoji) Sugiyama beeldt bij voorkeur hedendaagse stadsgezichten af, zoals een serie bruggen in Tokio en andere Japanse steden. Hoe modern ook qua vormgeving, staat hij daarbij wel in een oude traditie, zowel in technisch opzicht als in thematiek. De afgebeelde bruggen zijn vaak de opvolgers van bruggen die honderdvijftig jaar eerder al waren afgebeeld door illustere voorgangers als Hiroshige. Net als bij Hiroshige worden de verschillende stadsgezichten expliciet op verschillende tijdstippen van de dag of bij wisselende weersom-standigheden geobserveerd. De interesse in het atmosferische blijft ook in de eigentijdse Japanse prentkunst een gegeven.MaastrichtJapanse prenten1999Lengte x BreedteLengte x BreedteBlokBlad26,8 x 39,731,9 x 44,6exact1999exactcmcmCVR-JP-P0423.jpgOntwerperUitgeverTopografische aanzichtenCVR-JP-P 423CVR.JP-P0423MargesMaatcode passepartoutjaB = 50 x 70 cmDepot 3-lade 15prentGezicht op rivier bij avond, op de achtergrond boogbrug en wolkenkrabbers. Techniek niet gedefiniëerd, lijkt een drukmoet in te zitten (aquatint ?), maar schijn toch echt wel een houtblok te zijn (zie hieronder) ? SUGIYAMA, MOTOSUGU. Motosugu Sugiyama, whose Christian name is sometimes translated Motuju, was born in 1925 in regional Japan but after marrying moved to Tokyo with his wife who was born in that City. They lived a comfortable life and he had a career in the business world but he had a deep artistic urge and, in 1975 at the age of 50, he began studying the Woodblock Art with Funasaka Yoshisuke. He created a number of woodblocks which were well received and after retiring from work in 1995 he decided to begin an artistic life full time. He has a unique style which no one has been able to successfully imitate and in these latter years of his life has won amazing international recognition. One of his works stole the show as the centre piece of the East Meets West Exhibition in Michigan in 2004.Sugiyama's woodblocks are all hand signed, dated, titled and numbered limited editions of mostly small amounts often only 50 and never more than 100. Many are Large Format, up to 60cm (Almost 2ft) Wide. In our opinion he is the MOST undervalued in monetary terms and one of the most creative of Japanese contemporary woodblock artists. He is dedicated to his artform and seems to have an almost disdainful attitude towards commercialism.nr. 36 van een oplage van 100exacteBlokdrukDe grote golf bij KanagawaEngelsThe Etai bridge in the morning2006-01-30Reek, J. vanSugiyama, Motosugu (1925 - )schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4913:09:15collect>internCOLLECT>intern 73272Japanse PrentenCentre CéramiqueDe hier afgebeelde scène is ontleend aan de Heike monogatari, het heldendicht waarin de Gempeij oorlog, de strijd tussen de Taira en de Minamoto clans wordt beschreven (vgl. nrs. 4 en 38). De priester Shunkan had met Yasuyori en Naritsune samengespannen tegen Taira no Kiyomori, het hoofd van de clan. Hij had hen verbannen naar het onbewoonde eiland Kikaishima, het eiland van de duivel. Yasuyori en Naritsune bouwden een klein kapelletje voor hun shinto God en vervulden trouw hun religieuze plichten, maar Shunkan bespotte ze daarmee. Yasuyori schreef gedichten voor zijn moeder die hij erg miste, en gooide ze in zee. Een ervan spoelde aan bij een tempel van de godheid. Een priester bracht de gedichten naar Kiyomori, die daardoor zo geroerd was dat hij Yasuyori en Naritsune genade schonk. Shunkan moest alleen op het duivelseiland achterblijven. De prent toont het moment waarop de boot net in zee is gestoken. Wanhopig kijkt Shunkan hem na.MaastrichtJapanse prenten1886Lengte x BreedteLengte x BreedteBlokBlad71,1 x 2371,1 x 23exact1886exactcmcmCVR-JP-P0424.jpgOntwerperGeesten en legendenCVR-JP-P 424 1-2CVR.JP-P0424abMargesMaatcode passepartoutgeenAfwijkendprentVerticaal tweeluik. Shunkan Watching Enviously from Kikai Island as Yasuyori is unexpectedly pardoned and returned to the capital. YOSHITOSHI TSUKIOKA: Shunkan left behind on Kikaishima when Yasuyori is Pardoned: 1886. In 1177, when the Taira Clan was at the height of its power, Taira no Kiyomori became convinced that the bonze Shunkan, Tiara no Yasuyori and his friend, Naritsune, were plotting against him, and exiled them to a deserted island, Kikaishima -- Devil's Island. There are a different stories about what followed. In a famous Noh play, Shunkwan, it is held that Yasuyori and Naritsune built a special shrine to their shinto gods, while Shunkan (Shunkwan) ridiculed them for their piety. In a folk tale, it is said that Yasuyori, missing his mother, wrote a series of poems to her on pieces of wood, which he then sent floating off to sea. One floated up at the Miyajima shrine, where a priest found it and showed it to Kiyomori, who determined to pardon Yasuyori and Naritsune. He did not, however, pardon Shunkan, who was left behind on the island. This scene is most likely based on the parting scene in the Noh play, in which the bonze pleads with the boatman to take him, too, to no avail, and is left on the island, callng after his friends, begging them to work for his release. Special thanks to Yuriko Hiraguri-Boisvert, without whom I would never have been able to find the story behind this print. Three men were exiled to Kikai Island. Two have been pardoned, but Shunkan had to stay, because he made a poor impression as a prisoner. He seems to prepare for a dive. Actually, he begs the boatmen and his friends in his desperation to ship him as well, but the little boat (in the middle of the picture) moves toward the horizon. (Rekius). Mooie druk, met gespatte schuimvlokken.exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsShunkan Watching Enviously from Kikai Island as Yasuyori is unexpectedly pardoned and returned to the capital2006-01-30Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)schenking2013-01-272015-05-272013-03-21Iesewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:4913:57:5613:09:16collect>internCOLLECT>interncollect>intern 73273Depot 3-lade 15Japanse PrentenCentre CéramiqueOok deze prent toont een experimentele techniek: er is geen contourenblok gebruikt, want er zijn eigenlijk geen contouren in dit beeld, alleen grijstonen. In plaats daarvan is een blinddruk blok als eerste blok gebruikt. Hierdoor zijn de vallende sneeuwvlokken in diepreliëf in het papier gedrukt. Pas daarna zijn de blokken met de verschillende tonen grijs van de eigenlijke afbeelding voorzichtig over de sneeuw heen gedrukt. Deze druk is vrijwel monochroom, er zijn ook exemplaren bekend waarbij de kunstenaar meer uiteenlopende gradaties kleur heeft gebruikt.MaastrichtJapanse prenten1977Lengte x BreedteLengte x BreedteBlokBlad27 x 5930,5 x 63,3exact1977exactcmcmCVR-JP-P0425.jpgOntwerperSneeuwCVR-JP-P 425CVR.JP-P0425MargesMaatcode passepartoutjaC = 70 x 100 cmDepot 3-lade 15prentVrijwel monochrome (grijs, grijsbruin) houtsnede: Hevige sneeuwbui, rotspartij op achtergrond, grote groep pinguins onderweg zeer mooie druk, sneeuwbui fine, blind-stamped embossingnr 113 van een oplage van 600exacteBlokdrukHoutsnede, kleurenDe grote golf bij KanagawaEngelsSnowing2006-01-30Reek, J. vanYoshida, Toshi (1911-1995)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5013:09:16collect>internCOLLECT>intern 73274Depot 3-lade 13Japanse PrentenCentre CéramiqueEen vrouw in een gebloemd, Europees négligé geniet van de avond op de veranda van haar huis in Toloas, in het eilandenrijk 'Truck' (tegenwoordig Chuuk) in Micronesië in de Westelijke Stille Oceaan. Belangrijkste nevenmotief zijn de 'bloemen van de avond', waaraan de prent zijn titel ontleent: de ranken van de bougainville met grote zachtgele bloemen, die afsteken tegen de donkere hemel. Jacoulet spaarde moeite nog kosten in het vervaardigen van de drukken van zijn prenten: hier is dat goed te zien aan het spinneweb in de rechterbovenhoek, dat in zilver is gedrukt.MaastrichtJapanse prenten1953Lengte x BreedteLengte x BreedteBlokBlad39,2 x 29,947 x 35,3exact1953exactcmcmCVR-JP-P0426.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 426CVR.JP-P0426Maatcode passepartoutB = 50 x 70 cmDepot 3-lade 13prentPolynesische dame in roze gebloemd négligé, bij balustrade met bloeiende klimplant en spinneweb tegen nachtlucht, spinneweb met zilver gedrukt. Papier enigszins verkleurd, vlekjevóórBlokdrukHoutsnede, kleurenDe grote golf bij Kanagawa2007-07-12Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-27Iesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5013:09:17collect>internCOLLECT>intern 73275Depot 3-lade 17Japanse PrentenCentre CéramiqueDame in rode kimono, met witte sjaal om haar hals, tegen zwarte achtergrondMaastrichtJapanse prenten1931Lengte x BreedteLengte x BreedteBlokBlad44,2 x 26,646,6 x 29,1of latere druk 198?exact1931exactcmcmCVR-JP-P0451.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 451CVR.JP-P0451MargesongelijkThe Female Image, Plate #192. Blair's 1936 Toledo Exhibition, Plate #118.papierDepot 3-lade 17prentbestaat uit zes prenten, 1930-31Een dame (geisha ?) warm ingepakt in een rode kimono en een prachtiche, met blinddruk weergegeven witte shawl (van bont, nerts ?), een kam in haar opgestoken haar, enturquoise zijden handschoenen, tegen een zwarte nachtlucht met grote zilverwitte sneeuwvlokken. De nadruk ligt niettemin op de uitdrukking in haar ogen. | Very Fine. Extensively-deeply gauffraged (embossed), overprinted hairlines, skillful bokashi (gradation of colors) shading. Kiyoshi, Kobayakawa, 1897-1948: Born in Hakata, Fukuoka prefecture. Studied with Kaburagi Kiyokata. Exhibited Japanese-style painting with Kyodokai, Teiten, and Seikokai, solo exhibition at Matsuzakaya department store in 1934. In 1930-1931 designed and self-published series of 6 moku-hanga entitled Modern Fashionable Styles (Kindai jisei sho), carved by Takano Shichinosuke and printed by Ono Tomisaburo. Other prints include Revue published by Hasegawa and other modern bijin-ga published by Hasegawa, Watanabe, and Ensendo. Twelve prints were included in the 1936 Toledo exhibition. Reprints published by Takamizawa about 1955.Niet zeker of dit een ex. van de oorspronkelijke druk is (1931), of een ex. van de nadruk uit de 80er jaren, zoals een ander ex. dat door Ukiyo-è Galley werd verkocht (dat nog wel de marges had), en werd omschreven als: Stunning. Re-strike published as small-immediately sold out edition (100 copies) in the mid-1980's by Ishukankokai Publisher of Tokyo (with red moneybag seal).serietitelUkiyo-è Gallery, Atlanta - USA (Peter Belisto)exacte56Centre CéramiqueBlokdrukHoutsnede, kleuren, blinddruk, zwarte achtergrond gepolijstVerstilde schoonheiduitstekendJapansEngelsHitomiExpression of Eyes: The White Shawl2007-07-12Reek, J. vanKobayakawa, Kiyoshi (1896-1948)Ishukankokai?schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5010:26:5111:41:4610:13:4408:37:20Maastricht13:09:18collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73276Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1799Lengte x BreedteLengte x BreedteBlokBlad37,4 x 25,138,0 x 25,9herdruk circa 1930 of tweede helft 20e eeuw , authentieke reproductieeinde eeuw1775einde eeuwcmcmCVR-JP-P0452.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 452CVR.JP-P0452MargesnauwelijkspapierDepot 3-lade 06prent30 (aanw juni 2007)Een dame (geisha ? ) in rozerode kimono rookt een pijp | Blinddruk in onderkleed | authentieke reproductie National Museum of Japan ?Fuji Arts, Ann Arbor, USA | Afkomstig uit de Collectie Robert O. Mullerexacte08Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsLady smoking a pipe2007-07-12Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)National Museum of Japanschenking2013-01-272015-05-272014-03-182014-03-182014-03-052013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5018:49:5214:07:3015:08:4311:41:4610:13:4408:37:20Maastricht13:09:19collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73277Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1810Lengte x BreedteLengte x BreedteBlokBlad35,7 x 25,035,7 x 25,0authentieke reproductiecirca1810circacmcmCVR-JP-P0453.jpgOntwerperActeursCVR-JP-P 453CVR.JP-P0453Margesvolledig weggesnedenpapierDepot 3-lade 07prent30 (aanw juni 2007) Kabuki spel Bancho Sarayashki, gebaseerd op gelijknamig theaterstuk uit 1741. Latere versies, er is ook een moderne verfilming van.De geest van Okiku rijst uit de put waarin zij haar gewelddadige dood heeft gevonden, en confronteert haar moordenaar, vgl. het verhaal van Okiku in de beschrijving van de prent van Yoshitoshi. | N.B.: Toeschrijving checken, er zijn 4 Toyokuni's !!Japan Print Gallery (Peter O'Rorke) 43 Pembridge Road Notting Hill, London, W11 3HGexactebinnen de marge afgesnedenBlokdrukHoutsnede, kleurenredelijkEngelsKabuki actors Onoe Shoroku (I) as Okiku's ghost and Inchikawa Danjiuro as Aoyama Daihachi in the play Bancho Sarayashiki2007-07-12Reek, J. vanToyokuni (I), Utagawa (1769-1825)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5110:13:4408:37:2013:09:19collect>internCOLLECT>interncollect>interncollect>intern 73278Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1830Lengte x BreedteLengte x BreedteBlokBlad36,1 x 24,636,1 x 24,6circa1827circacmcmCVR-JP-P0454.jpgOntwerperGeesten en legendenCVR-JP-P 454CVR.JP-P0454Margesvolledig weggesnedenB.W. Robinson, Kuniyoshi: The Warrior Prints, Oxford (Phaidon) 1982, nr. 52papierDepot 3-lade 07prentIchiyusai Kuniyoshi ga30 (aanw juni 2007)De jager Ryotoja Kaichin neemt een vijandelijke generaal gevangen met behulp van een werpkoord met een projectiel eraan. Een verhaal uit de zeer populaire, klassieke, van origine Chinese roman De helden van de rand van het water (Suikoden) (thans ook een populair computerspel). | Mooie prent, enigszins afgesneden.serietitelKotobuki GmbH, Hirschgartenallee 34, 80639 Münchenexacte71binnen de marges afgensenden, verticale vouw, nauwelijks waarneembaarCentre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsRyotoja Kaichin the Hunter, in a shower of rain, binding a fallen enemy general with a corded missile2007-07-12Reek, J. vanKuniyoshi, Utagawaschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-1217971861Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5110:27:0111:41:4710:13:4508:37:20Maastricht13:09:19collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73279Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1880-02-20Lengte x BreedteLengte x BreedteBlokBlad32,0 x 20,635,9 x 22,9exact1880-02-20exactcmcmCVR-JP-P0455.jpgOntwerperUitgeverSenso-e (oorlog)CVR-JP-P 455CVR.JP-P0455MargesvolledigVan den Ing & Schaap, 1992, cat.nr. 27.50, pp. 118-119papierDepot 3-lade 0750prent30 (aanw juni 2007)Mori Motonari (1497-1571) valt Harukata [= Sue Takafusa] aan en doodt hem in 1555. De prent toont Motonari in de boeg van een sloep, die zijn manschappen die in de boten van een bevriende piraat oversteken naar het eiland Miyajima, waar zijn Motonari's rivaal Sue Takafusa, ook bekend als Harukata beslissend zullen verslaan. Mooie druk, randen enigszins getint. | In the early summer of 1555, Sue was again threatening, and Motonari was hard-pressed. Harukata was by no means a poor fighter, and the danger of his retainers and allies deserting the Môri led Motonari to adopt a bold and unorthodox scheme. His plan involved Miyajima, home to the Itskushima Shrine and a place combatants had traditionally avoided on religious grounds. The suggestion to occupy this place, which was strategically located just off the Aki coast in the Inland Sea, actually came from Môri's generals. Initially, Motonari refused the idea on tactical grounds. For Miyajima to be a viable base of operations, Sakurao Castle - the nearest fort on the mainland to Miyajima-would also have to be held. Should Sakurao fall, any army on Miyajima risked being isolated. Yet Môri's own doubts led him to form a clever plan: why not lure Sue into just such a trap? Naturally, such a tactic would require Sue to act accordingly, and for inducement, Motonari immediately gave orders that Miyajima was to be occupied, and a fort thrown up quite near the Itskushima shrine. In September, Sue fell into the trap. He landed with the bulk of his army on Miyajima and assaulted the (intentionally) thin defenses of Miyao Castle. When the island had been secured (including the capture of Sakurao), Sue threw up a few fortifications on To-no-oka (Pagoda Hill) and sat down to plot strategy. From his point of view, it should be noted, the capture of Miyajima was a strategic boon. From this secure springboard he could embark to almost any point along the Aki coast, as well as Bingo. Since the following autumn, Môri had assumed a largely defensive posture, and Sue had some reason to feel comfortable in his new forward headquarters. Sue thus made his second great mistake - he became complacent. Môri put his strategy into effect. Within a week he retook Sakurao and played his trump card - Murakami Torayasu. Gathering the pirate's naval strength, he set out to surprise Sue on Miyajima, and picked a perfect night on which to do so. On 1 October, after dark and in a driving thunderstorm, Motonari and his sons put to sea. As a diversion, Kobayakawa Takakage sailed straight past the Sue positions on To-no-oka while Motonari, Takamoto, and Kikkawa Motoharu landed just to the east and out of sight. Takakage doubled back around and landed at dawn, attacking the Sue forces practically in the shadow of Miyajima's great Torii Gate. Motonari then assaulted the confused Sue troops from behind, and the result was a rout for Sue Harukata, who committed suicide at Oenoura, a small island inlet. Many of his troops followed suit, and for Motonari, the battle was utterly decisive. While it would take the Môri until 1557 to force Oûchi Yoshinaga to commit suicide and years longer to completely bring Suo and Nagato under their control, Motonari was now the most powerful lord in western Japan.serietitelKotobuki GmbH, Hirhgartenallee 34, 80639 Münchenexactehorizontale kreuk - vouw, nauwelijks waarneembaarBlokdrukHoutsnede, kleurenGoedEngelsMori Motonari attacking and killing Harukata in 15552007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Funazu Chujiroschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5110:13:4508:37:2113:09:20collect>internCOLLECT>interncollect>interncollect>intern 73280Depot 3-lade 07Japanse PrentenCentre CéramiqueKranige dame spreekt een geest krachtig toe. Hij zal zich nooit meer vertonen.MaastrichtJapanse prenten1886-01Lengte x BreedteLengte x BreedteBlokBlad33,1 x 22,435,7 x 23,8exact1886-01exactcmcmCVR-JP-P0456.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 456CVR.JP-P0456Margesaan weerszijden iets afgesneden( deel margetekst)Van den Ing & Schaap, 1992, cat.nr. 54.14, pp. 118-119, uitvoerige beschrijving p. 73, afb. aldaar en voorkant.papier, albumdoublureDepot 3-lade 0714prent30 (aanw juni 2007)Nieuwe maan: een hofdame op de rug gezien converseert met de in grisj geklede zwevende geest van Sasaki no Kiyokata, herkenbaar aan zijn blauwe lippen. mooi druk, prachtige blinddruk in het bovengewaad en tekstcartouche, het zwarte haar gebruineerd.| This fifteenth design for the set depicts the blue lipped ghost of Sasaki no Kiyokata being exorcised by the charms of the Heian courtier Iga no Tsubone. Iga no Tsubone, a court lady, exorcises the spirit of the courtier Sasaki Kiyotaka during an eclipse. Kiyotaka, an adviser to Emperor Go-Daigo, committed suicide in 1333 and his angry spirit haunted the Emperor's court in the Yoshino Mountains.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, januari 2006exacteBlokdrukHoutsnede, kleurenGoedJapansEngelsYoshinoyama yowa no tsukiMoon of the Midnight Hour on Mount Yoshino2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Akiyama Buemonschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5110:13:4708:37:2113:09:21collect>internCOLLECT>interncollect>interncollect>intern 73281Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1901Lengte x BreedteLengte x BreedteBlokBlad21,5 x 16,927,6 x 21,3exact1901exactcmcmCVR-JP-P0457.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 457CVR.JP-P0457MargesvolledigMerritt & Yamada 2000, p. 80, pl. 4.7papierDepot 3-lade 06prent30 (aanw juni 2007) Boekillustratie voor Ma-kaze Koi-kaze, een roman van Kosugi Tengai, kuchi-e =boekillustratieEen meisje in westerse kleding en haardracht en profil op de fiets, tegen een gefantaseerde parkachtige achtergrond. LET OP: Dit is een Litho, géén houtsnede, het is een zg. kuchi-e, een boekillustratie voor de roman, Ma-kaze Koi-kaze van Kosugi Tengai.Artelino, Fuchsbichl 6a, D-82057 Icking (D)exacte16drie horizontale vouwen, beduimeld. Enigszins verbleektCentre CéramiqueBlokdrukLithografie, kleurenVerstilde schoonheidMatigEngelsGirl on a Bicycle2007-07-12Reek, J. vanKajita, Hanko (1870-1917)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5110:27:1011:41:4710:13:4708:37:21Maastricht13:09:22collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73282Depot 3-lade 09Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1948Lengte x BreedteLengte x BreedteBlokBlad39,2 x 30,246,0 x 36,0circa1948circacmcmCVR-JP-P0458.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 458CVR.JP-P0458MargesvolledigpapierDepot 3-lade 09prentDrie Indonesische meisjes keren terug uit het oerwoud, waar ze lelies en orchideeën hebben geplukt. Een van de vele prenten van Jacoulet met een scène uit de Stille Zuidzee of, zoals hier, Zuid-Oost Azië. | Mooie druk, met relief in de geel-witte omslagdoek van de voorste dame. Description Retour de la Jungle. Tondano: Celebes (Return from the Jungle. Tondano: Celebes). Part of the dedication set for general Douglas MacArthur. Miles stated, Jacoulet experimented with unusual compositions, and this was the favorite multiple figures design with most critics. is dat dit exemplaar ???? Note Seal of the carver Maeda Kentaro and printer Honda Tetsunosuke on the right margin. The edition number 141/350 on the back.?exacteBlokdrukHoutsnede, kleuren, blinddrukGoedEngelsBack from the Jungle: Tondano: Celebes2007-07-12Reek, J. vanJacoulet, Paul (1902-1960)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5210:13:4808:37:2113:09:22collect>internCOLLECT>interncollect>interncollect>intern 73283Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1910Lengte x BreedteLengte x BreedteBlokBlad22,0 x 28,222,3 x 28,2circa1900circacmcmCVR-JP-P0459.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 459CVR.JP-P0459Margesop bovenrandje na afgesnedenMerritt, Helen, Nanako Yamada, Woodblock Kuchi-e Prints: Reflections of Meiji Culture, Honolulu, University of Hawaii Press, 2000, ISBN 0-8248-2073-8, - pl.4.4papierDepot 3-lade 06prent(aanw juni 2007) Kuchi-e =boekillustratieVurige vrouw: Tegen een achtergrond waarop een detail van een uitslaande brand, een vierkante inzet met een in gepeins verzonken meisje of vrouw, steunend op haar handen, een penseel en inktblok naast haar. Dit is een zg. kuchi-e (kostbare boekillustratie van ca 1900). Illustration for the novel, Insurance Girl. She is in her thoughts beside the writing utensils. A burning house, in which she will commit suicide, is in the back ground scene.exacteBlokdrukHoutsnede, kleurGoedEngelsPortait of a contemplative woman, inset into a background depicting a house on fire2007-07-12Reek, J. vanEisen, Tomioka (1864-1905)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5210:13:4808:37:2113:09:23collect>internCOLLECT>interncollect>interncollect>intern 73284Depot 3-lade 09Japanse PrentenCentre CéramiqueEen op grotere schaal gesneden herdruk van een prent van SharakuMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad52,0 x 36,654,8 x 37,8herdruk circa 1930, authentieke reproductiecirca1794circacmcmCVR-JP-P0460.jpgOntwerperActeursCVR-JP-P 460CVR.JP-P0460Margesongelijk, links vrijwel geenJûzô Suzuki, Masterworks of Ukiyo-E: Sharaku, Tokyo/ Palo Alto 1968, cat. nr 15papierDepot 3-lade 09prentJûzô Suzuki, Masterworks of Ukiyo-E: Sharaku, Tokyo/ Palo Alto 1968, cat. nr 15: The print is believed to show Daishichi, the villain of the piece and also the principal role, in the scene where he kilss Matsushita. Komazô later succeeded to the name of Matsumoto Kôshirô V, and was popularly known as beaky Kôshirô. As this suggests, he had a characteristic, aquiline profile. In his younger days, he specialized in playing the young man of rank who through special circumstances was forced to go about in humble guise, but he later turned to playing villains. This print shows the blend of masculine appeal and cruelty that one expects from such an actor. The face is thrown in relief by the unrelieved sombreness of the background.Fuji Arts, Ann Arbor, USA | Afkomstig uit de Collectie Robert O. Mullerexacte63Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedJapansEngelsIchikawa Komazo - KabukiThe Kabuki Actor Ichikawa Komazô II as Shiga Daishichi2007-07-12Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5210:27:1911:41:4810:13:4808:37:21Maastricht13:09:23collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73285Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1931Lengte x BreedteLengte x BreedteBlokBlad30,7 x 21,337,7 x 24,9exact1931exactcmcmCVR-JP-P0461.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 461CVR.JP-P0461MargesvolledigpapierDepot 3-lade 07prent(aanw juni 2007) ReclameprentEen jong meisje in een mooie blauwe, gebloemde kimono leunt over de balustrade, met haar waaier in haar hand. Achter haar vliegt een vleermuis. Deze lithografie werd uitgegeven als onderdeel van een reclame campagne voor een procédé Takasago-zome voor het verven van stoffen. LET OP: DIT IS EEN LITHO GEEN HOUTSNEDE From the series, Takasago-zome Yoku-i Bijin Hyaku Shi (One Hundred Beauties in Takasago-zome Light Kimono). Advertisement made for the lady's garments, which were dyed using Takasago-zome process. This dyeing method was created by the order from IKEDA Terumasa, the lord of Himeji in Hyogo prefecture around 1596 - 1615. It was famous for the vivid dark blue colors which did not fade easily.Since it featured various patterns of pine needles and branches, the dyeing method got the name, Takasago. This method had been popular until the early Showa period but largely forgotten nowadays. Here, a beauty holding a round fan is enjoying cool wind from a bridge. A bat is flying on the sky indicating the early evening.serietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D)exacteLithografieLithografie, kleurenGoedEngelsCooling Off on the Veranda2007-07-12Reek, J. vanIto, Shinsui (1898-1972)Kisen-doschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5211:41:4810:13:4808:37:2113:09:24collect>internCOLLECT>interncollect>interncollect>interncollect>intern 147106Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1931Lengte x BreedteLengte x BreedteBlokBlad30,7 x 21,337,7 x 24,9exact1931exactcmcmCVR-JP-P0461.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 461CVR.JP-P0462Margesvolledigpapier136Depot 3-lade 07prent(aanw juni 2007) ReclameprentEen jong meisje in een mooie blauwe, gebloemde kimono leunt over de balustrade, met haar waaier in haar hand. Achter haar vliegt een vleermuis. Deze lithografie werd uitgegeven als onderdeel van een reclame campagne voor een procédé Takasago-zome voor het verven van stoffen. LET OP: DIT IS EEN LITHO GEEN HOUTSNEDE From the series, Takasago-zome Yoku-i Bijin Hyaku Shi (One Hundred Beauties in Takasago-zome Light Kimono). Advertisement made for the lady's garments, which were dyed using Takasago-zome process. This dyeing method was created by the order from IKEDA Terumasa, the lord of Himeji in Hyogo prefecture around 1596 - 1615. It was famous for the vivid dark blue colors which did not fade easily.Since it featured various patterns of pine needles and branches, the dyeing method got the name, Takasago. This method had been popular until the early Showa period but largely forgotten nowadays. Here, a beauty holding a round fan is enjoying cool wind from a bridge. A bat is flying on the sky indicating the early evening.jpeetersArtelino, Fuchsbichl 6a, D-82057 Icking (D)exacteLithografieLithografie, kleurenGoedEngels2007-07-12Reek, J. vanKotozuka, Eiichischenking2015-04-162015-05-2719061979jpeetersewfhelmesEiichi Kotozuka was born in Osaka and studied at Kyoto City Specialist School of Painting. He made several series with famous landmarks in the Kyoto area and flower prints. Publishers were Unsodo and Uchida from Kyoto. In 1948 he was among the founders of Koryokusha company with Tomikichiro Tokuriki, Kamei Tobei and Takahashi Tasaburo. Koryokusha was founded to support Sosaku Hanga prints with money earned by the Shin Hanga print activities of Tokuriki Tomikichiro.single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5217:59:35COLLECT>internCOLLECT>intern 73286Japanse PrentenCentre CéramiqueEen op grotere schaal gesneden herdruk van een prent uit de beroemde serie van Hokusai.MaastrichtJapanse prenten1899Lengte x BreedteLengte x BreedteBlokBlad35,6 x 51,439,4 x 54,6herdruk circa 1930, datering:??, authentieke reproductieeeuw1800eeuwcmcmCVR-JP-P0463.jpgOntwerperLandschappenCVR-JP-P 463CVR.JP-P0463MargesongelijkpapierprentserietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D), is dit het ex. uit de Robert O. Muller collectie ???exacteBlokdrukHoutsnede, kleurenGoedEngelsThe Red Mount Fuji2007-07-12Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5310:13:4808:37:2113:09:25collect>internCOLLECT>interncollect>interncollect>intern 73287Japanse PrentenCentre CéramiqueEen op grotere schaal gesneden herdruk van een prent van UtamaroMaastrichtJapanse prenten1797+U440Lengte x BreedteLengte x BreedteBlokBlad50,4 x 35,953,9 x 39,9herdruk circa 1930, authentieke reproductiecirca1797circacmcmCVR-JP-P0464.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 464CVR.JP-P0464MargesongelijkAsano/ Clark, The passionate Art of Kitagawa Utamaro, 1995, cat. nr. 263papierprentSerie van portretten ten halven lijve van steeds een man en een vrouw of twee vrouwen (er zijn er 8 van bekend)This looks to be the final journey of lovers intent on suicide together. Zie Asano/ Clark, The passionate Art of Kitagawa Utamaro, 1995, cat. nr. 263Fuji Arts, Ann Arbor, USA | Afkomstig uit de Collectie Robert O. MullerexacteBlokdrukHoutsnede, kleurenGoedJapansEngelsKasu sasu danjoA young couple under an umbrella, soft rain falling2007-07-12Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)Tsuruya Kiemonschenking2013-01-272015-05-272013-09-182013-06-122013-03-20Iesewfhelmesjpeetersewfhelmesjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5310:13:4908:37:2112:20:3213:09:25collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73288Depot 3-lade 07Japanse PrentenCentre CéramiqueEen interpretatie van een van de schilderijen uit Vincent van Gogh's beroemde serie zonnebloemen in een aarden vaas, vermoedelijk van de versie geschilderd in Arles in januari 1889 (Amsterdam, Van Gogh Museum). Van Gogh was zelf gefascineerd door Japanse prentkunst: hij bezat er een aantal, en beeldde ze ook in enkele van zijn schilderijen af.MaastrichtJapanse prenten1959Lengte x BreedteLengte x BreedteBlokBlad48,9 x 36,653,6 x 40,3exact1959exactcmcmCVR-JP-P0465.jpgOntwerperKacho-ga (vogels, bloemen, dieren)CVR-JP-P 465CVR.JP-P0465MargesvolledigpapierDepot 3-lade 07prentin potloodcondition: excellent - very good Slight toning, slightly creased and wavy on the margins, stains on the upper right margin edgeserietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D)exacte84Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedJapansEngelsVan Gogh: HimawariVan Gogh: Sun Flowers2007-07-12Reek, J. vanOkuyama, Gihachiro (1907-1981)schenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5310:27:3411:41:4810:13:4908:37:21Maastricht13:09:25collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73289Depot 3-lade 12Japanse PrentenCentre CéramiqueGezicht op de windmolen te Delft, rechts achter de toren van de Oude Kerk.MaastrichtJapanse prenten1978Lengte x BreedteLengte x BreedteBlokBlad65,1 x 42,868,1 x 45,2exact1978exactcmcmCVR-JP-P0466.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 466CVR.JP-P0466MargesvolledigpapierDepot 3-lade 12prenteigenhandig in potloodSaru Gallery (Eric van Wing), Schutveldstraat 22, 5402 LS UdenexacteBlokdrukHoutsnede, kleurenGoedJapansEngelsDelft - KazakarumaDelft windmill2007-07-12Reek, J. vanKato, Yasu (1907- )schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5310:13:4908:37:2213:09:26collect>internCOLLECT>interncollect>interncollect>intern 73290Depot 3-lade 12Japanse PrentenCentre CéramiqueEen Hollands landschap: een gezicht op een kanaal of rivier met een groot aantal molens, vermoedelijk bij Kinderdijk. Een motorschuit op het kanaal voert de Hollandse vlag.MaastrichtJapanse prenten2000Lengte x BreedteLengte x BreedteBlokBlad30,0 x 60,039,0 x 68,0?circa2000circacmcmCVR-JP-P0467.jpgOntwerperLandschappenCVR-JP-P 467CVR.JP-P0467MargesvolledigpapierDepot 3-lade 12prenteigenhandig in potloodnr 3 van een oplage van 500exacteBlokdrukHoutsnede, kleurenuitstekendJapansEngelsUnga no asaMorning at a Dutch Canal2007-07-12Reek, J. vanOkamoto, Ryusei (1949- )schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5310:13:4908:37:2213:09:26collect>internCOLLECT>interncollect>interncollect>intern 73291Depot 3-lade 18Japanse PrentenCentre CéramiqueAbe no Yasuna, een edelman uit de tiende eeuw, wandelde eens in de tuinen van de Tempel van Inari, de god van de oogst. Deze gebruikte de vos, een zeer mysterieus en met grote magische krachten begiftigd dier, als boodschapper. Plotseling kwam er een groep mannen voorbij die op jacht waren naar een vos. Om te onstnappen rende deze de tuinen in en bleef wanhopig voor Yasuna staan. Deze verstopte de vos in zijn gewaad, zodat de jachtpartij haar niet kon vinden. Korte tijd later ontmoette Yasuna een mooi meisje, Kunuzuha, met wie hij trouwde en een zoontje kreeg, Abe no Seimei. Maar na drie jaar stierf verdween zij plotseling uit zijn leven -zij stierf aan de koorts of ging gewoon weg. Drie dagen later verscheen zij echter in een droom aan haar echtgenoot, en vertelde hem dat hij niet moest treuren, omdat zij toch geen mens was, maar de vos die hij indertijd van een wisse dood had gered.Hun zoontje werd later een beroemde astroloog, die ook in andere legendes een rol speelt.MaastrichtJapanse prenten1890Lengte x BreedteLengte x BreedteBlokBlad34,7 x 23,235,4 x 23,2exact1890exactcmcmCVR-JP-P0468.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 468CVR.JP-P0468Margeslinks en onder veel te scherp afgesnedenStevenson 1992, cat. nr. XXI, pp. 58-59papierDepot 3-lade 1820 22prentAbe no Yasuna, een edelman uit de tiende eeuw, wandelde eens in de tuinen van de Tempel van Inari, de god van de oogst. Deze gebruikte de vos, een zeer mysterieus en met grote magische krachten begiftigd dier, als boodschapper. Plotseling kwam er een groep mannen voorbij die op jacht waren naar een vos. Om te onstnappen rende deze de tuinen in en bleef wanhopig voor Yasuna staan. Deze verstopte de vos in zijn gewaad, zodat de jachtpartij haar niet kon vinden. Korte tijd later ontmoette Yasuna een mooi meisje, Kunuzuha, met wie hij trouwde en een zoontje kreeg, Abe no Seimei. Maar na drie jaar stierf verdween zij plotseling uit zijn leven -zij stierf aan de koorts of ging gewoon weg. Drie dagen later verscheen zij echter in een droom aan haar echtgenoot, en vertelde hem dat hij niet moest treuren, omdat zij toch geen mens was, maar de vos die hij indertijd van een wisse dood had gered.Hun zoontje werd later een beroemde astroloog, die ook in andere legendes een rol speelt.serietitelexactezeer onzorgvulkdig afgesneden, scheef en een randje van de prent meegenomenBlokdrukHoutsnede, kleurenredelijkJapansEngelsKuzunoha-gitsune doji ni wakararu no zuThe Fox-Woman Kuzunoha Leaving Her Child2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5410:13:4908:37:2213:09:26collect>internCOLLECT>interncollect>interncollect>intern 73292Depot 3-lade 18Japanse PrentenCentre CéramiqueFujiwara no Hidesato ontmoette Ryujin, de Drakenkoning, op de brug van Seta: deze zocht een dappere held om de reuzeduizendpoot die zijn rijk verwoestte te doden. Hidesato ging met hem mee naar zijn paleis in de zee, en het lukte hem om de duizendpoot met een schot in het oog te doden. Hij kreeg rijke geschenken van de koning: waaronder een rijstzak die nooit raakte. In sommige versies van de legende ontmoette Hidesato in plaats van de koning zelf diens dochter, Otohime. Deze is in de prent links op de achtergrond te zien, de daken van het paleis rijzen als vage schimmen uit de zee op.MaastrichtJapanse prenten1890-08-12Lengte x BreedteLengte x BreedteBlokBlad34,5 x 23,536,3 x 24,7exact1890-08-12exactcmcmCVR-JP-P0469.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 469CVR.JP-P0469MargesvolledigStevenson 1992, cat. nr. XVIII, pp. 54-55papier, albumdoublureDepot 3-lade 1818 15prentFujiwara no Hidesato ontmoette Ryujin, de Drakenkoning, op de brug van Seta: deze zocht een dappere held om de reuzeduizendpoot die zijn rijk verwoestte te doden. Hidesato ging met hem mee naar zijn paleis in de zee, en het lukte hem om de duizendpoot met een schot in het oog te doden. Hij kreeg rijke geschenken van de koning: waaronder een rijstzak die nooit ONGEBRUIKT NUMMERraakte. In sommige versies van de legende ontmoette Hidesato in plaats van de koning zelf diens dochter, Otohime. Deze is in de prent links op de achtergrond te zien, de daken van het paleis rijzen als vage schimmen uit de zee op. | Kleuren wijken enigszins af van afbeedling in Stevenson, met name kimono van de held, en de achtergrond is relatief egaal blauwgrijs. Blinddruk in de rok van de kimono.serietitelKotobuki GmbH, Hirschgartenallee 34, 80639 MünchenexacteBlokdrukHoutsnede, kleuren, blinddrukGoedJapansEngelsFujiwara no Hidesato Ryugujo goko o iru no zuFujiwara no Hidesato Shooting the Centipede at the Dragon King's Palace2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5410:13:5008:37:2213:09:27collect>internCOLLECT>interncollect>interncollect>intern 73293Depot 3-lade 18Japanse PrentenCentre CéramiqueDe krijgsheer Oda Nobunaga (16de eeuw) had een exotische sagopalm geïmporteerd en in zijn tuin geplant. Toen het winter werd kreeg de boom echter heimwee, en iedere nacht klaagde hij luid dat hij naar huis wilde. Nobunaga kreeg daar genoeg van, en beval een van zijn samurai, Ranmaru, om de boom om te hakken. Maar Ranmaru kwam te laat, de boom had het heft in eigen handen genomen en was aan de wandel gegaan: Ranmaru zag hem nog net in zuidelijke richting verdwijnen. Ranmaru neemt een theatrale houding aan zoals die in het Kabuki theater gebruikelijk was: ook zijn kleding, de formele hofdracht uit de Genroku periode (ca. 1700) trof je de 19de eeuw alleen nog in het Kabuki theater aan. Let op de bijzonder lantaarn.MaastrichtJapanse prenten1891-07-10Lengte x BreedteLengte x BreedteBlokBlad35,7 x 23,636,4 x 24,9exact1891-07-10exactcmcmCVR-JP-P0470.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 470CVR.JP-P0470MargesvolledigStevenson 1992, cat.nr. XXVI, pp. 70-71papier, albumdoublureDepot 3-lade 1826 25prentserietitelKotobuki GmbH, Hirschgartenallee 34, 80639 MünchenexacteBlokdrukHoutsnede, kleuren, zwart van het gewaad gepolijst ?uitstekendJapansEngelsRanmaru sotetsu no kia o miru zuRanmaru and the Mysterious Sago Palm2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5410:13:5008:37:2213:09:28collect>internCOLLECT>interncollect>interncollect>intern 73294Depot 3-lade 18Japanse PrentenCentre CéramiqueHori Gentazaemon had zijn rivaal Tamiya Gempachiro vermoord, en zorgde ervoor dat diens postuum geboren zoontje Botaro naar een verafgelegen tempel werd gestuurd, waar hij hem wilde laten vermoorden. Botaro's voedster, Otsuji, bad tot de god Kompira, om hem te beschermen. Om haar gebed kracht bij te zetten deed zij dat onder een ijskoude waterval - een traditie die zelfs nu nog bestaat- en besloot uiteindelijk zelfmoord te plegen, in de hoop dat de god haar leven zou aanvaarden in ruil voor dat van Botaro. Dat gebeurde inderdaad, en Botaro leefde lang genoeg om zijn vader te kunnen wreken. Gebaseers op het Kabuki spel Osanago no Adauchi (A Child's Revenge).MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad34,9 x 23,235,6 x 24,1exact1892exactcmcmCVR-JP-P0471.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 471CVR.JP-P0471Margesvrijwel volledigStevenson 1992, cat.nr. XXXII, pp. 82-83papier, resten van albumdoublureDepot 3-lade 1833 33prentOsanago no Adauchi (A Child's Revenge), een stuk voor het Kabuki theaterHori Gentazaemon had zijn rivaal Tamiya Gempachiro vermoord, en zorgde ervoor dat diens postuum geboren zoontje Botaro naar een verafgelegen tempel werd gestuurd, waar hij hem wilde laten vermoorden. Botaro's voedster, Otsuji, bad tot de god Kompira, om hem te beschermen. Om haar gebed kracht bij te zetten deed zij dat onder een ijskoude waterval - een traditie die zelfs nu nog bestaat- en besloot uiteindelijk zelfmoord te plegen, in de hoop dat de god haar leven zou aanvaarden in ruil voor dat van Botaro. Dat gebeurde inderdaad, en Botaro leefde lang genoeg om zijn vader te kunnen wreken.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, september 2005exacteBlokdrukHoutsnede, kleuren, blinddrukGoedJapansEngelsSeppu no rei taki ni kakaru zuThe Good Woman's Spirit Praying in the Waterfall2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5410:13:5008:37:2213:09:28collect>internCOLLECT>interncollect>interncollect>intern 73295Depot 3-lade 18Japanse PrentenCentre CéramiqueToki Motosada, een officier uit het gevolg van Gamo Sadahide, hoorde vreemde verhalen over een tempel in de buurt van hun legerkamp, bij de berg Inohana. Hij besloot er een kijkje te nemen, en zag er allemaal vreemde geesten, aangevoerd door een gruwelijke demon. Hij worstelde met deze duivel en werkte hem tegen de grond, waarop alle geesten plotseling verdwenen. Nachtvlinders vliegen verdwaasd rond, en geesten in de vorm van kleine skeletjes kijken in paniek toe bij het gevecht. Op de achtergrond het Boeddhistische tempelbeeld, met een enorme halo die over de rand van de prent doorloopt, en zelfs de titel deels afdekt. Bijzonder is de uitzonderlijk gedetailleerde weergave van het borstharnas van Motosada, waarop een afbeelding van Fudo, een boeddhistische wraakgod.MaastrichtJapanse prenten1890-02-15Lengte x BreedteLengte x BreedteBlokBlad35,6 x 24,836,3 x 24,8datering: 15/02/1890 of 1902?exact1890-02-15exactcmcmCVR-JP-P0472.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 472CVR.JP-P0472Margesvrijwel volledigStevenson 1992, cat. nr. XII, pp. 42-43papierDepot 3-lade 1812 11prentBron voor dit verhaal niet bekend (eigen inventie Yoshitoshi ?)Toki Motosada, een officier uit het gevolg van Gamo Sadahide, hoorde vreemde verhalen over een tempel in de buurt van hun legerkamp, bij de berg Inohana. Hij besloot er een kijkje te nemen, en zag er allemaal vreemde geesten, aangevoerd door een gruwelijke demon. Hij worstelde met deze duivel en werkte hem tegen de grond, waarop alle geesten plotseling verdwenen. Nachtvlinders vliegen verdwaasd rond, en geesten in de vorm van kleine skeletjes kijken in paniek toe bij het gevecht. Op de achtergrond het Boeddhistische tempelbeeld, met een enorme halo die over de rand van de prent doorloopt, en zelfs de titel deels afdekt. Bijzonder is de uitzonderlijk gedetailleerde weergave van het borstharnas van Motosada, waarop een afbeelding van Fudo, een boeddhistische wraakgod.wellicht tweede druk: huidskleur van monster niet met het metaaloxide pigment uitgevoerd dat door Stevenson wordt beschreven.serietitelKotobuki GmbH, Hirschgartenallee 34, 80639 MünchenexacteBlokdrukHoutsnede, kleurenuitstekendJapansEngelsGamo Sadahide no shin Toki Motosada Koshu Inohana-yama ni mao o nagetaosu no zuGamo Sadahide's servant, Toki Motosada, Hurling a Demon King to the Ground at Mount Inohana2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5510:13:5008:37:2213:09:29collect>internCOLLECT>interncollect>interncollect>intern 73296Depot 3-lade 18Japanse PrentenCentre CéramiqueDe in zijn tijd zeer beroemde dichter Fujiwara no Sanekata ( + 998) had in het openbaar ruzie gemaakt met een familielid. Daarom werd hij door de keizer als straf benoemd tot gouverneur van Aomori, op het meest noordelijke puntje van Honshu, ver van de beschaafde wereld van het hof in Kyoto. In zijn eenzaamheid verlangt hij ernaar om zo blij en vrij van zorgen te zijn als de mussen die rondbuitelen om zijn huis. Die wens wordt vervuld: hij verandert in een mus, althans volgens het stuk voor het klassieke Noh theater waarop deze prent is gebaseerd.MaastrichtJapanse prenten1890-04-10Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,536,7 x 25,2exact1890-04-10exactcmcmCVR-JP-P0473.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 473CVR.JP-P0473MargesvolledigStevenson 1992, cat. nr. XV, pp. 48-49papierDepot 3-lade 1815 14prentDe in zijn tijd zeer beroemde dichter Fujiwara no Sanekata ( + 998) had in het openbaar ruzie gemaakt met een familielid. Daarom werd hij door de keizer als straf benoemd tot gouverneur van Aomori, op het meest noordelijke puntje van Honshu, ver van de beschaafde wereld van het hof in Kyoto. In zijn eenzaamheid verlangt hij ernaar om zo blij en vrij van zorgen te zijn als de mussen die rondbuitelen om zijn huis. Die wens wordt vervuld: hij verandert in een mus, althans volgens het stuk voor het klassieke Noh theater waarop deze prent is gebaseerd. | Fraaie toepassing van de shomen-zuri techniek: in de zwarte gewaden van de minister: het al gedrukte blad wordt op een in reliëf gesneden houtblok geplaatst, waarna het zwart met zwijnstand wordt gepolijst. Dit geeft een fraai, bij strijklicht op lichtend damastpatroon. Blinddruk op de kraag van het ondergewaad.serietitelKotobuki GmbH, Hirschgartenallee 34, 80639 MünchenexacteBlokdrukHoutsnede, kleuren, blinddruk, shomen-zuiGoedJapansEngelsFujiwara no Sanakata no shushin suzume to naru no zuFujiwara no Sanekata's Obsession with the Sparrows2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5510:13:5108:37:2213:09:30collect>internCOLLECT>interncollect>interncollect>intern 73297Depot 3-lade 18Japanse PrentenCentre CéramiqueShoki is de Japanse versie van Chung Kuei, hoofdfiguur van een Chinese legende uit de Tang periode. Chung Kuei was gezakt voor zijn examen als keizerlijk ambtenaar, en had daarom zelfmoord geplegd. De toenmalige keizer, Kao Tsu had hem daarop een eervolle begrafenis gegeven. Uit dank zette zijn geest zich in om alle boze geesten uit China te verdrijven. Zo verscheen hij in een droom aan de latere keizer Ming Huang, en bevrijde hem van zijn koortsdemonen. De Japanners namen deze legende over, en als Shoki , de demonenjager die het constant (en niet altijd erg succesvol !) met grote en kleine duiveltjes aan de stok heeft , werd hij erg populair.MaastrichtJapanse prenten1890-04-12Lengte x BreedteLengte x BreedteBlokBlad34,7 x 23,535,6 x 24,1exact1890-04-12exactcmcmCVR-JP-P0474.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 474CVR.JP-P0474Margesiets afgesnedenStevenson 1992, cat. nr. XIII, pp. 44-45papierDepot 3-lade 1813 13prentOude Chinese legendeShoki is de Japanse versie van Chung Kuei, hoofdfiguur van een Chinese legende uit de Tang periode. Chung Kuei was gezakt voor zijn examen als keizerlijk ambtenaar, en had daarom zelfmoord geplegd. De toenmalige keizer, Kao Tsu had hem daarop een eervolle begrafenis gegeven. Uit dank zette zijn geest zich in om alle boze geesten uit China te verdrijven. Zo verscheen hij in een droom aan de latere keizer Ming Huang, en bevrijde hem van zijn koortsdemonen. De Japanners namen deze legende over, en als Shoki , de demonenjager die het constant (en niet altijd erg succesvol !) met grote en kleine duiveltjes aan de stok heeft , werd hij erg populair. |serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, januari 2006exacteBlokdrukHoutsnede, kleurenGoedJapansEngelsShoki muchu ni oni o toraeru no zuShoki Capturing a Demon in a Dream2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5510:13:5108:37:2213:09:30collect>internCOLLECT>interncollect>interncollect>intern 73298Depot 3-lade 18Japanse PrentenCentre CéramiqueIn plaats van een titel bevat de cartouche rechtsboven een gedicht van de dichter Ariwara Narihira (828-880). Narihira was een prins uit de Heian dynastie, en één van de zes Rokkasen, een groep van zes beroemde dichters uit de negende eeuw. Slechts één van hen was een vrouw: Ono no Komachi. Narihira was een Don Juan, en had een affaire met de toekomstige keizerin. Daarom werd hij verbannen. Tijdens zijn reizen bracht hij de nacht door in een verlaten huis: in de door onkruid overwoekerde tuin zag hij een visioen van de schedel van Ono no Komachi (met wie hij ook een relatie had gehad), met het gras dat door haar oogkassen heen groeide. Hierdoor geïnspireerd schreef hij het in de cartouche weergegeven gedicht over de vergankelijkheid van het menselijk bestaan. De herfstwind waait, Er valt niets meer te zeggen, Gras groeit door de oogkasssen van Ono's schedel.MaastrichtJapanse prenten1890Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,536,0 x 23,8exact1890exactcmcmCVR-JP-P0475.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 475CVR.JP-P0475Margesslordig afgesneden, links te veelStevenson 1992, cat. nr. XXIV, pp. 66-67papier, albumdoublureDepot 3-lade 1824 23prentIse M onogatari (= Tales of Ise, toegeschreven aan Kazan, keizer van Japan in de 10de eeuwIn plaats van een titel bevat de cartouche rechtsboven een gedicht van de dichter Ariwara Narihira (828-880). Narihira was een prins uit de Heian dynastie, en één van de zes Rokkasen, een groep van zes beroemde dichters uit de negende eeuw. Slechts één van hen was een vrouw: Ono no Komachi. Narihira was een Don Juan, en had een affaire met de toekomstige keizerin. Daarom werd hij verbannen. Tijdens zijn reizen bracht hij de nacht door in een verlaten huis: in de door onkruid overwoekerde tuin zag hij een visioen van de schedel van Ono no Komachi (met wie hij ook een relatie had gehad), met het gras dat door haar oogkassen heen groeide. Hierdoor geïnspireerd schreef hij het in de cartouche weergegeven gedicht over de vergankelijkheid van het menselijk bestaan. | Blinddruk in het bovengewaad van de dichter, fraai brocaat van zijn ondergewaad. De vlammen van de fakkel zijn met een oxyderend metaalpigment gedrukt.serietitelexactelinks te nauw afgesnedenBlokdrukHoutsnede, kleuren, blinddruk in het bovengewaad van de dichterGoedJapansEngelsAkikaze no fuku ni tsuketemo aname aname Ono to wa iwaji susuki oikeri- NarihiraThe autumn wind blows, there is nothing more to say, grass grows though the eye-sockets of Ono's skull. - Narihira2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5510:13:5108:37:2213:09:31collect>internCOLLECT>interncollect>interncollect>intern 73299Depot 3-lade 18Japanse PrentenCentre CéramiqueNitta Tadatsune, ook bekend als Nitta no Shiro, was een samurai van Minamoto no Yoritomo, die zich na het verslaan van de Taira clan in 1192 als shogun kon vestigen in Kakamakura. Tijdens een feestelijke jachtpartij op de hellingen van de berg Fuji brak een enorm everzwijn door het cordon, recht op de nieuwe shogun af. Nitta sprong op het zwijn en wist het tijdig te doden. Uit dank voor zijn heldendaad kreeg hij een landgoed ten geschenke. Tijdens een wandeling met wat kameraden enkele dagen later, ontdekte Nitta een tunnel die in een grote grot uitkwam. Daar verscheen Kannon, de Buddhistisch godin van de genade, aan hen. Zij feliciteerde Nitta met zijn heldendaad. Yoshitoshi toont niet de verschijning van de godin zelf, maar alleen de held die zich een weg baant door de donkere tunnelMaastrichtJapanse prenten1890-10-25Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,536,0 x 23,7exact1890-10-25exactcmcmCVR-JP-P0476.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 476CVR.JP-P0476Margesenigszins afgesnedenStevenson 1992, cat. nr. XXI, pp. 60-61papier, albumdoublureDepot 3-lade 1821 20prentNitta Tadatsune, ook bekend als Nitta no Shiro, was een samurai van Minamoto no Yoritomo, die zich na het verslaan van de Taira clan in 1192 als shogun kon vestigen in Kakamakura. Tijdens een feestelijke jachtpartij op de hellingen van de berg Fuji brak een enorm everzwijn door het cordon, recht op de nieuwe shogun af. Nitta sprong op het zwijn en wist het tijdig te doden. Uit dank voor zijn heldendaad kreeg hij een landgoed ten geschenke. Tijdens een wandeling met wat kameraden enkele dagen later, ontdekte Nitta een tunnel die in een grote grot uitkwam. Daar verscheen Kannon, de Buddhistisch godin van de genade, aan hen. Zij feliciteerde Nitta met zijn heldendaad. Yoshitoshi toont niet de verschijning van de godin zelf, maar alleen de held die zich een weg baant door de donkere tunnel. | De vlammen van de fakkel zijn met een oxyderend metaalpigment gedrukt. Nitta's zwarte muts is gepolijst.serietitel?exactete nauw afgesnedenBlokdrukHoutsnede, kleurenGoedJapansEngelsNitta Tadatsune dochu ni kii o miru zuNitta Tadatsune Seeing an Apparition in a Cave2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5510:13:5108:37:2313:09:31collect>internCOLLECT>interncollect>interncollect>intern 73300Depot 3-lade 18Japanse PrentenCentre CéramiqueAoyama Tessan, een belangrijke vazal van de shogun Tokugawa Ietsugu (regeerde 1709-1716), had van Nederlandse kooplieden tien kostbare porseleinen schotels in bewaring gekregen. Hij wilde graag een relatie met Okiku, het dienstmeisje van zijn vrouw, maar zij wilde dat niet. Hij gaf haar de schotels in bewaring, maar verstopte er stiekum een van, en vroeg haar toen plotseling de schotels terug te geven. Toen zij er een bleek te missen, kon hij haar onder druk zetten om met hem te slapen. Toen zij dat toch weigerde sloeg hij haar in woede dood, en gooide haar lijk in een put. Vanaf dat moment verscheen haar geest bij die put, steeds de borden tellend tot negen, maar nooit tot tien. In deze prent is de geest van Okiku bijna transparant gedrukt, zoals het een schim betaamt.MaastrichtJapanse prenten1890-08Lengte x BreedteLengte x BreedteBlokBlad35,1 x 23,536,0 x 23,7exact1890-08exactcmcmCVR-JP-P0477.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 477CVR.JP-P0477Margesenigszins afgesneden, met name links, iets van de tekst valt wegStevenson 1992, cat.nr. XVII, pp. 52-53papier, albumdoublureDepot 3-lade 1817 17prentBancho Sarayashiki (= The Dish Mansion of Bancho), toneelstuk voor het Kabuki theater.Aoyama Tessan, een belangrijke vazal van de shogun Tokugawa Ietsugu (regeerde 1709-1716), had van Nederlandse kooplieden tien kostbare porseleinen schotels in bewaring gekregen. Hij wilde graag een relatie met Okiku, het dienstmeisje van zijn vrouw, maar zij wilde dat niet. Hij gaf haar de schotels in bewaring, maar verstopte er stiekum een van, en vroeg haar toen plotseling de schotels terug te geven. Toen zij er een bleek te missen, kon hij haar onder druk zetten om met hem te slapen. Toen zij dat toch weigerde sloeg hij haar in woede dood, en gooide haar lijk in een put. Vanaf dat moment verscheen haar geest bij die put, steeds de borden tellend tot negen, maar nooit tot tien. In deze prent is de geest van Okiku bijna transparant gedrukt, zoals het een schim betaamt. | Er bestaan ook andere versies van het verhaal. | De scène is ook, maar heel anders uitgebeeld, door Hokusai, in zde serie Hyaku Monotogari (Honderd spookverhalen).serietitel?exactete nauw afgesnedenBlokdrukHoutsnede, kleurenGoedJapansEngelsSarayashiki Okiku no reiThe Ghost of Okiku at Sarayashiki2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5610:13:5108:37:2313:09:32collect>internCOLLECT>interncollect>interncollect>intern 73301Depot 3-lade 18Japanse PrentenCentre CéramiqueTsuyu ( Morgendauw) (ook Otsuyu), dochter van een belangrijke samurai, en Shinzaburo (of Saburu), een knappe jongen uit de Nezu wijk van Edo (Tokyo), werden op het eerste gezicht verliefd op elkaar, na slechts één ontmoeting. Maar zij mochten elkaar niet zien, en na een paar maanden hoorde Shinzaburo tot zijn ontzetting dat zowel Tsuyu als haar kleine kamenier, Yone, waren weggekwijnd en gestorven. Hij schreef haar naam op een briefje en legde dat op zijn Buddistische huisaltaar. Op het feest van de doden kwamen er twee jonge meisjes langs zijn huis met een lampion die voor het feest met pioenrozen was versierd. Het bleken Tsuyu en Yone te zijn, die zeiden dat zij niet, zoals hij gehoord had, waren gestorven. Zij kwamen vaker en Tsuyu en Shinzaburo werden geliefden. Maar Shinzaburo's bediende zag hen een keer samen, en zag dat zijn meester met twee spoken aan het praten was, en riep de hulp in van een priester. Deze wist Shinzaburo te overtuigen dat hij verliefd was op een geest, en dat haar liefde, hoe oprecht ook, alle levenskracht uit hem weg zou zuigen. Hij gaf Shinzaburo briefjes met Buddhistische spreuken die hij op zijn ramen en deuren kon bevestigen om de geesten buiten te houden. Deze wisten door aanhouden dreigementen Shinzaburo's bediende echter zo ver te krijgen één van de briefjes weg te halen, zodat ze toch naar binnen konden. De volgende ochtend werd Shinzaburo dood gevonden, in innige omstrengeling met het geraamte van een jonge vrouw. De prent toont de schimmige gestaltes van Tsuyu en Yone zoals ze door de avondlijke schemering naar het huis van Shinzaburo zweven. | Er zijn veel verschillende versies van dit zeer populaire verhaal, en het is verschillende keren verfilmd.MaastrichtJapanse prenten1891Lengte x BreedteLengte x BreedteBlokBlad35,7 x 24,635,7 x 24,1exact1891exactcmcmCVR-JP-P0478.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 478CVR.JP-P0478Margesnauwelijks afgesnedenStevenson 1992, cat.nr. XXVII, pp. 72-73 , Wikipedia, s.v. Botan Doropapier, resten van albumdoublureDepot 3-lade 1827 27prentBotan Doro, (= The Peony Lantern), novelle uit 1884 door de verhalenverteller Encho Sanyutei, gebaseerd op een oud Chinees griezelverhaal, dat in 1664 tot een poppenspel was bewerkt, in1892 bewerkt tot stuk voor het Kabuki theater.Tsuyu ( Morgendauw) (ook Otsuyu), dochter van een belangrijke samurai, en Shinzaburo (of Saburu), een knappe jongen uit de Nezu wijk van Edo (Tokyo), werden op het eerste gezicht verliefd op elkaar, na slechts één ontmoeting. Maar zij mochten elkaar niet zien, en na een paar maanden hoorde Shinzaburo tot zijn ontzetting dat zowel Tsuyu als haar kleine kamenier, Yone, waren weggekwijnd en gestorven. Hij schreef haar naam op een briefje en legde dat op zijn Buddistische huisaltaar. Op het feest van de doden kwamen er twee jonge meisjes langs zijn huis met een lampion die voor het feest met pioenrozen was versierd. Het bleken Tsuyu en Yone te zijn, die zeiden dat zij niet, zoals hij gehoord had, waren gestorven. Zij kwamen vaker en Tsuyu en Shinzaburo werden geliefden. Maar Shinzaburo's bediende zag hen een keer samen, en zag dat zijn meester met twee spoken aan het praten was, en riep de hulp in van een priester. Deze wist Shinzaburo te overtuigen dat hij verliefd was op een geest, en dat haar liefde, hoe oprecht ook, alle levenskracht uit hem weg zou zuigen. Hij gaf Shinzaburo briefjes met Buddhistische spreuken die hij op zijn ramen en deuren kon bevestigen om de geesten buiten te houden. Deze wisten door aanhouden dreigementen Shinzaburo's bediende echter zo ver te krijgen één van de briefjes weg te halen, zodat ze toch naar binnen konden. De volgende ochtend werd Shinzaburo dood gevonden, in innige omstrengeling met het geraamte van een jonge vrouw. De prent toont de schimmige gestaltes van Tsuyu en Yone zoals ze door de avondlijke schemering naar het huis van Shinzaburo zweven. | Er zijn veel verschillende versies van dit zeer populaire verhaal, en het is verschillende keren verfilmd.|Blinddruk in de witte ondergewaden.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, november 2005exacteBlokdrukHoutsnede, kleuren, blinddrukGoedJapansEngelsBotan doroThe Peony Lantern2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5610:13:5108:37:2313:09:32collect>internCOLLECT>interncollect>interncollect>intern 73302Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1889-12-12Lengte x BreedteLengte x BreedteBlokBlad34,7 x 23,235,7 x 24,2exact1889-12-12exactcmcmCVR-JP-P0479.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 479CVR.JP-P0479Margesnauwelijks afgesnedenStevenson 1992, cat.nr. XIX, pp. 56-57papierDepot 3-lade 1819 9prentYoshihira (1140-1160), een telg van de Minamoto clan, was pas vijftien toen hij zijn oom Yoshikata en andere familieleden vermoordde: daaraan ontleende hij zijn bijnaam Kamakura Akugenta, de slechterik uit Kamakura. In de strijd van zijn clan tegen de Taira werden zijn vader en hij verslagen, zijn vader werd vermoord en hijzelf moest vluchten. In vermomming keerde hij terug naar Kyoto om zijn vader te wreken, maar hij werd herkend en gevangen genomen. Taira no Kiyomori gaf aan Namba Jiro de opdracht om hem terecht te stellen. Toen Namba hem bij de waterval van Nunobiki doodsloeg, nam Yoshihira's lijk plotseling de vorm aan van de dondergod, sprong in de lucht, riep een verschrikkelijk onweer op, en doodde Namba met een bliksemstraal. De prent toont de woedende geest van Yoshihira, die net de bliksemstraal naar beneden heeft geslingerd.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K, november 2005exacteBlokdrukHoutsnede, kleurenGoedJapansEngelsNunobiki no taki Akugenta Yoshihara no rei Namba Jiro o utsuThe Ghost of Wicked Genta Yoshihira Attacking Namba Jiro at Nunobiki Waterfall2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5610:13:5208:37:2313:09:33collect>internCOLLECT>interncollect>interncollect>intern 73303Depot 3-lade 18Japanse PrentenCentre CéramiqueMinamoto no Yorimitsu (948-1021), een edelman aan het hof van keizer Murakami, was algemeen bekend onder de naam Raiko. Met zijn kameraad Watanabe no Tsuna wist hij Kyoto te bevrijden van de in die tijd heersende demonenplaag. Die demonen probeerden zich overigens wel te verdedigen: toen Yorimitsu eens met koorts in bed lag, dacht hij dat hij door geesten werd aangevallen. Watanabe en zijn andere helpers hielden hem goed in de gaten, maar toen zij allemaal in slaap waren gevallen kwam de geest van de Spin stiekem aanzetten, en begon Yorimitsu in zijn web in te spinnen. Hoewel hij erg verzwakt was lukte het Yorimitsu toch nog zijn zwaard te trekken, en de spin te verwonden, die daarop wegvluchtte. Hij liet een bloedspoor na, dat Watenabe en zijn makkers konden volgen naar zijn hol in een berg grond, bij Kitano buiten Kyoto. Hier troffen zij een reusachtige grondspin aan. Met een uitgerukte boomstam lukte het Watenabe deze te doden, waarop Yorimitsu meteen van zijn koortsen was bevrijd. Yorimitsu's zwaard kreeg nu de bijnaam Kumokirimaru: de Spinnenhouwer.MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad35,4 x 23,536,3 x 24,6exact1892exactcmcmCVR-JP-P0480.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 480CVR.JP-P0480Margesvrijwel volledigStevenson 1992, cat.nr. XXXII, pp. 82-83papier, albumdoublureDepot 3-lade 1832 32prentTsuchigumo (= De grondspin), een stuk voor het Noh theater, in 1881 bewerkt voor het Kabuki theater.Minamoto no Yorimitsu (948-1021), een edelman aan het hof van keizer Murakami, was algemeen bekend onder de naam Raiko. Met zijn kameraad Watanabe no Tsuna wist hij Kyoto te bevrijden van de in die tijd heersende demonenplaag. Die demonen probeerden zich overigens wel te verdedigen: toen Yorimitsu eens met koorts in bed lag, dacht hij dat hij door geesten werd aangevallen. Watanabe en zijn andere helpers hielden hem goed in de gaten, maar toen zij allemaal in slaap waren gevallen kwam de geest van de Spin stiekem aanzetten, en begon Yorimitsu in zijn web in te spinnen. Hoewel hij erg verzwakt was lukte het Yorimitsu toch nog zijn zwaard te trekken, en de spin te verwonden, die daarop wegvluchtte. Hij liet een bloedspoor na, dat Watenabe en zijn makkers konden volgen naar zijn hol in een berg grond, bij Kitano buiten Kyoto. Hier troffen zij een reusachtige grondspin aan. Met een uitgerukte boomstam lukte het Watenabe deze te doden, waarop Yorimitsu meteen van zijn koortsen was bevrijd. Yorimitsu's zwaard kreeg nu de bijnaam Kumokirimaru: de Spinnenhouwer. | De prent bevat fraaie brinddruk in het kostuum van Yorimitsu, het spinneweb tegen de achtergrond lijkt in zilver gedrukt.serietitelJapan Print Gallery, 43 Pembridge Road, London W11 3HGexacteBlokdrukHoutsnede, kleuren, blinddruk, metaalpigment (zilver ?)uitstekendJapansEngelsMinamoto no Yorimitsu tsuchigumo o kiru zuMinamoto Yorimitsu Striking at the Ground Spider2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5610:13:5208:37:2313:09:34collect>internCOLLECT>interncollect>interncollect>intern 73304Depot 3-lade 18Japanse PrentenCentre CéramiqueVolgens een oud sprookje redde een houthakker eens het leven van een das. Uit dankbaarheid toverde de das - die net als de vos zich in veel gedaante kan veranderen- zich om tot een theeketeltje, dat de houthakker verkocht aan een priester van de Morin tempel in Tatabayashi. Dat viel de das een beetj etegen - hij werd schhon geschrobd, en op het vuur gezet. Toen hij weer eens op de vlammen werd gezet hield hij het niet lanhger uit, veranderde terug in een das, en probeerde te ontsnappen. Dat lukte echter niet, en de monniken konden hem vangen en in een doos stoppen, waar hij weer een theeketeltje werd. Omdat de monniken hem nu niet meer durfde te gebruiken, had hij vanaf nu een luizenleventje. Blijkbaar toverde hij zich af en toe ook om tot een priester, want zo is hij hier uitgebeeld. Als herinnering aan het verhaal hangt een ander theeketeltje prominent op de voorgrond.MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBladca 23,? - x 35,?35,5 x 23,3exact1892exactcmcmCVR-JP-P0481.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 481CVR.JP-P0481Margeslinks en onder sterk afgesnedenStevenson 1992, cat. nr. XXXIV, pp. 86-87papierDepot 3-lade 1834 34prent?Volgens een oud sprookje redde een houthakker eens het leven van een das. Uit dankbaarheid toverde de das - die net als de vos zich in veel gedaante kan veranderen- zich om tot een theeketeltje, dat de houthakker verkocht aan een priester van de Morin tempel in Tatabayashi. Dat viel de das een beetj etegen - hij werd schhon geschrobd, en op het vuur gezet. Toen hij weer eens op de vlammen werd gezet hield hij het niet lanhger uit, veranderde terug in een das, en probeerde te ontsnappen. Dat lukte echter niet, en de monniken konden hem vangen en in een doos stoppen, waar hij weer een theeketeltje werd. Omdat de monniken hem nu niet meer durfde te gebruiken, had hij vanaf nu een luizenleventje. Blijkbaar toverde hij zich af en toe ook om tot een priester, want zo is hij hier uitgebeeld. Als herinnering aan het verhaal hangt een ander theeketeltje prominent op de voorgrond.serietitel?exactemaat veel te nauw afgesneden links en onderBlokdrukHoutsnede, kleuren, nauwelijks blinddruk op wit ondergewaadGoedJapansEngelsMorin-ji no bumbuku chagamaThe Lucky Tea Kettle of Morin Temple2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5610:13:5208:37:2313:09:34collect>internCOLLECT>interncollect>interncollect>intern 73305Depot 3-lade 18Japanse PrentenCentre CéramiqueSogi was een priester en dichter uit de 17de eeuw, die rondtrok om te preken en poëzie te onderwijzen. Tijdens een koude winternacht bij volle maan, die hij doorbracht in een verlaten en vervallen huis, hoorde hij twee schimmen discussiëren over een gedicht: ze hadden de eerste frase van een couplet gereed, maar konden geen passende slotzin vinden. Sogi viel direct een goede afsluitende regel binnen: de regel die in plaats van de titel in de cartouche rechtsboven van de prent is afgedrukt. Zijn bijdrage viel echter niet in goede aarde: de spookdichters vonden het niet leuk dat een ander slaagde waar het ze zelf niet was gelukt, en verdwijnen met verongelijkte en zelfs dreigende gebaren. Sogi brengt een eenzame en ongemakkelijke nacht door.MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad34,8 x 23,335,2 x 23,5exact1892exactcmcmCVR-JP-P0482.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 482CVR.JP-P0482Margesonder nauw afgesnedenStevenson 1992, cat.nr. XXXII, pp. 80-81papierDepot 3-lade 1831 31prentSogi was een priester en dichter uit de 17de eeuw, die rondtrok om te preken en poëzie te onderwijzen. Tijdens een koude winternacht bij volle maan, die hij doorbracht in een verlaten en vervallen huis, hoorde hij twee schimmen discussiëren over een gedicht: ze hadden de eerste frase van een couplet gereed, maar konden geen passende slotzin vinden. Sogi viel direct een goede afsluitende regel binnen: de regel die in plaats van de titel in de cartouche rechtsboven van de prent is afgedrukt. Zijn bijdrage viel echter niet in goede aarde: de spookdichters vonden het niet leuk dat een ander slaagde waar het ze zelf niet was gelukt, en verdwijnen met verongelijkte en zelfs dreigende gebaren. Sogi brengt een eenzame en ongemakkelijke nacht door.serietitel?exacteonder te nauw afgesnedenBlokdrukHoutsnede, kleuren, blinddruk in ondergewaadGoedJapansEngelsYadorubeki mizu no kori ni tojirarete koyoi no tsuki wa sora ni koso ari.- SogiThe ever-reflecting water is frozen and covered with ice, it does not mirror the evening moon in the sky.- Sogi2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5710:13:5208:37:2313:09:35collect>internCOLLECT>interncollect>interncollect>intern 73306Depot 3-lade 18Japanse PrentenCentre CéramiqueMushashibo Benkei, later bekend als de trouwe vazal en kameraad van de held Minamoto no Yoshitsune, was een krijger die eigenlijk per ongeluk ook priester was geworden. Ook zin zijn jeugd was hij al een kwajongen: vandaar zijn bijnaan Oniwaka, duiveltje. Toen hij in de tempel van Hongu Daijin op school ging, hoorde hij dat de grote karper die in de vijver aan de voet van de waterval van Bishamon leefde zijn moeder had verslonden. Oniwaka ging er onmiddellijk naar toe om haar te wreken, en het lukte hem na een heroïsche vechtpartij in het water om de karper inderdaad te doden - de resten van zijn moeder werden nog in de maag van de vis aangetroffen. Hier is Oniwaka afgebeeld terwijl hij de karper bespiedt, mes in de hand, klaar om zijn prooi te bespringen.MaastrichtJapanse prenten1889-10-20Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,335,6 x 23,5exact1889-10-20exactcmcmCVR-JP-P0483.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 483CVR.JP-P0483Margeslinks en onder te nauw afgesnedenStevenson 1992, cat.nr. VI, pp. 32-33papierDepot 3-lade 187 8prentMushashibo Benkei, later bekend als de trouwe vazal en kameraad van de held Minamoto no Yoshitsune, was een krijger die eigenlijk per ongeluk ook priester was geworden. Ook zin zijn jeugd was hij al een kwajongen: vandaar zijn bijnaan Oniwaka, duiveltje. Toen hij in de tempel van Hongu Daijin op school ging, hoorde hij dat de grote karper die in de vijver aan de voet van de waterval van Bishamon leefde zijn moeder had verslonden. Oniwaka ging er onmiddellijk naar toe om haar te wreken, en het lukte hem na een heroïsche vechtpartij in het water om de karper inderdaad te doden - de resten van zijn moeder werden nog in de maag van de vis aangetroffen. Hier is Oniwaka afgebeeld terwijl hij de karper bespiedt, mes in de hand, klaar om zijn prooi te bespringen. | Vermoedelijk een wat latere druk, te oordelen naar de wijze van weergeven van het water (vgl. de vroege druk geïllustreerd door Stevenson).serietitel?exactelinks en onder te nauw afgesneden, vlekjeBlokdrukHoutsnede, kleurenredelijkJapansEngelsOniwakamaru chichu ni rigyo o ukagau zuOniwaka Observing the Great Carp in the Pool2007-07-12Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5710:13:5208:37:2313:09:36collect>internCOLLECT>interncollect>interncollect>intern 73307Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,5 x 23,633,0 x 23,5moderne herdruk 19601794cmcmCVR-JP-P0500.jpgOntwerperUitgeverActeursCVR-JP-P 500CVR.JP-P0500Margesvolledig, erg smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 1, pp. 24-25papierDepot 3-lade 16prent= Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondDe kabuki-acteur Nakamura Nakazo II is hier te zien in de rol van Prins Koretaka, die zich heeft vermomd als de boer Tsuchizo. Koretaka is de rivaal voor de keizerstroon van Prins Korehito, de held uit het Kabuki spel Urudoshi meika-no homare,= Het schrikkeljaar: Lof van een beroemd gedicht, ook vertaald als The fame the celebrated Song of the Leap Year. Di stuk ging in november 1794 in première in het Miyakoza theater in Edo in november 1794. Sharaku beeldde nog een andere rol uit hetzelfde stuk af (CVP/PR/JP 501). De acteur is geïdentificeerd door zijn kunstenaarsnaam, zowel als aan zijn familiewapen dat linksboven is afgebeeld. Nakazo was eerder bekend onder de naam Otani Oniji II en als Sakaiya Shukaku.vóór62kleine kreukels in de randCentre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsNakamura Nakazo II as Prince Koretaka disguised as the Farmer Tsuchizo in the Play Intercalary Year: Praise of a Famous Poem2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5715:08:0310:28:2311:41:5410:13:5208:37:23Maastricht13:09:36collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73308Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,5 x 22,533,0 x 23,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0501.jpgOntwerperUitgeverActeursCVR-JP-P 501CVR.JP-P0501Margessmal, rechts scheefTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. #, pp. ##-## Juzô Suzuki, Sharaku (1968), nr. ##papierDepot 3-lade 16prent= Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondDe kabuki-acteur Sawamura Sôjûrô IIi is hier te zien in de rol van Kujaku Saburô, een trouwe dienaar van Prins Korehito, de hoofdpersoon van het Kabuki spel Urudoshi meika-no homare,= Het schrikkeljaar: Lof van een beroemd gedicht, ook vertaald als The fame the celebrated Song of the Leap Year, uitgevoerd in het Miyakoza theater in Edo in november 1794. Sharaku beeldde nog een andere rol uit hetzelfde stuk af (CVP/PR/JP 500). De acteur is geidentificeerd door zijn kunstenaarsnaam, zowel als aan zijn mon (familiewapen) dat rechtsboven is afgebeeld. Vroeger werd het personnage dat hij speelt wel geïnterpreteerd als Satsuma no Gengobei, maar vergelijking met een ander prent laat zien dat het wel degelijk om de rol van Saburô gaat. De acteur voerde ook de huisnaam Kii-no Kuniya en de acteursnaam Toshi.vóórBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki Actor Sawamura Sôjûrô III as Kujaku Saburô2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5710:13:5308:37:2413:09:37collect>internCOLLECT>interncollect>interncollect>intern 73309Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,4 x 22,532,7 x 23,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0502.jpgOntwerperUitgeverActeursCVR-JP-P 502CVR.JP-P0502Margessmal, bovenrand afgesnedenTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 3, pp. 28 Juzô Suzuki, Sharaku (1968), nr. 62papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondDe Kabuki acteur Segawa Kukunojô III in de rol van de dienstmaagd Ohama, een hoofdrol in het Kabuki spel Hana-no miyako kuruwa-no nawabari ? - Flowery Metropolis Licensed quarter Enclosure, door Namiki Gohei I. Dit stuk werd geschreven als kaomize, letterlijk: laat de gezichten zien, en was bedoeld om bij de opening van het theaterseizoen (dit was altijd in november) de voor dat jaar aan het theater verbonden acteurs te presenteren. Het is zeer vrij gebaseerd op een historisch gegeven, een revolte in 1637-38 van voornamelijk Christelijke in reactie op de harde onderdrukking door het Togukawa shogunaat, bekend als de opstand van Shimabara of Amakusa (naar de 14-jarige charsimatische leider !).Ohama was eigenlijk de echtgenote van Inanami Rokurodayu, een van de schurken uit het stuk, die zich voordeed als nakai of serveerster om de snode plannen van haar man te helpen verwezenlijken. De chrysant en vlinder rechtsboven zijn het persoonlijk wapen van de acteur, de samengebonden katoenpluimen die op de kimono zijn afgebeeld is zijn mon of familiewapen.vóórBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki Actor Segawa Kukunojô III as the Maid Ohama2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5710:13:5308:37:2413:09:37collect>internCOLLECT>interncollect>interncollect>intern 73310Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,3 x 22,532,8 x 23,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0503.jpgOntwerperUitgeverActeursCVR-JP-P 503CVR.JP-P0503Margesvolledig, erg smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 4, pp. 29papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondDe Kabuki acteur Bando Mitsugoro II, ook bekend als Yamatoya Zegyo, is hier afgebeeld als vertolker van de rol van een van de twee knechten (yakko = dienaar) in het Kabuki spel Hana-no miyako kuruwa-no nawabari ? - Flowery Metropolis Licensed quarter Enclosure, door Namiki Gohei I. Dit stuk werd geschreven als kaomize, letterlijk: laat de gezichten zien, en was bedoeld om bij de opening van het theaterseizoen (dit was altijd in november) de voor dat jaar aan het theater verbonden acteurs te presenteren. Het is zeer vrij gebaseerd op een historisch gegeven, een revolte in 1637-38 van voornamelijk Christelijke in reactie op de harde onderdrukking door het Togukawa shogunaat, bekend als de opstand van Shimabara, of Amakusa, naar de 14-jarige (!) charismatische leider.vóór64Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsThe actor Bando Mitsugoro II in de rol van Yakko Kugahei2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5810:28:3211:41:5510:13:5308:37:24Maastricht13:09:38collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73311Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad33,2 x 22,533,9 x 23,1moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0504.jpgOntwerperUitgeverActeursCVR-JP-P 504CVR.JP-P0504Margesvolledig, erg smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 5, pp. 31 Juzô Suzuki, Sharaku (1968), nr.68papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondOtokoyama o-Edo-no ishizue = Otokoyama, de stichting van Edo = Otokoyama, the foundation of Edo is een Kabuki spel dat in 1794 werd geschreven voor het Kiriza theater in Edo. Het was een kaomise spel: het diende om bij de opening van het nieuwe theaterseizoen, steeds in november, alle acteurs die het komende jaar aan het theater waren verbonden aan het publiek voor te stellen. De acteur Ichikawa Danjûrô VI, ook bekend als Naritaya Sanshô, kwam uit een familie die veel Kabuki acteurs telde. Hij nam deze rol over van een andere acteur, wiens vader plotseling was overleden, hij was toen nog pas 18 jaar!vóórkreukeltje hoek rechtsonderBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki Actor Ichikawa Danjûrô VI as Arakawa Torô2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5810:13:5308:37:2413:09:38collect>internCOLLECT>interncollect>interncollect>intern 73312Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,4 x 23,032,9 x 23,5moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0505.jpgOntwerperUitgeverActeursCVR-JP-P 505CVR.JP-P0505MargesMaatcode passepartoutvolledig, erg smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 6, pp. 31-32 Juzô Suzuki, Sharaku (1968), nr. 67papierDepot 3-lade 16prentonderdeel van een serie van tien acteursportretten tegen een gele achtergrondOtokoyama o-Edo-no ishizue = Otokoyama, de stichting van Edo = Otokoyama, the foundation of Edo is een Kabuki spel dat in 1794 werd geschreven voor het Kiriza theater in Edo. Het was een kaomise spel: het diende om bij de opening van het nieuwe theaterseizoen, steeds in november, alle acteurs die het komende jaar aan het theater waren verbonden aan het publiek voor te stellen. De intrige van het stuk is maar fragmentarisch bewaard. De acteur Yamashita Kinsaku II (ca 1713-1780), ook bekend als Tennojiya Rikô en onder andere namen, was een bekende acteur van vrouwenrollen. Hij is hier afgebeeld als de slechte vrouw Iwate Gozen, de moeder van de twee broers Sadato en Muneto, die hun zinnen erop hebben gezet om de held van het stuk, de historische samurai Hachiman Taro Yoshiie (vgl. CVR/JP/P 506) -beter bekend als Minamoto no Yoshiie (1039-1106)- te vermoorden. In dit stuk heeft zij zich vermomd als Okane, dienster in een herberg waar ze verwachten dat Hachiman de nacht zal doorbrengen.vóór66Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsThe Kabuki Actor Yamashita Kinsaku II as Iwate, wife of Sadatô, posing as the maid Ebizô Okane2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:26:5810:28:4511:41:5510:13:5308:37:24Maastricht13:09:38collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73313Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,4 x 22,532,9 x 23,5moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0506.jpgOntwerperUitgeverActeursCVR-JP-P 506CVR.JP-P0506Margesvolledig, smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 7, pp. 32-33papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondOtokoyama o-Edo-no ishizue = Otokoyama, de stichting van Edo = Otokoyama, the foundation of Edo is een Kabuki spel dat in 1794 werd geschreven voor het Kiriza theater in Edo. Het was een kaomise spel: het diende om bij de opening van het nieuwe theaterseizoen, steeds in november, alle acteurs die het komende jaar aan het theater waren verbonden aan het publiek voor te stellen. De intrige van het stuk is maar fragmentarisch bewaard. De acteur Ichikawa Yaozo III speelde de hoofdrol, de held van het stuk, de historische samurai Hachiman Taro Yoshiie (vgl. CVR/JP/P 506) -beter bekend als Minamoto no Yoshiie (1039-1106), De gebroeders Abe proberen hem te vermoorden, maar hij wisselt zijn kleding met een zekere Gengo Narishige, die vervolgens in Yoshiie's plaats het loodje legt. De held kan dan triomfantelijk zijn vermomming afleggen.Yaozo III speelde in deze uitvoering zowel de rol van de held, als de rol van diens onfortuinelijke stand-in. Er zijn nog enkel eandere uitbeelding van Ichikawa Yaozo III, o.a. een vergelijkbaar portret door Utagawa Toyokuni.vóórkreukeltje linker bovenhoekBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki Actor Ichikawa Yaozo III as Hachiman Taro Yoshiie2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5810:13:5308:37:2413:09:39collect>internCOLLECT>interncollect>interncollect>intern 73314Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad31,9 x 22,432,4 x 23,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0507.jpgOntwerperUitgeverActeursCVR-JP-P 507CVR.JP-P0507Margesvolledig, smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 8, pp. 33-34, zie ook Juzô Suzuki, Sharaku (1968), nr. 71papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondOtokoyama o-Edo-no ishizue = Otokoyama, de stichting van Edo = Otokoyama, the foundation of Edo is een Kabuki spel dat in 1794 werd geschreven voor het Kiriza theater in Edo. Het was een kaomise spel: het diende om bij de opening van het nieuwe theaterseizoen, steeds in november, alle acteurs die het komende jaar aan het theater waren verbonden aan het publiek voor te stellen. De intrige van het stuk is maar fragmentarisch bewaard. Nakayama Tomisaburô speelt hier de rol van Teriha, de zuster van Abe no Sadatô, een van de schurken in het stuk, die is gehuwd met Gengo Narishige. Zij heeft zich echter vermomd als Ohisa, de vrouw van de visser Sasanami Tatsugorô. Sharaku heeft ook een prent van Tomisaburô gemaakt in deze rol, waarin hij ten voeten uit wordt afgebeeld. Hij is herkenbaar aan de mon (zijn familiewapen) op de mouw van zijn kimono.vóórkreukeltje linksbovenBlokdrukHoutsnede, kleuren, enige witte verf op kraagGoedEngelsThe Kabuki Actor Nakayama Tomisaburô(ca 1760-1819) as Teriha, posing as Ohisa2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5910:13:5308:37:2413:09:39collect>internCOLLECT>interncollect>interncollect>intern 73315Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,8 x 22,833,1 x 23,1moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0508.jpgOntwerperUitgeverActeursCVR-JP-P 508CVR.JP-P0508Margesheel smal, deels scheef afgesnedenTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 9, pp. 36papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, IIDe acteur Ichikawa Komazô II is hier uitgebeeld in de vrouwenrol van Oyamado Taro, een figuur uit het Kabuki-spel Matsu wo misao onna Kusunoki. Dit was een kaomise stuk geschreven voor het Kawaharasaki-za theater in Edo, bedoeld om alle acteurs die voor het komende seizoen waren gecontracteerd voor het voetlicht te brengen. Het is onderdeel van een traditie van spelen gebaseerd op dr Taiheikei, de geschiedenis van de oorlogen tussen de trouwe onderdanen Nitta Yoshisada en Kusunoki Masashige tegen de opstandeling Ashikaga. In deze versie van de legende is de figuur van Oyamada een spionne die de helden tegenwerkt. == is het wel een vrouwenrol ??? De kunstenaarsnaam van Ichikawa Komazô II was Koraiya Kinsho, de cirkel met bloemmotief rechtsboven is zijn mon of familiewapen.vóórBlokdrukHoutsnede, kleurenGoedEngelsThe actor Ichikawa Komazô II as Oyamado Taro2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5910:13:5408:37:2413:09:40collect>internCOLLECT>interncollect>interncollect>intern 73316Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad33,31 x 22,933,6 x 23,5moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0509.jpgOntwerperUitgeverActeursCVR-JP-P 509CVR.JP-P0509Margessmal, enigszins ongelijkTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 10, pp. 37papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II onderdeel van een serie van tien acteursportretten tegen een gele achtergrondDe Kabuki acteur Iwai Hanshiro IV (ca 1714-1na 1800, ook bekend onder als Yamatoya Tojaku) was misschien wel de bekendste en meest populaire vertolkers van vrouwenrollen in het Kabuki theater van zijn tijd, er zijn dan ook vele prenten bewaard waarop hij is afgebeeld. Dat hij een zeer begaafde acteur was blijkt bijvoorbeedl uit een prent van Katsukawa Shun'ei uit 1787, waarin hij is afgebeeld in alle zeven rollen -tot die van een jonge pony toe- die hij in één enkel theaterstuk voor zijn rekening had genomen. Hier is Hanshiro vermoedelijk afgebeeld in een rol uit het Kabuki-spel Matsu wo misao onna Kusunoki. Dit was een kaomise stuk uit 1794, geschreven voor het Kawaharasaki-za theater in Edo, bedoeld om alle acteurs die voor het komende seizoen waren gecontracteerd voor het voetlicht te brengen. Het is onderdeel van een traditie van spelen gebaseerd op dr Taiheikei, de geschiedenis van de oorlogen tussen de trouwe onderdanen Nitta Yoshisada en Kusunoki Masashige tegen de opstandeling Ashikaga. De precieze intrige is niet bekend. Iwai hanshirô IV was an amazing onnagata actor who found fame during the second half of the seventeenth century. His rival for the title of best Edo onnagata was the star Segawa Kikunojô III. He was a very meticulous actor in the preparation of his roles. It is said that Hanshirô went to visit a bordello, the Maruya house in the district of Mita in Edo, in order to study carefully the life of a famous and beautiful prostitute called Osen. Then, Hanshirô modeled all his courtesan roles on Osen. The origin of his guild name is interesting: some may think that Yamatoya is associated with the province of Yamato (northern part of the current Nara prefecture), which is the case for others lines of actors using the same yagô because the founder of the line was born there, but it is not right in the case of Iwai hanshirô IV. His fans used to shout Yama Yama, an original way to appraise their star, meaning that Hanshirô was a very talented oyama. Yamatoya has its origins in these Yama, Yama shoutings. The actor Iwai Hanshirô IV playing the roles of a courtesan (keisei - in the center of the print), a lion spirit (shakkyô), a court lady (kanjo), a young poney (harukoma), a grass-mower child (kusakari warabe), a blind masseur (zatô) and an old woman (rôba) in the hengemono Nanae Ginu Azuma Hinagata which was staged at the Kiriza Theater in April 1787 (print made by Katsukawa Shun'ei)vóórBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki actor Iwai Hanshiro IV als Ukiyo-no-Suke's maid2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5910:13:5408:37:2413:09:40collect>internCOLLECT>interncollect>interncollect>intern 73317Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,3 x 22,433 x 23,1moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0510.jpgOntwerperUitgeverActeursCVR-JP-P 510CVR.JP-P0510Margessmal, nauwelijks zichtbaarTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 11, pp. 38-40 Juzô Suzuki, Sharaku (1968), nr. 76papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II Pendant van prent CVR/JP/P 511:dit is de rechter prent van een set van twee prenten uitgegeven in memoriam van de Kabuki acteur Ichikawa Monosuke II, die stierf op 19 oktober 1794De prenten CVR/JP/P510 en P511 horen bij elkaar, zij zijn als één scène te lezen, vermoedelijk uit een versie van het spel Shibaraku ( Wacht eens even !), waarin een superheld altijd net op tijd komt om de edele held en/of heldin van het stuk, die op het punt staan door de schurk te worden vermoord, van een wisse dood te redden. Zij werden gemaakt en uitgegeven als in memoriam van de beroemde Kabuki acteur Ichikawa Monosuke II (1743-1794), die kort vóór het begin van het nieuwe theaterseizoen in november 1794 was overleden. Hij had de rol van de superheld in verschillende versies van het stuk gespeeld. Hier wordt hij in de linker prent afgebeeld, nadat hij net twee demonen onschadelijk heeft gemaakt, tot ontzetting van Emma Daio, de koning van de onderwereld, en een verder niet geïdentificeerde vrouwelijke geest, die in de rechter prent zijn afgebeeld. Vermoedelijk vanwege de speciale functie van de prenten als in memoriam, heeft Sharaku er erg zijn best op gedaan: het is een overtuigende, sterke compositie, die ook in de details zeer fraai is uitgewerkt. Speciale aandacht verdient de zeer gecompliceerde blinddruk in de rechter prent (de patronen van de kimonos, het geverfde gezicht van Emma Daio, en de nevel om de spiegel). Zie Juzô Suzuki, Sharaku (1968), nr. 75: These two prints, made in memory of Monnosuke, who died in the tenth month of 1794, form a pair. The costumes and compositions are suggested by a scene from the well-known play Shibaraku, but here Mioemon, on the right, is showns as king of the underworld, while the newly arrived Monnosuke has just fought and defeated two demons. The weird atmosphere of the right-hand picture contrasts well with the heroics on the right.vóórklein kreukeltje in bovenrand bladBlokdrukHoutsnede, kleuren, blinddrukGoedEngelsThe Kabuki actors Nakajima Mioemon II and Nakamura Tomijûrô as Emma Daio, king of Hell, and an as yet unidentified female part.2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5910:13:5408:37:2513:09:41collect>internCOLLECT>interncollect>interncollect>intern 73318Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad31,6 x 22,232,2 x 22,2moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0511.jpgOntwerperUitgeverActeursCVR-JP-P 511CVR.JP-P0511Margessmal, nauwelijks zichtbaarTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 12, pp. 38-40Juzô Suzuki, Sharaku (1968), nr. 75papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, IIDe prenten CVR/JP/P510 en P511 horen bij elkaar, zij zijn als één scène te lezen, vermoedelijk uit een versie van het spel Shibaraku ( Wacht eens even !), waarin een superheld altijd net op tijd komt om de edele held en/of heldin van het stuk, die op het punt staan door de schurk te worden vermoord, van een wisse dood te redden. Zij werden gemaakt en uitgegeven als in memoriam van de beroemde Kabuki acteur Ichikawa Monosuke II (1743-1794), die kort vóór het begin van het nieuwe theaterseizoen in november 1794 was overleden. Hij had de rol van de superheld in verschillende versies van het stuk gespeeld. Hier wordt hij in de linker prent afgebeeld, nadat hij net twee demonen onschadelijk heeft gemaakt, tot ontzetting van Emma Daio, de koning van de onderwereld, en een verder niet geïdentificeerde vrouwelijke geest, die in de rechter prent zijn afgebeeld. Vermoedelijk vanwege de speciale functie van de prenten als in memoriam, heeft Sharaku er erg zijn best op gedaan: het is een overtuigende, sterke compositie, die ook in de details zeer fraai is uitgewerkt. Speciale aandacht verdient de zeer gecompliceerde blinddruk in de rechter prent (de patronen van de kimonos, het geverfde gezicht van Emma Daio, en de nevel om de spiegel). Zie Juzô Suzuki, Sharaku (1968), nr. 75: These two prints, made in memory of Monnosuke, who died in the tenth month of 1794, form a pair. The costumes and compositions are suggested by a scene from the well-known play Shibaraku, but here Mioemon, on the right, is showns as king of the underworld, while the newly arrived Monnosuke has just fought and defeated two demons. The weird atmosphere of the right-hand picture contrasts well with the heroics on the right.vóórBlokdrukHoutsnede, kleurenGoedEngelsThe Kabuki Actor Ichikawa Monnosuke II in a part from a play in the Shibaraku tradition2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:26:5910:13:5408:37:2513:09:42collect>internCOLLECT>interncollect>interncollect>intern 73319Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad33,1 x 22,633,6 x 23,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0512.jpgOntwerperUitgeverSumoCVR-JP-P 512CVR.JP-P0512Margesvolledig, smalTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 13, pp. 41-42 vgl. Juzô Suzuki, Sharaku (1968), nr. 79papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, II Pendant van prent CVR/JP/P 510: dit is de linker prent van een set van twee prenten uitgegeven in memoriam van de Kabuki acteur Ichikawa Monosuke II, die stierf op 19 oktober 1794Daidôzan Bungorô was een wonderkind: al op zesjarige leeftijd mocht hij meedoen aan de dohyo-iri, de openings ceremonie van sumo-worstel wedstrijden, en al spoedig mocht hij ook aan die wedstrijden zelf meedoen. De dohyo-iri was het ceremonieel betreden van de dohyo, de ring, door alle aan de basho, de sumo-match, deelnemende rikishi of sumo-worstelaars. Zij klapten hun handen om de aandacht van de goden te vragen, zij schopten met hun voeten in de lucht om de demonen uit de ring te verjagen, en toonden hun handpalmen om te laten zien dat ze geen wapens hadden verstopt. Daidozan Bungoro's fame as a sumo wrestler began when, as a child, he began to appear with adult wrestlers in the opening ceremonies of sumo tournaments. He was supposed to have performed incredible feats of strength, such as the one in this print, where he is shown at age eight extinguishing a candle flame by improbably waving a go board of considerable weight in front of it. Although Daidozan eventually became a full-fledged wrestler, he failed to live up to the expectations everyone had of him, ending his career with rather mediocre results. Vgl. Juzô Suzuki, Sharaku (1968), nr. 79: toont een ander portret door Sharaku van Daidôzan Bungorô, dan op achtjarige leeftijd. Daar dooft hij een kaars door met een massief go-bord te wapperen.vóórBlokdrukHoutsnede, kleurGoedEngelsThe child Sumo-wrestler Daidôzan Bungorô's dohyo-iri (ring-entering ceremony)2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0010:13:5408:37:2513:09:42collect>internCOLLECT>interncollect>interncollect>intern 73320Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad31,9 x 23,232,0 x 24,0moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0513.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 513CVR.JP-P0513MargesvolledigTeruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print nr. 14, pp. 43 Juzô Suzuki, Sharaku (1968), nr. ##papierDepot 3-lade 16prentDeze prent is niet- zoals het meeste werk van Sharaku- een portret van twee acteurs in hun rollen, maar een vrijere weergave van een scène uit het traditionele verhaal Momijigari of Herfstkleuren. De stof is in verschillende stukken voor het Noh en het Kabuki theater gebruikt, en aan een daarvan zal Sharaku zijn inspiratie, en wellicht de aankleding van de twee protagonisten hebben ontleend. Taira no Koremochi was met zijn metgezellen op jacht op de hellingen van de berg Togakushi, toen hij een beeldschone adellijke dame ontmoette die met haar metgezellinnen genoot van de herfstkleuren van het woud. Zij nodigde hem uit zich bij hen te voegen en gaf hem sake te drinken. Beneveld viel hij in slaap, maar gelukkig verscheen de god Takeuchi in zijn dromen, en waarschuwde hem niet alleen dat zijn gastvrouw in feite een kwade bergdemon was, maar gaf hem ook een goddelijk zwaad om zich te verdedigen: en inderdaad, Koremochi werd net op tijd wakker om zich tegen de aanval van de demon, die haar schone gestalte heeft laten varen, te verdedigen. Dankzij het zwaard weet hij haar te verslaan.vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsMomijigariMaple viewing: Taira no Koremochi attacked by the demon of Mount Togakushi2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0010:13:5408:37:2513:09:43collect>internCOLLECT>interncollect>interncollect>intern 73321Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1797Lengte x BreedteLengte x BreedteBlokBlad37,6 x 25,437,6 x 25,4herdruk laat 20e eeuw?, tweede exemplaarcirca1797circacmcmCVR-JP-P0514.jpgOntwerperUitgeverCVR-JP-P 514CVR.JP-P0514MargesgeenAsano / Clark, The Passionate Art of Kitagawa Utamaro, 1995, cat. nr. 67papier, afgesnedenDepot 3-lade 06prent(aanw juni 2007)LET OP: Van deze prent bezitten we ook een modernere herdruk: CVR/JP/P 421.Man met pijp leunt over scherm, is in gesprek met dame die haar sluier over haar gezicht trekt nogal smoezelig, erg verkleurd (verzuurd papier), ? latere herdruk, al of niet van de originele blokken ? checken ! t.z.t. schoonmaken (Jacques v. Kronenberg ?). Man en vrouw in grijze, respectievelijk grijsgroene kimono, de linker leunt op een kamerscherm en rookt een pijp, de rechter kijkt door de doorzichtige stof van de mantel van de ander, neutale zachtgrijze achtergrond. This is one of a group of ôban three-quarter length portraits published by Moriya Jihei, c. 1797. Cats. Nos. 267-270 are the four designs currently known. == Asano / Clark, The Passionate Art of Kitagawa Utamaro, 1995, cat. nr. 67)serietitel?vóórBlokdrukHoutsnede, (authentieke) reproductiedrukGoedJapansEngelsTsuitate no danjoMan and woman beside a free-standing screen2009-12-15Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)Moriya Jiheischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0010:13:5508:37:2513:09:44collect>internCOLLECT>interncollect>interncollect>intern 73322Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1986Lengte x BreedteLengte x BreedteBlokBlad30,1 x 40,228,3 x 40,21980cmcmCVR-JP-P0515.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 515CVR.JP-P0515Margesalleen onderpapier, Chinees vloeipapierDepot 3-lade 0658prenteigenhandig in potlood(aanw juni 2007)Gezicht vermoedelijk van de Zuidelijke poort van de Verboden Stad, het voormalige keizerlijke paleis in Bejing | Peking, ook bekend als Quianmen, vanaf het Plein van de Hemelse Vrede | Bijna monochrome prent, chiaroscuro effect in drie tinten, geel, grijs, grijsblauw. | This print is part of a woodblock series titled One Hundred Views of Eternal China. The series was created between 1980 and 1986 as the result of an official Sino-Japanese project with the goal to enhance friendship and cooperation between China and Japan.nr. 145 van een oplage van 200serietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D)vóórBlokdrukHoutsnede, kleurenGoedEngelsCity Gate in the Morning2009-12-15Reek, J. vanZhang, Baibo (1944-)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0010:13:5508:37:2513:09:45collect>internCOLLECT>interncollect>interncollect>intern 73323Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad28,5 x 39,830,0 x 39,8cmcmCVR-JP-P0516.jpgOntwerperDorps- en stadsgezichtenCVR-JP-P 516CVR.JP-P0516Margesalleen onderpapierDepot 3-lade 0656prenteigenhandig in potlood(aanw juni 2007)Winters gezicht op de oude Russisch-Orthodoxe kerk in Fengtian, in zonnig, besneeuwd landschap, een vlucht vogels in de lucht. Bijna monochrome prent, chiaroscuro effect in drie tinten. | Today the city is called Shenyang. It had been called Fengtian from 1657 until 1914 and then again during the Japanese occupation from 1932 until 1945. | This print was created as a cooperative work by the two artists, Sui Chenglin and Song Shouhong under the pseudonym Tian Xin. It is part of a woodblock series titled One Hundred Views of Eternal China. The series was created between 1980 and 1986 as the result of an official Sino-Japanese project with the goal to enhance friendship and cooperation between China and Japan.nr 168 van een oplage van 200serietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D)vóórBlokdrukHoutsnede, kleuren of Litho ?GoedEngelsFengtian Church2009-12-15Reek, J. vanTIAN Xin [= pseudoniem van de kunstenaars Sui Chenglin en Song Shouhong]schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0010:13:5508:37:2513:09:46collect>internCOLLECT>interncollect>interncollect>intern 73324Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad28,5 x 39,830,0 x 39,8cmcmCVR-JP-P0517.jpgOntwerperZeegezichtenCVR-JP-P 517CVR.JP-P0517Margesalleen onderpapierDepot 3-lade 06prenteigenhandig in potlood(aanw juni 2007)Zomers gezicht op de kust van Dalian in het noord-oosten van China, met op de voorgrond het Grote Herteneiland, motor- en zeilschepen op de voorgrond en in de verte. Mooi bijna monochroom landschap, hoge horizon, valt wrijwel met bovenrand prent samen, zee en lucht vloeien ineen. | This print was created as a cooperative work by the two artists, Sui Chenglin and Song Shouhong under the pseudonym Tian Xin. It is part of a woodblock series titled One Hundred Views of Eternal China. The series was created between 1980 and 1986 as the result of an official Sino-Japanese project with the goal to enhance friendship and cooperation between China and Japan.nr. 192 van een oplage van 200serietitelArtelino, Fuchsbichl 6a, D-82057 Icking (D)vóórBlokdrukHoutsnede, kleuren of Litho ?GoedEngelsDeer Island2009-12-15Reek, J. vanTIAN Xin [= pseudoniem van de kunstenaars Sui Chenglin en Song Shouhong]schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0110:13:5508:37:2513:09:46collect>internCOLLECT>interncollect>interncollect>intern 73325Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1836Lengte x BreedteLengte x BreedteBlokBlad21,7 x 35,324,8 x 37,2herdruk 20e eeuw1835cmcmCVR-JP-P0518.jpgOntwerperUitgeverSneeuwCVR-JP-P 518CVR.JP-P0518MargesvolledigStewart, Basil, A Guide to Japanese Prints and Their Subject Matter, New York: Dover, 1979 = herdruk van Subjects Portrayed in Japanese Color Prints, 1922 , - pg. 318 - 320, this series describedpapierDepot 3-lade 06prent(aanw juni 2007) serie bestaat uit 10 prentenFrom the series, Koso Go-ichidai Ryaku Zu (An Abridged Biography of Koso Illustrated). Koso (High Priest, Nichiren) was the founder of a Buddhist sect in 13th Century. He is travelling in the Tsukuba Mountains alone in the heavily falling snow. This series, consisting of ten oban prints, is very rare. authentiek reproductieserietitelvóórBlokdrukHoutsnede, kleurenGoedJapansEngelsKoso goichidai ryaku zuTravelling in the Heavy Snow2009-12-15Reek, J. vanKuniyoshi, UtagawaIseya Riheschenking2013-01-272015-05-272013-09-182013-06-1217971861Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0110:13:5508:37:2513:09:47collect>internCOLLECT>interncollect>interncollect>intern 73326Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1930Lengte x BreedteLengte x BreedteBlokBlad25,0 x 36,225,7 x 37,1reprint van 18e eeuw, authentieke reproductiecirca1930circacmcmCVR-JP-P0519.jpgUitgeverCVR-JP-P 519CVR.JP-P0519MargesnauwelijkspapierDepot 3-lade 06prent(aanw juni 2007), onbekend wie ontwerper isTwee Nederlandse stelletjes zitten te slempen op typisch Nederlands-koloniale stoelen, bediend door een inlandse bediende. Een scène uit de Nederlandse factorij op Deshima (o een Japane afbeelding van de Nederlanders in Indonesië ?. | Oorspronkelijke datering can 1760-1770, authentieke reproductie uit de dertiger jaren. De originele tekening (aquarel) uitvoerig beschreven in de internetcatalogus van de antiquarische boekhandel B.M.Israel, inclusief ook uitvoeriger literatuurverwijzingen: JAPANESE WATERCOLOUR.- Red Haired Foreigners Merriment 'Afteeken van vloolijkhijd der Hollanderd' [Drawing / picture of Dutch merriment]. Depicting a group of 4 seated at a table laid out with food and drink. Drawing of a slightly mischievous scene, in which two Dutchmen [Komojin or 'red haired strangers'] and two women, 1 of whom with indistinct features, the one on the right w. Japanese features, winking to the man on the right who is reaching for / groping the woman's breast. To the right a [Javanese?] man servant carrying a tray with more food and drink. A basket w. 4 bottles next to the chair on the right & idem 4 empty bottles below the . No place [Nagasaki?]. No date [early 19th c.]. Original ink and watercolour on silk. Ink colours used are black for the table, plates and chairs, eyes and eyebrows, blue, pink, light green, light purple, ochre, light brown for the garments, table cloth, hair / wigs. Various smaller touches of blue, pink, gray, purple and green for the bottles, head wear, dishes etc. Signed to the right top hand corner 'kõmõjin . no zu'? W. below it a vague orange coloured woodblock seal. Meas. appr. 36 x 26 cm. The entire watercolour mounted on 2 half sheets of 19th c. Japan paper, containing Japanese characters. The watercolour is hemmed off w. a decorative light brown floral patterned border. § Price: EUR 14,800.00. This original watercolour is reminiscent of the earlier 'The Dutch dinner party' by Hayashi Shihei, in which we see VOC-personnel assembled at the dinner table, in the house of the Opperhoofd (Kapitan) Isaac Titsingh at Dejima (Bay of Nagasaki), autumn 1782, two Javanese servants in waiting. Various versions of these 'Hollander' banquet scenes / dinner parties / tavern scenes are known, all rare. Watercolour renderings of these scenes are hardly ever found. The watercolour here offered is not of an official dinner party, but in fact quite the opposite, involving courtesans and bawdy behaviour, especially on the part of the Dutchman on the right. On the watercolours and the woodblock renderings & variants of 'Tavern' scenes up to the early 19th c., see Van Gulik, W., items 43 - 45: Rijksprentenkabinet, part V, item 177: Hosono, Nagasaki prints, item 21: Lotgering, F.K., items 9 - 19 depicting 'Hollanders' Mody 1969, plate 60 and 72: French 1978, 45 (Caricature): Meech - Pekarik, p. 5 and 6 [depicting the identical scene of the watercolour we offer in an early 19th c. (Nagasaki) woodblock print]. The original Shihei illustration was discussed in: Ch. Boxer, 1932, pp. 45 - 62: Idem, Jan Compagnie, 1979, p. 107: Fr. Lequin, Titsingh, ill. nr. 1. Hayashi (Rin) Shihei (1738 - 1793) from Sendai was a loyal samurai, and an admirer of Europeans. He visited Nagasaki twice, in 1777 and in 1782. He is famous for his print of the VOC ship 'Schellack' published in Nagasaki by Tomishimaya, the printers of the well-known prints of the Dutch and Chinese factories. Shihei is considered to be at the beginning of the 'banquet scene' tradition involving 'Hollanders'. Original watercolour renderings of these scenes from this period are very rare and distinctly uncommon in the trade. Literary ref.: § Boxer, CR., 1932. 'Rin Shihei and his picture of a Dutch East India ship, 1782', in: Transactions of the Asiatic Society of Japan, 2nd series, IX, pp. 45 - 66, Tokyo 1932. Repr. C.R.Boxer, Dutch merchants and mariners in Asia, 1602 - 1795, VII, London (Variorum reprints) 1988. § Idem, 1979. Jan Compagnie in War and Peace 1602 - 1799. London / Hong Kong (Heinemann Asia), 1979.§ French, Calvin L., Through Closed doors /Westinfluence on Japanese Art 1639 -1853, Rochester, Mich. (Meadow Brook Art Gallery), 1978. § Lequin, Frank, Isaac Titsingh (1745 - 1812): een passie voor Japan / Leven en werk van de grondlegger van de Europese Japanologie. Alphen aan den Rijn (Canaletto) 2002.§ Mody, N.H.N., A collection of Nagasaki colour prints and paintings, showing the influence of Chinese and European art on that of Japan. Tokyo (Tuttle), 1969. § Julia Meech - Pekarik, The World of the Meiji print. Impressions of a new Civilization. New York, Tokyo, Weatherhill, 1986.§ Willem van Gulik, Nederlanders in Nagasaki / The Dutch in Nagasaki. 19th c. Japanese prints. Amsterdam, Terra Incognita, 1998.§ Rijksprentenkabinet, Catalogue of the Japanese prints vol. V, The Age of Yoshitoshi, Japanese prints from the Meiji and Taisho periods, Nagasaki, Yokohama and Kamigata prints. Amst., Den Haag, Gary Schwartz, 1990. § Masanobu Hosono, Nagasaki prints and early copperplates. Tokyo, Kodansha Int.,1978.§ Lotgering, F.K. 'Vreemdelingen in Japan. Aantekeningen bij een verzameling van Nagasaki- en Yokohama- kleurenhoutsneden'. Overdruk uit: Economisch en Sociaal-Historisch Jaarboek, vol. 41, 1978, pp. 154 - 174Auction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | Fuji Arts (William G. Fagan) | Robert O. Muller CollectionvóórBlokdrukHoutsnede, kleurenGoedEngelsAn image of the good cheer of the Dutch at Deshima2009-12-15Reek, J. vanHayashi (Rin) Shihei (1738 - 1793) of navolgerschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0110:13:5508:37:2513:09:49collect>internCOLLECT>interncollect>interncollect>intern 73327Depot 3-lade 18Japanse PrentenCentre CéramiquePrinses Yaegaki van de Usuegi clan was de geliefde van Takeda Katsuyori, telg van een rivaliserende clan, waarmee haar familie en vete uitvocht. Zij hoort dat haar vader hem in een hinderlaag wil laten lopen,en ontsnapt uit het kasteel om om hem te kunnen waarschuwen. Om het omringende bevroren meer te kunnen oversteken, hielp zij de hulp in van de god van het Suwa tempeltje, die een witte vos stuurde om haar te beschermen in haar overtocht. Bezeten door de geest van de vos danst ze over het ijs - het hoogtepunt in de theatervoorstelling die op deze zich in de 16de eeuw afspelende legende is gebaseerd.MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad34,9 x 24,536,2 x 24,6exact1892exactcmcmCVR-JP-P0520.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 520CVR.JP-P0520MargesvolledigStevenson 1992, cat. nr. XXX, pp. 78-79papier, gedoubleerdDepot 3-lade 1830prentDoos 36 Geesten, Honcho Nijushiko [= Twenty-four examples of filial pity, oorspronkelik geschreven in 1766 voor het Bunraku poppentheater, later bewerkt tot Kabuki theaterstuk.Prinses Yaegaki van de Usuegi clan was de geliefde van Takeda Katsuyori, telg van een rivaliserende clan, waarmee haar familie en vete uitvocht. Zij hoort dat haar vader hem in een hinderlaag wil laten lopen,en ontsnapt uit het kasteel om om hem te kunnen waarschuwen. Om het omringende bevroren meer te kunnen oversteken, hielp zij de hulp in van de god van het Suwa tempeltje, die een witte vos stuurde om haar te beschermen in haar overtocht. Bezeten door de geest van de vos danst ze over het ijs - het hoogtepunt in de theatervoorstelling die op deze zich in de 16de eeuw afspelende legende is gebaseerd. | mooie kwaliteit prent, doorschijnende houtnerf in de grijze achtergrond, en met blinddruk in de onderkimono van de prinses en het witte haar van de gehoornde helm die zijj voor haar geliefde meeneemt.serietitelvóórBlokdrukHoutsnede, kleuren, blinddrukuitstekendJapansEngelsNijushiko kitsunebi no zuThe Foxfires in Nijushiko2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasakischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0110:13:5508:37:2613:09:52collect>internCOLLECT>interncollect>interncollect>intern 73328Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1887-11Lengte x BreedteLengte x BreedteBlokBlad33,7 x 23,336,9 x 24,2exact1887-11exactcmcmCVR-JP-P0521.jpgOntwerperUitgeverCVR-JP-P 521CVR.JP-P0521Margesvolledigpapier, gedoubleerdDepot 3-lade 06prent(aanw juni 2007)Vrouw in paarse gebloemde kimono, ten halve lijve, met een koord vastgebonden met haar handen op haar rug, ze houdt een streng van haar haar in haar mond, tegen een grijze tot zwarte avondlucht, daarop een grote rechthoekige cartouche met een uitvoerige tekst. | Against a black fading to grey background a bijin with her hands tied behind het back with a rope. | Blinddruk in kraag en zomen van de witte onderkimono, mica gestrooid op de nachtelijke hemel. Fine impression with gauffrage and mica. Very slightly trimmed in margins. Album binding holes along right edge. Overall light creases. Slightly soiled. Minor marks and flaws. Generally good state.== let op deze prent heeft zelfde tekstcartouches (maar ander zegel) als andere prenten uit de serie. 'Lady Muraoka of the Konoe Clan,' 1887. from the series Lives of Modern People. Ink and colors on paper, oban. Collection of Harvey Garneau. This object appears is from the Special Exhibit: From Edo to Meiji: Yoshitoshi's Strange Tales May 26–September 9, 2007 In case of discrepancy, use wall label as final authority. This illustration of Lady Muraoka of the Konoe clan, an ancient branch of the Fujiwara, has rather startling erotic overtones. The lady, wearing robes of the Heian period (794–1185) and with the traditional 'moth eyebrows' of the period painted on her forehead, stares at the viewer with languid half-closed eyes. She is bound with rope around her arms, neck, and presumably wrists in a style appropriate for Japanese cartoons (manga) with pornographic content. A lock of hair is gripped between her teeth in a gesture suggesting sexual pleasure typically depicted in pornographic prints, known as shunga. Yoshitoshi does not appear to have designed explicit shunga, which were discouraged by Meiji officialdom, but the mood of this print comes close. Between 1886 to 1888 Yoshitoshi created a number of designs for the newspaper Yamato Shimbun. Unlike his designs for the Postal Dispatch a decade earlier, which were based on contemporary news stories, most of the Yamato Shimbun prints were of historical subjects and were sold as supplements (furoku) to certain issues of the newspapers. signed: Yoshitoshi. publisher: Yamato Shimbunsha. engraver: Enkatsu.printed: 11th monthserietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | november 2004vóórBlokdrukHoutsnede, kleurenuitstekendEngelsLady Muraoka of the Konoe Clan2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Yamato Shimbunshaschenking2013-01-272015-05-272014-02-202013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0117:02:0311:41:5810:13:5608:37:2613:09:54collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73329Depot 3-lade 06Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888-02-25Lengte x BreedteLengte x BreedteBlokBlad34,3 x 23,734,7 x 23,3exact1888-02-25exactcmcmCVR-JP-P0522.jpgOntwerperUitgeverKatten en hondenCVR-JP-P 522CVR.JP-P0522Margesalleen boven, rest afgesnedenJ. Stevenson, Yoshitoshi's Women: The Woodblock Print series Fûzokû sanjûnisô, Hong Kong 1986papier, gedoubleerdDepot 3-lade 061prent(aanw juni 2007)In fraaie kimono gekleeed jong meisje uit de Kansei periode (1789-1801) buigt zich over haar witte kat, met een belletje om. | Blinddruk in de vacht van de kat |serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | november 2005vóór19Centre CéramiqueBlokdrukHoutsnede, kleuren, blinddrukVerstilde schoonheidredelijkJapansEngelsUrusaso kansei nenkan shojo no fuzokuLooking tiresome: the appearance of a virgin of the Kansei era (1789-1801) playing with her pet cat2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272014-03-182013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0212:26:5811:41:5810:13:5608:37:26Maastricht13:09:55collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73330Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1680Lengte x BreedteLengte x BreedteBlokBlad26,5 x 41,729,7 x 42,3herdruk 1956, authentieke reproductiecirca1680circacmcmCVR-JP-P0523.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 523CVR.JP-P0523MargesvollledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 13)papierDepot 3-lade 1612prent32 = Selected Masterpieces of Ukiyo-e prints, 1956 Zie overzichtafbeelding van de serie op los inlegvel in het bijbehorende tekstboek)Het uitgaansleven in de wijk Yoshiwara van Edo.in verzamelband uitgever met tekstdeelserietitelvóórBlokdrukHoutsnede, monochroom, moderne herdrukGoedJapansEngelsYoshiwara no teiA Scene at Yoshiwara2009-12-15Reek, J. vanMoronobu, Hishikawa (1618-1694)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0211:41:5810:13:5608:37:2613:09:56collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73331Depot 3-lade 16Japanse PrentenCentre CéramiqueEen courtisane, vermoedelijk uit het Yoshiwara district in Edo, toont een vrucht van een lampion plant (Chinese lantaarn) aan een kind. Het kind dat vragend om de vrucht naast haar staat is waarschijnlijk haar dienster en leerling (kamuro). Kleine meisjes maakten speelgoed van deze vruchten door ze uit te hollen en de zaadjes eruit te verwijderen. Een ploppend geluid werd gemaakt door de tong in de holle vrucht te steken. Yüjo waren geen gewone prostituees. Om een populaire Yüjo te kunnen worden moest een vrouw een goede gezelschapdame zijn en kennis en vaardigheden bezitten op het gebied van onder andere muziek, poëzie, dans, lezen en schrijven. Om dit niveau te kunnen bereiken gingen meisjes al heel jong als 'kamuro' in de leer bij een volleerde 'yüjo'. Deze vroege prent werd bijgekleurd. The woman holding a berry of ground cherry (hozuki) between her fingers, standing in a pose showing the side view in the shape of a reversed "S"letter, is probably a well-known "woman of gay quarters" (yüjo) at Yoshiwara in Edo . The little girl beside her, begging for the berry, must be her maid (kamuro). The red berry is from a Japanese lantern plant. Young girls make playthings out of their berries by removing the seeds and making them hollow; when a hollowed berry is pressed with the tongue in the mouth it gives bubbling sound. Yüjo were not simply prostitutes. In order to be a popular yüjo the woman had to master various decent accomplishments such as music, poetry, dance, reading and writing, elegant pastimes, etc. These requirements necessitated long period of exacting training, usually attained by serving as an attendant to a "good"yüjo. A kamuro is a little girl in such apprenticeship, so to speak. This early print is hand colored.MaastrichtJapanse prenten1703Lengte x BreedteLengte x BreedteBlokBlad55,5 x 31,059,0 x 33,2herdruk 1956, authentieke reproductiecirca1688circacmcmCVR-JP-P0524.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 524CVR.JP-P0524MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 14)papier, twee aaneengeplakte vellen van verschillend formaatDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Een courtisane, vermoedelijk uit het Yoshiwara districht in Edo, toont een kind een hôzuki, een goud- of aardbes (Physalis - pruinosa ?).in verzamelband uitgever met tekstdeelvóórorigineel Coll. The Tokyo National Museum (bron table of prints selected masterpieces 1956) all rights reserved01vouw ivm maat portefeuilleCentre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsWoman with Hôzuki2009-12-15Reek, J. vanKiyonobu, Torii (1664-1729)Adachi Instituteschenking2013-01-272015-05-272014-04-032014-04-032014-03-262014-03-192014-03-192014-03-192014-03-192014-03-192014-03-182014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0214:45:3914:44:3514:59:4713:28:4213:23:1812:28:2412:16:1112:08:2018:46:5216:28:4410:28:5211:41:5910:13:5608:37:26Maastricht13:09:56collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73332Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1742Lengte x BreedteLengte x BreedteBlokBlad64,0 x 22,069,2 x 27,1herdruk 1956, authentieke reproductiecirca1742circacmcmCVR-JP-P0525.jpgOntwerperUitgeverActeursCVR-JP-P 525CVR.JP-P0525MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 17)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956De jonge populaire acteur Sanogawa Ichimatsu speelde de rollen van knappe jongen mannen in het Kabuki theater. Door zijn populariteit werd de zwart-wit geruite kleding die hij droeg in het stuk Kôya Shinju uit 1741 een rage, en zijn naam wordt nog steeds als term gebruikt voor dit patroon. Ichimatsu is hier afgebeeld tijdens een dans waarin hij met handpoppen romantische avontruen uitbeeldt.in verzamelband uitgever met tekstdeelvóórvouw ivm maat portefeuilleBlokdrukHoutsnede, kleurGoedEngelsThe actor Sanogawa Ichimatsu as a puppet-player2009-12-15Reek, J. vanMasanobu, Okumura (1686-1764)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0211:41:5910:13:5608:37:2613:09:56collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73333Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1770Lengte x BreedteLengte x BreedteBlokBlad27,0 x 21,629,3 x 22,2herdruk 1956 , authentieke reproductiecirca1765circacmcmCVR-JP-P0526.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 526CVR.JP-P0526Margesongelijk (bovenrand breed)Ichitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 19)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Een courtisane op de veranda van een theehuis, achter de vensterschermen is een musicerend gezelschap in silhouet te zien. Blinddruk in het vensterscherm en het witte overkleed van de hoofdfiguur.in verzamelband uitgever met tekstdeelvóór76Centre CéramiqueBlokdrukHoutsnede, kleuren, blinddrukVerstilde schoonheidGoedEngelsBeauty on the veranda2009-12-15Reek, J. vanHarunobu, Suzuki (1724-1770)Adachi Instituteschenking2013-01-272015-05-272014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0316:29:0910:29:0211:41:5910:13:5708:37:26Maastricht13:09:57collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73334Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1824Lengte x BreedteLengte x BreedteBlokBlad27,6 x 21,228,3 x 21,9herdruk 1956 , authentieke reproductieeeuw1700eeuwcmcmCVR-JP-P0527.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 527CVR.JP-P0527Margesvolledig, smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 20)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Twee dames op een bank in een met een schutting omheind prieel in een park, een doorkijkje op een kanaal met een brug erover heen (het Kameido park ?)in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleuren, blinddrukGoedJapansEngelsYû suzumiCool of the evening2009-12-15Reek, J. vanHarushige, Suzuki (1747-1818)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0311:41:5910:13:5708:37:2613:09:58collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73335Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1780Lengte x BreedteLengte x BreedteBlokBlad25,3 x 19,626,7 x 20,0herdruk 1956, authentieke reproductiecirca1760circacmcmCVR-JP-P0528.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 528CVR.JP-P0528Margesongelijk, links volledig afgesneden, rechts en onder smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 21)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Een man wandelt door de rosse buurt, met een courtisane aan zijn arm, en haar dienstmeisje aan zijn andere kant.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleuren, blinddrukGoedEngelsIn the gay quarters2009-12-15Reek, J. vanKoryusai, Isoda (1735-1790)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0311:41:5910:13:5708:37:2613:09:58collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73336Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1780Lengte x BreedteLengte x BreedteBlokBlad27,1 x 21,229,3 x 21,8herdruk 1956, authentieke reproductiecirca1760circacmcmCVR-JP-P0529.jpgOntwerperUitgeverActeursCVR-JP-P 529CVR.JP-P0529Margesongelijk (bovenrand breed)Ichitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 22)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956De scène, eigenlijk een dubbelportret van twee bekende Kabuki acteurs, is gebaseerd op een door Ikchikawa Yaozô II geconcipiëerde en daarna zeer populair geworden dans, Sagi-musume, waarin de geest van de kraanvogel wordt voorgesteld als een teer in wit gekleed meisje tegen een achtergrond van al even witte sneeuw. De parasol vertoont de familiewapens van de beide afgebeelde acteurs. Fraaie blinddruk in het witte gewaad, en ook in de sneeuwvlokken en de sneeuwhoopjes op de grond.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleuren, blinddrukGoedEngelsThe actors Segawa Kikunojô II and Ichikawa Yaozô as a couple under an umbrella in the snow2009-12-15Reek, J. vanBuncho, Ippitsusai (1725?- 1794)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0311:42:0010:13:5708:37:2713:09:58collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73337Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1790Lengte x BreedteLengte x BreedteBlokBlad38,3 x 25,638,8 x 26,3herdruk 1956, authentieke reproductiecirca1770circacmcmCVR-JP-P0530.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 530CVR.JP-P0530Margesvollledig, smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 23)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956 Verwant aan, maar GEEN onderdeel van een serie van 4 ? Prenten, Bueaties of the East, West, South and NorthEen tweetal courtisanes - een staande, gezien van achteren, arrangeert haar haar, de made à trois-quart zit op de grond en houdt een waaier in haar hand. Geeft vermoedelijk 'conseils vestimentaires'.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedEngelsBeauties of the East2009-12-15Reek, J. vanShigemasa, Kitao (1739-1820)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0411:42:0010:13:5708:37:2713:09:58collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73338Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1780Lengte x BreedteLengte x BreedteBlokBlad25, 5 x 37,227,0 x 38,9herdruk 1956, authentieke reproductiecirca1760circacmcmCVR-JP-P0531.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 531CVR.JP-P0531Margesvolledig, inscripties langs rechterzideIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 24)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Gezicht op de oevers van de Sumida rivier, bij Mimeguri. Zeer gedetailleerd landschap, in vormgeving (perspectief) gebaseerd op Westerse prenten (kopergravures). Het is bekend dat Toyoharu zulke prenten (bijv. topografische optica prenten) imiteerde, o.a. een gezicht op het Canal Grande in Venetië van Visentini. Opvallend hier zijn de opgehoogde oevers of dijken langs de riveir, en rechts de met behulp van een paard geploegde rijstvelden rechts onder. Kim Veltman, Perspective, http://www.sumscorp.com/perspective/Vol3/ch2.htm: Toyoharu Okumura (1735-1814) brought a further qualitative change in this technique (e.g. pl. 26.2). He is said to have copied a work of Visentini based on Canaletto (pl. 28). Nor was he alone in this (pl. 27). Hence the greater accuracy in perspectival construction partially reflects greater access to western exemplars. Toyoharu specialized in both historical or group genre scenes and landscapes in perspective, often combining the two types, often developing earlier themes. For example, Masonobu had drawn The evening cool at Ryogoku bridge. Toyoharu produced Fireworks at Ryogoku Bridge (late 1770's). Kiyotadu had done a Party at Yoshiwara. Toyoharu did a Party at Shinagawa (late 1770's). His predecessors had depicted the interiors of theatres. Toyoharu did a Theatre district at night (early 1780's). Certain scenes were privileged, such as Mimeguri (pl. 29.1-3), which shows a river with dikes strongly reminscent of those along the Rhine and in an atmosphere strongly reminiscent of Netherlandish paintings of the time. Through Toyoharu, uki-e now:became an integrated form of Japanese art. By the age of the great landscapes of Hokusai and Hiroshige in the following century the perspective style had become so thoroughly assimilated that western students first seeing Japanese prints almost invariably chose these two masters as representatives of the pinnacle of Japanese art, little realizing that part of what they admire is the hidden kniship they feel with their own western tradition. (Ironically enough it was this work of Hokusai and Hiroshige that helped revitalize western painting toward the end of the mnineteenth century, through the admiration of the Impressionists and Post-Impressionists. Competition & Collaboration:Japanese Prints of the Utagawa School. An exhibition on view at the Chazen Museum of Art November 3, 2007 – January 6, 2008 Long Description: Utagawa Toyoharu (1735–1814) Title: A View of Mimeguri Series: Perspective Pictures Date: 1770s Bequest of John H. Van Vleck, 1980.3093 Agriculture in Japan was considered to be a community affair, with all members of a village turning out to help plant the fields and hoping for a good harvest. This land, now part of urban Tokyo, was once farmland. Notice the dike system holding back the river from the fertile fields. The flooded rice paddies on the right side of the picture show one of the main agricultural products of Japan during the Edo period: rice. All taxes were collected in rice so this important food was also a form of money. The kind of farming technology required to grow rice shown in this picture illustrates techniques far more advanced than those required in the agriculture of Europe or America.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedEngelsLandscape at Mimeguri2009-12-15Reek, J. vanToyoharu, Utugawa (1735-1814)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0411:42:0010:13:5808:37:2713:09:59collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73339Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1760Lengte x BreedteLengte x BreedteBlokBlad41,0 x 29,043,9 x 31,0herdruk 1956, authentieke reproductiecirca1750circacmcmCVR-JP-P0532.jpgOntwerperUitgeverActeursCVR-JP-P 532CVR.JP-P0532MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 18)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956O-Kiku, of Chrysant -vandaar het patroon op haar kimono- biedt haar geliefde Kôsuke een warme mantel aan. Een scène uit het toneelspel O-Kiku en Kôsuke dat in 1751 in première ging.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenEngelsThe actors Nakamura Kiyosaburô en Ichimura Kamezô as O-Kiko en Kôsuke2009-12-15Reek, J. vanToyonobu, Ishikawa (1711-1785)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0411:42:0010:13:5808:37:2713:10:00collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73340Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1760Lengte x BreedteLengte x BreedteBlokBlad29,6 x 43,832,5 x 45,0herdruk 1956, authentieke reproductiecirca1750circacmcmCVR-JP-P0533.jpgOntwerperUitgeverCVR-JP-P 533CVR.JP-P0533MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 16)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956 , ontwerper (of: act. 1685-1735 ?)Deze prent is een sprekend voorbeeld van uki-e, of reliëf-prenten: deze heeten zo vanwege het drie-dimensionale effect dat ontstond door de toepassing van het aan geïmporteerde Europese prenten ontleende lineair perpectief. In eerste instantie werd dat -vanaf het begin van de 18de eeuw- gebruikt voor de weergave van gebouwen en interieurs, zoals in deze afbeelding van een vrolijk gezelschap in een Geisha huis in de Yoshiwara wijk, de rosse buurt van Edo. Op de voorgrond spelen een bezoeker en een geisha Ken-Sumo: een snel spel waarbij de spelers in een snel tempo steeds tegelijkertijd bepaalde symbolische handgebaren maken. Het is blijkbaar zo spannend dat andere klanten en geisha's er naar komen kijken, met uitzondering van de door een geisha op een luit begeleide zanger op de achtergrond.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedEngelsKen-Sumô at the gay quarters of Shin-Yoshiwara2009-12-15Reek, J. vanMoromasa, Furuyama (1712-1772)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0411:42:0010:13:5808:37:2713:10:01collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73341Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1790Lengte x BreedteLengte x BreedteBlokBlad39,0 x 26,540,0 x 27,2herdruk 1956 , authentieke reproductiecirca1770circacmcmCVR-JP-P0534.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 534CVR.JP-P0534Margesvolledig, erg smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 25)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Deze prent vertelt het verhaal van de zusters Matsukase (Wind in de dennebomen) en Murasume (Herfstregen). Zij woonden aan de baai van Suma in de provincie Settsu, en verdienden hun brood met het maken van zout uit zeewater. Matsukaze werd verliefd op de hoveling Ariwara no Yukihira, die naar Suma was verbannen, maar hij liet de meisjes in de steek toen hij drie jaar later terug mocht naar het hof. Wel liet hij zijn prachtige geborduurde mantel en zijn eboshi, de gouden hoed die zijn rang aangaf, bij hen achter. Gekleed in die gewaden zouden de meisjes -volgens sommige versies hun geesten- nog jaren later hun droeve dans uitvoeren op het strand van Suma. Het verhaal werd verteld in een stuk voor het Noh-theater, en er onstond ook een klassiek ballet uit, waarin met name het sprekende contrast tussen de eenvoudige arbeid van de meisjes en hun uitzonderlijk rijke kleding wordt uitgebuit, net als in deze prent.in verzamelband uitgever met tekstdeelserietitelvóórkreukel rechtsonderBlokdrukHoutsnede, kleurenGoedJapansEngelsShio-kumiShio-kumi:Matsukaze and Murasame fetch seawater to make salt2009-12-15Reek, J. vanKiyonaga, Torii (1752-1815)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0411:42:0110:13:5808:37:2713:10:02collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73342Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteLengte x BreedteBlokBlad39,1 x 26,239,4 x 27,0herdruk 1956 , authentieke reproductie1793cmcmCVR-JP-P0535.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 535CVR.JP-P0535Margesafgesneden boven en linksIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 26)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Het hoofd van een volwassen mooie vrouw, een bijin, onderdeel van een serie van (fictieve) vrouwenportretten die elke een aspect van de liefde belichamen. Er zijn er nog slechts enkele van bekend. Dit is een van Utamaro's bekendste ontwerpen: het stelt een rijpere vrouw voor die piekert over haar onbeantwoordde passie. http://kaladarshan.arts.ohio-state.edu/studypages/internal/japan682/Ch9.htm The beauty of the female form, raised to a classical perfection by Kiyonaga, found a fresh interpretation in the art of Kitagawa Utamaro (I753--I806). His talent was discovered by an intelligent publisher, Tsuta--ya Juzaburo (known to art lovers by his emblem, an ivy leaf--tsuta --surmounted by Mount Fuji), who established him as Kiyonaga's rival. His early works of the Temmei era, skillful compositions of girls grouped in picturesque settings, followed the way opened up by Kiyonaga. But about I790 Utamaro created a style of his own with his large--faced prints in close--up (okubi--e ). This innovation, enabling him to focus expression wholly on bust and face, ensured his success. Tireless interpreter of feminine charm, he took as his models not only the ladies of what Edmond de Goncourt called the green houses, but all types of womanhood of different ages and social classes. So much has been said and written about this master physiognomist and psychologist that we can most fittingly pay homage to him here by reproducing one of his most fascinating and accomplished works. In the series of Love Poems (Kasen--koi--no--bu ) Utamaro interpreted the different aspects and changing moods of love (melancholy, unavowed, disclosed, etc.), according to the time--honored classification of the classical anthologies, and each shade of feeling is reflected on the faces of these young wives. In Melancholy Love (mono--omou--koi ) the profile of a woman wrapped in her thoughts stands out against the yellow background symbolizing the glow of the oil lamp. (illustration page 172) Tender colors--gray, mauve, bright yellow--evoke the secret charm of tender thoughts, while the dab of red on lips and sleeves hints at hidden passions whose chagrin peeps out, moreover, through the half--closed eyes. Without any literary allusions or lyrical setting, the whole psychology of love is conveyed by purely pictorial means. We may note a technical refinement of which Utamaro took advantage with a good deal of skill. Already in Harunobu's time the new technique of nishiki--e called for the use of high--quality paper capable of withstanding several successive impressions. Hosho paper, thick and immaculately white, provided the solution, and its soft, spongy texture added a new element of beauty to the print. To represent any white object, linen or snow or example, it was enough to print the outlines without any color (kara--oshi, uninked impression). Utamaro explored every possibility afforded by the tactile quality of the paper's texture. Sometimes, in defiance of the Japanese tradition of draftsmanship, he even dispensed with the contour lines, first of the face, then of the body, and built up the form with color alone. Sotheby Paris, sale Huguette Berès Collection, 2002, een originele druk van deze prent geschat op ca 300.000 Euro !: Kitagawa Utamaro (1753?1806), Pensive Love from the series Anthology of Poems: Love Section, Circa 1790, signed, 37.2 by 25.3 cm. (14-5/8 by 10 in.) Estimate: 280,000?320,000 EUR (280,000?320,000 USD).in verzamelband uitgever met tekstdeelserietitelvóórBlokdrukHoutsnede, kleuren, mica op achtergrondGoedJapansEngelsMonou omou koiPensive Love: A Kabuki Actor in a Female Rôle2009-12-15Reek, J. vanUtamaro, Kitagawa (ca 1753-1806)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0510:13:5808:37:2713:10:02collect>internCOLLECT>interncollect>interncollect>intern 73343Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad39,2 x 25,739,2 x 26,3herdruk 1956, authentieke reproductiecirca1794circacmcmCVR-JP-P0536.jpgOntwerperUitgeverActeursCVR-JP-P 536CVR.JP-P0536Margesoveral afgesneden, behalve small randje linksIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 27)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956beschrijving originele druk in Metropolitan Museum New York: http://www.metmuseum.org/TOAH/ho/09/eaj/ho_JP2822.htm Otani Oniji II, dated 1794.Toshusai Sharaku (Japanese, active 1794–95).Polychrome woodcut print on paper, 15 x 9 7/8 in. (38.1 x 22.9 cm). Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939 (JP2822). The actor Otani Oniji II is captured here in the role of Yakko Edobe. A yakko is a manservant often used by samurai to perform violent deeds. Otani Oniji's leering face, shown in three-quarter view, bristling hair, and groping outstretched hands capture the ruthless nature of this wicked henchman. Sharaku was renowned for creating visually bold prints that gave rare revealing glimpses into the world of kabuki. He was not only able to capture the essential qualities of kabuki characters, but his prints also reveal, often with unflattering realism, the personalities of the actors who were famous for performing them. Because kabuki plays have relatively simple plots, the acting style of the performer is central to the performance. As a result, successful kabuki actors enjoyed great celebrity status. Unlike earlier masters, Sharaku did not idealize his subjects or attempt to portray them realistically. Rather, he exaggerated facial features and strove for psychological realism.in verzamelband uitgever met tekstdeelvóór65Centre CéramiqueBlokdrukpapier, zilver/mica op achtergrondVerstilde schoonheidGoedEngelsThe Kabuki Actor Ôtani Oniji as Edohei the Manservant2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0510:29:1011:42:0110:13:5808:37:27Maastricht13:10:04collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>intern 73344Depot 3-lade 16Japanse PrentenCentre CéramiqueThe geisha Shizuka is sitting relaxed, leaning slightly backwards. In her left hand she is holding an opium pipe. The kimono in antique pink with stunning flower prints in rose-red to red shades. The flower motif is corresponding to the wall scroll showing red carnations, which are a symbol of romantic love. The floating cloth of the kimono and the golden obi is skillfully draped in waves to show her inner relaxation and her face is a little moony.MaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad38,8 x 25,939,2 x 26,7herdruk 1956 , authentieke reproductiecirca1794circacmcmCVR-JP-P0537.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 537CVR.JP-P0537Margesvolledig, zeer smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 29)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Deze prent is onderdeel van een serie van zes voorbeelden van vrouwelijke schoonheid (bi-jin). Elk van deze prenten verbeeldde een populaire dame uit een van de geisha huizen in Shin-Yoshiwara, de uitgaansbuurt -zelfs de rosse buurt- van Edo. Eishi's dames zijn meestal van een bijzondere elegantie en distinctie: dit zal wel te maken hebben met het feit dat Eishi, in tegenstelling tot de meeste Ukiyo-e kunstenaars, afkomstig was uit een samurai geslacht, en zelfs een hoge functie had bekleed vóórdat hij besloot zich volledig toe te leggen op de - in de hogere kringen nog als vulgair beschouwde ukiyo-e kunst.in verzamelband uitgever met tekstdeelserietitelvóór05Centre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidGoedEngelsShizuka of Shizutamaya House2009-12-15Reek, J. vanEishi, Chôbunsai (1756-1829)Adachi Instituteschenking2013-01-272015-05-272014-03-192014-03-192014-03-182014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0516:06:5115:59:1418:50:1716:30:0410:29:1911:42:0110:13:5908:37:27Maastricht13:10:06collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73345Depot 3-lade 16Japanse PrentenCentre CéramiqueDe nakai (dienster) Kan van het huis Izutsuya en de geisha Fuseya van het huis Ôgiya. De achtergrond is met mica verfraaid. Onderdeel van een serie vergelijkbare prenten waarvan er naast deze nog drie bekend zijn. The nakai (restaurant waitress) Kan, from the house Izutsuya, and the geisha Fuseya, from the house Ogiya. From an untitled series of Osaka geishaMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad38,0 x 25,538,2 x 25,8moderne herdruk 1956, authentieke reproductie1789cmcmCVR-JP-P0538.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 538CVR.JP-P0538Margesdeels afgesnedenIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 28)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Twee bi-jin, mooie vrouwen, uit het theehuis Ôgi-ya in de amusementswijk Yoshiwara: een volwassen nakai, serveerster, en een jonge geisha. Er zijn nog tenminste drie andere, vergelijkbare prenten van dezelfde kunstenaar bekend, zij waren alle vermoedelijk onderdeel van een serie van populaire vrouwen in het uitgaansleven van Edo van het laatste decennium van de 19de eeuw. Ook andere kunstenaars, zoals Chôbunsai Eishi, maakte dergelijke series, dus er was blijkbaar vraag naar.in verzamelband uitgever met tekstdeelserietitelvóór06Centre CéramiqueBlokdrukHoutsnede, kleuren, mica op achtergrondVerstilde schoonheidGoedEngelsThe nakai Kan and the geisha Fuseya2009-12-15Reek, J. vanChoki, Eishôsai (fl. 1789-1795)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272014-03-192014-03-192014-03-182014-03-182014-03-182014-01-162013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:0517:20:0116:31:3318:50:2716:43:4916:30:3010:30:1811:42:0110:13:5908:37:28Maastricht13:10:07collect>internCOLLECT>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>interncollect>intern 73346Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1800Lengte x BreedteLengte x BreedteBlokBlad32,7 x 22,333,2 x 23,0moderne herdruk 1956, authentieke reproductiecirca1790circacmcmCVR-JP-P0539.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 539CVR.JP-P0539Margesvolledig, zeer smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 30)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Deze prent is een voorbeeld van een genre dat beni girai heet ofook wel murasaki-e, dat wil zeggen: paarse prenten. De overheid probeerde overdreven luxe en weelde aan banden te leggen, enverbood de rijk gekleurde 'nishiki-e of brokaten prenten. Met name rood weerd verboden. Vandaar dat deze prent in slechts twee kleuren werd uitgevoerd, groen en zacht paars, die mooi contrasteren met het zwart wit van de tekening.in verzamelband uitgever met tekstdeelvóórenkele kreukels aan de randenBlokdrukHoutsnede, kleurenGoedJapansEngelsChatsumiTea Picking2009-12-15Reek, J. vanShumman, Kubo (1757-1820)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0511:42:0110:13:5908:37:2813:10:07collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73347Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1785Lengte x BreedteLengte x BreedteBlokBlad38,2 x 26,238,8 x 26,6moderne herdruk 1956, authentieke reproductiecirca1775circacmcmCVR-JP-P0540.jpgOntwerperUitgeverBijin (Mooie vrouwen)CVR-JP-P 540CVR.JP-P0540Margeszeer smal, onder deels (schuin) afgesnedenIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 31)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Drie mooie vrouwen - bi-jin - zijn afgebeeld bij en picknickbankje aan de rand van een vijver of meertje, onder een wilgenboom. Ze genieten van de koelte van de avond, twee ervan zelfs van een pijpje. Katsukawa Shunchô was - heel verwarrend- een leerling van Katsukaka Shunshô - maar legde zich niet toe op acteursportretten, maar op bijin-ga, prenten van mooie vrouwen, in de stijl van Torii Kiyonaga, en op shunga, erotische prenten. Later stopte hij met prentmaken, en legde zich toe op komische literatuur.in verzamelband uitgever met tekstdeelvóórkreukje in ondermargeBlokdrukHoutsnede, kleurenGoedEngelsBeauties enjoying the cool of the evening under a willow tree2009-12-15Reek, J. vanSchunchô, Katsukawa (fl. 1770-1792, + na 1821)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0611:42:0210:13:5908:37:2813:10:08collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73348Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteLengte x BreedteBlokBlad36,5 x 26,037,2 x 27,0moderne herdruk 1956, authentieke reproductieexact1796exactcmcmCVR-JP-P0541.jpgOntwerperUitgeverActeursCVR-JP-P 541CVR.JP-P0541Margesvolledig, zeer smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 32)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956 Drie prenten, elk voorstellende een acteur in één van de hoofdrollen van het Kabuki-spel Sugawara Denju Tenarai Kagami in de uitvoering van 1796Kabukido Enkyô was een pseudonym van de Kabuki-theaterauteur Nakamura Jusuke, die er blijkbaar plezier in had om zijn acteurs ook in beeld te brengen - en dat ook kon. Niettemin zijn er maar zeven prenten van zijn hand bekend. De hier afgebeelde acteur Nakamura Nakazô is afgebeeld als de tragische held Matsuô -Maru, die zich uit riddertrouw genoodzaakt ziet toe te zien hoe zijn eigen zoon, als stand-in voor de zoon van zijn verbannen meester, door diens vijanden wordt vermoord.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedEngelsThe actor Nakamura Nakazô as Matsuô-Maru2009-12-15Reek, J. vanEnkyô, Kabukidô (1749-1803)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0611:42:0310:13:5908:37:2813:10:08collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73349Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteLengte x BreedteBlokBlad37,8 x 25,638,0 x 26,3moderne herdruk 1956, authentieke reproductieexact1796exactcmcmCVR-JP-P0542.jpgOntwerperUitgeverActeursCVR-JP-P 542CVR.JP-P0542Margesvolledig, smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 34)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Yuranosuke in the play, Kanadehon Chushingura (i.e. De wraak van de 47 trouwe dienaren. Zeer zorgvuldig vervaardigde prent, ieder ex. Werd nog met de hand afgewerkt: zo zijn de oogbollen met waterverf aangezet.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedEngelsThe actor Sawamura Sôjûrô as Ôboshi Yuranosuke2009-12-15Reek, J. vanToyokuni (I), Utagawa (1769-1825)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0611:42:0310:13:5908:37:2813:10:08collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73350Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1834Lengte x BreedteLengte x BreedteBlokBlad24,7 x 37,225,2 x 37,8herdruk 1956, authentieke reproductie1833cmcmCVR-JP-P0543.jpgOntwerperUitgeverZeegezichtenCVR-JP-P 543CVR.JP-P0543Margesvolledig, smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 35)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Gezicht aan de oever van de Sumida rivier, bij de pijnboom Shubi-no matsu: Gezicht op een rotsig strand, twee krabben op de voorgrondin verzamelband uitgever met tekstdeelserietitelvóórBlokdrukHoutsnede, kleurenGoedJapansEngelsTôto Shubi no matsu no zuEbb at Shubi-no-matsu2009-12-15Reek, J. vanKuniyoshi, UtagawaYamaguchi-ya Tôbei, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-1217971861Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0611:42:0410:13:5908:37:2813:10:09collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73351Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1830Lengte x BreedteLengte x BreedteBlokBlad26,3 x 38,627,0 x 39,7herdruk 1956, authentieke reproductiecirca1818circacmcmCVR-JP-P0544.jpgOntwerperErotiekCVR-JP-P 544CVR.JP-P0544Margesvolledig, smalIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 36)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Een liefdespaar ligt op een matje op de grond, naast een rolgordijn en een bronzen jardiniëre. Het patroon van de kimono van de dame domineert de compositie.in verzamelband uitgever met tekstdeelvóórBlokdrukHoutsnede, kleurenGoedJapansEngelsNatsu sugataAn amourous couple in summer2009-12-15Reek, J. vanEisen, Keisai (1790-1848)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0610:14:0008:37:2813:10:10collect>internCOLLECT>interncollect>interncollect>intern 73352Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1824Lengte x BreedteLengte x BreedteBlokBlad18,0 x 26,319,5 x 27,3datering: ( vroeg) 19e eeuw ?, moderne herdruk , authentieke reproductiebegin eeuw1800begin eeuwcmcmCVR-JP-P0545.jpgOntwerperZeegezichtenCVR-JP-P 545CVR.JP-P0545MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 32)papierDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Twee geroeide vissersbootjes worden door hoge golven bijna op de kust gedreven.in verzamelband uitgever met tekstdeelserietitelvóórBlokdrukHoutsnede, kleurenGoedEngelsAt Chôshi in Shimôsa province: Fishermen in a Tempestuous Sea2009-12-15Reek, J. vanHokusai, Katsushika (1760-1849)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0710:14:0008:37:2813:10:10collect>internCOLLECT>interncollect>interncollect>intern 73353Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1710Lengte x BreedteLengte x BreedteBlokBlad56,0 x 27, 061,6 x 33,2authentieke reproductiecirca1710circacmcmCVR-JP-P0546.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 546CVR.JP-P0546MargesvolledigIchitarô Kondo (ed.), Selected Masterpieces of Ukiyo-e Prints: 24 Reproductions, Tokyo, The Adachi Institute of Woodcut Prints, 1956, nr. 1 (beschr. P. 15)papier, twee aaneengeplakte vellen van verschillend formaatDepot 3-lade 16prent32 = Selected Masterpieces of Ukiyo-e prints, 1956Bi-Jin, mooie vrouw, als gemaakt door de school van Kaigetsudô Andô, uit de eerste twee decennia van de 18de eeuw. Dit is een (reproherdruk van een) monochrome prent (of een afdruk van alleen het sleutelblok ?), slechts één ex. bekend in het Metropolitan Museum. Doshin was een leelring van Andô.in verzamelband uitgever met tekstdeelvóórvouw ivm maat portefeuilleBlokdrukHoutsnede, monochroomGoedJapansEngelsBi-jinBeauty2009-12-15Reek, J. vanDoshin, Kaigetsudo (fl. 1704-1716)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0710:14:0008:37:2813:10:11collect>internCOLLECT>interncollect>interncollect>intern 73355Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1999eeuw1900eeuwCVR-JP-P0548.jpgCVR-JP-P 548CVR.JP-P0548prent33, onbekend wie de ontwerper isNog niet beschreven en niet thuisgebracht. Titel zelf verzonnnen.vóórBlokdrukEngelsMaiko: Lady, sitting, in richly ornamented kimono2009-12-15Reek, J. vanschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0710:14:0008:37:2813:10:11collect>internCOLLECT>interncollect>interncollect>intern 73356Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1930exact1930exactCVR-JP-P0549.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 549CVR.JP-P0549prent34zie tent. Taisho Chic: Japanese Modernity, Nostalgia and Deco, Smart Museum of Art, University of Chicago, 2004vóórBlokdrukReproductie, PosterEngelsTipsy2009-12-15Reek, J. vanKobayakawa, Kiyoshi (1896-1948)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0710:14:0008:37:2913:10:11collect>internCOLLECT>interncollect>interncollect>intern 73357Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1795Lengte x BreedteLengte x BreedteBlokBlad32,5 x 22,433,1 x 23,1moderne herdruk 1960, authentieke reproductie1794cmcmCVR-JP-P0550.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 550CVR.JP-P0550Margessmal, links iets brederTeruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print nr. 15, pp. 44papierDepot 3-lade 16prent32 = Sharaku, Complete Collection, IIDe hier afgebeelde scène is ontleend aan een traditionele legende, bekend als Soga Monagatari, ofwel Het verhaal van de gebroeders Soga. De broers Juro Sukenari (1172-1193) en Goro Tokimune (1174-93) moesten 18 jaar wachten tot zij hun vader Kozu Saburo Sukemichi konden wreken: hij was vermoord door een neef Kudo Saemon Suketsune, die zijn erfenis in de wacht wilde slepen. Suketsune was een vazal, later een raadsheer of daimyo van de shogun Minamoto no Yoritomo (1147-1199). De broers waren dus in tweestrijd tussen de plicht hun vader te wreken, en hun plichten ten opzichte van de overheid. Zij besloten dat hun vader's gedachtenis eisten dat zij hem zouden wreken, en tijdens een jachtpartij in de bossen aan de voet van de berg Fuji lukte het hen Suketsune te doden. Maar in de vechtpartij met diens getrouwen die erop volgde werd Juro gedood, en Goro werd plotseling door de nog jonge Gosho-no-Goromaru, waarop hij geen acht had geslagen, besprongen en ontwapend. Dit is het moment dat ik Sharaku's prent is afgebeeld. Hoewel de shogun zijn bewondering uitsprak voor de moed van de zoons om hun vader te willen wreken, moest hij Goro, die op zijn beurt door Suketsune's zoon werd aangeklaagd, ter dood laten brengen. Dit verhaal was erg populair en het is vele malen bewerkt voor het Noh en het Kabuki theater, en voor het Bunraku poppenspel. Bij uitzondering heeft Sharaku hier niet herkenbare individuele acteurs geportretteerd, maar de scene puur als een histroische illustratie opgevat. Wel zijn de kleding en haardracht, en wellicht zelfs de pose, van de twee protagonisten beïnvloed door wat hij op het toneel had gezien. The Soga Monogatari, or Tale of Soga, is a warrior tale based on the story of Kudo Saemon Suketsune who, on order to get the inheritance of his uncle Ito Sukechika, had his cousin Kozu Saburo Sukemichi murdered in 1175. Eighteen years later, on the 18th day of the Fifth month of 1193, Sukemichi's two sons, Juro Sukenari (1172-93) and Goro Tokimune (1174-93), killed Suketsune during a hunting party on Mt. Fuji. Juro was killed in the ambush but Goro was captured. Although Shogun Minamoto no Yoritomo (1147-99), applauding the brothers' bravery and loyalty, wanted to pardon Goro, Suketsune's son demanded and got his execution. The tale focus on the conflict between the shogunal authority and the brothers loyalty to their father, highlighting the clash between the brothers' heroic vendetta and the feudal system which condemns them. The story was extremely popular in the Edo era and it was adapted for Nô, Bunraku and Kabuki, where several hundreds plays based on the Soga world were written and performed in Edo for centuries. It is still a custom in Kabuki to perform at least one sogamono every New Year. Soga no Taimen (The Soga Brothers' Audience with their Enemy or Confrontation), from an anonymous playwriter, was first performed in 1676, and is the most popular of the several Kabuki plays based in the Tale of the Soga Brothers (Soga Monogatari), and is customarily staged in the New Year.The play revolves around the Soga brothers' quest to avenge the death of their father, who was killed by Suketsune, a man who has risen to become a powerful daimyo and councilor to the shogun, Minamoto Yoritomo. Helped by a friend, Kobayashi Asahina, who is a retainer of Suketsune, they arrange to attend the daimyo's New Year party. During the party Goro, who as the younger is hot-blooded, tries to kill Suketsune, but the older and more thoughtful Juro restrains him and reproves him for his bad manners. Defying the brothers, Suketsune throws at them two admission cards to a hawking event that is coming up soon. The hawking party will be held at Suketsune's private preserve at the foot of Mt. Fuji. Suketsune thereby gives the brothers a chance to avenge their father. Realizing Suketsune's intention by the cards, Juro and Goro part from him. Though Suketsune is depicted as an evil man, he is, in reality, so outstanding a figure as to give the two brothers a chance to kill him.Oiso no Tora and Kewaizaka no Shosho appear as the beautifucourtesans of Suketsune's mansion. They are the mistresses of Juro and Goro.vóórBlokdrukHoutsnede, kleurenGoedEngelsSoga no Goro captured by Gosho no Goromaru: scene form the Soga Monogatari2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Tsutaya Juzaburo, Adachi Instituteschenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0710:14:0008:37:2913:10:11collect>internCOLLECT>interncollect>interncollect>intern 73358Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBlad17,6 x 24,5reproductie 1960 , authentieke reproductie1793cmCVR-JP-P0551.jpgOntwerperUitgeverActeursCVR-JP-P 551CVR.JP-P0551Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 1, pp. 45-48)papierprent32 = Sharaku, Complete Collection, II .. serie ontwerpen voor (nooit uitgevoerde ?) houtsneden, van scènes uit toneelstukkenEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Onoe Matsusuke and Ichikawa Ebizo2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0711:42:0610:14:0108:37:2913:10:12collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73359Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteLengte x BreedteBlokBladnvt17,6 x 24,5reproductie 1960 , authentieke reproductie1793cmcmCVR-JP-P0552.jpgOntwerperUitgeverActeursCVR-JP-P 552CVR.JP-P0552Teruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print (= drawing) nr. 2, pp. 45-48)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Ichikawa Tomiemon, Sakata Hangoro III and Sanogawa Ichimatsu III2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0811:42:0610:14:0108:37:2913:10:13collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73360Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBlad17,7 x 24,6reproductie 1960 , authentieke reproductie1793cmCVR-JP-P0553.jpgOntwerperUitgeverActeursCVR-JP-P 553CVR.JP-P0553Teruji Yoshida, Sharaku: A Complete Colection, II, Tokyo 1960, print (= drawing) nr. 3, pp. 45-48)prent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Nakayama Tomisaburo, Ichikawa Omezo and Ichikawa Komazo II2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0811:42:0610:14:0108:37:2913:10:14collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73361Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteLengte x BreedteBlokBladnvt17,7 x 24,6reproductie 1960 , authentieke reproductie1793cmcmCVR-JP-P0554.jpgOntwerperUitgeverActeursCVR-JP-P 554CVR.JP-P0554Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 4, pp. 45-48)prent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Segawa Kikunujo III, Otana Oniji and Bando Mitsugoro II2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0811:42:0710:14:0108:37:2913:10:14collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73362Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBlad17,7 x 24,5reproductie 1960 , authentieke reproductie1793cmCVR-JP-P0555.jpgOntwerperUitgeverActeursCVR-JP-P 555CVR.JP-P0555Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 5, pp. 45-48)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Osagawa Tsuneyo II, Sawamura Sojuro III and Ichikawa Yaozo II2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0811:42:0710:14:0108:37:2913:10:14collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73363Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBlad17,7 x 24,5reproductie 1960 , authentieke reproductie1793cmCVR-JP-P0556.jpgOntwerperUitgeverActeursCVR-JP-P 556CVR.JP-P0556Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 6, pp. 45-48)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Morita Kanya VIII and Arashi Ryuzo2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0811:42:0710:14:0108:37:2913:10:14collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73364Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBlad24,6 x 17,7reproductie 1960 , authentieke reproductie1793cmCVR-JP-P0557.jpgOntwerperUitgeverActeursCVR-JP-P 557CVR.JP-P0557Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 7, pp. 45-48)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?).vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Bando Hikosaburo III, Nakamura Sukegoro II and Iwai Kiyotaro2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0911:42:0710:14:0108:37:2913:10:15collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73365Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1794Lengte x BreedteBloknvtreproductie 1960 , authentieke reproductie1793cmCVR-JP-P0558.jpgOntwerperUitgeverActeursCVR-JP-P 558CVR.JP-P0558Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 8, pp. 45-48)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en -incidenteel- waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle met een scène uit een toneelstuk als thema. De repro's zijn (vermoedelijk) kleiner dan het oorspronkelijke formaat: de tekeningen lijken steeds op twee aaneengeplakte vellen te zijn getekend, de geplande houtsneden waren vermoedelijk bedoeld als horizontale diptieken (van oban formaat ?). Deze prent, als enige van staand formaat, is vermoedelijk de (rechter?) heflt van de gehele compositie, terwijl het andere (linker ?) blad verloren is gegaan. Het is overigens ook de enige van reeks die Sharaku's signatuur draagt, de andere hebben (nog) geen tekst.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel en inktGoedEngelsThe actors Matsumoto Yonesaburo and Segawa Yujiro II2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0911:42:0710:14:0208:37:2913:10:15collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73366Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,8 x 27,5reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0559.jpgOntwerperUitgeverSumoCVR-JP-P 559CVR.JP-P0559Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 9, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel, inkt en waterverf voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars. De repro's zijn vermoedelijk op het voor de prent beoogde formaat uitgevoerd.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Jinmaku Shimanosake and Iwaigawa Itsuhachi2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0911:42:0810:14:0208:37:3013:10:15collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73367Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,7 x 27,7reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0560.jpgOntwerperUitgeverSumoCVR-JP-P 560CVR.JP-P0560Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 10, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Kumonryu Kiyokichi en Wadagahara Jinshiro2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:0911:42:0810:14:0208:37:3013:10:16collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73368Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,8 x 27,5reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0561.jpgOntwerperUitgeverSumoCVR-JP-P 561CVR.JP-P0561Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 11, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Tamagaki Gakutaro and Ryumon Koinosuke2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1011:42:0810:14:0208:37:3013:10:16collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73369Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,7 x 27,4reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0562.jpgOntwerperUitgeverSumoCVR-JP-P 562CVR.JP-P0562Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 12, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Semiyama Hyouemon and Kagamiiwa Hamanosuke2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1011:42:0810:14:0208:37:3013:10:16collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73370Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,8 x 27,4reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0563.jpgOntwerperUitgeverSumoCVR-JP-P 563CVR.JP-P0563Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 13, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Raiden Tameuemon and Kachozan Gorokichi2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1011:42:0810:14:0208:37:3013:10:16collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73371Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad38,1 x 27,8reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0564.jpgOntwerperUitgeverSumoCVR-JP-P 564CVR.JP-P0564Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 14, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Sendagawa Kichigoro and Inazuma Sakuemon2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1011:42:0910:14:0208:37:3013:10:17collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73372Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,9 x 26,1reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0565.jpgOntwerperUitgeverSumoCVR-JP-P 565CVR.JP-P0565Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 15, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlersTatsugaseki Moriuemon and Hodenoyama Denjiro2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1011:42:0910:14:0308:37:3013:10:17collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73373Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,0 x 26,0reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0566.jpgOntwerperUitgeverSumoCVR-JP-P 566CVR.JP-P0566Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 16, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlersTsurugamine Shobei and Miyagino Nishikinosuke2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1111:42:0910:14:0308:37:3013:10:18collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73374Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1796Lengte x BreedteBlad37,8 x 27,0reproductie 1960 , authentieke reproductie1795cmCVR-JP-P0567.jpgOntwerperUitgeverSumoCVR-JP-P 567CVR.JP-P0567Teruji Yoshida, Sharaku: A Complete Collection, II, Tokyo 1960, print (= drawing) nr. 17, pp. 49-52)papierprent32 = Sharaku, Complete Collection, IIEén uit een serie reproductie van een in de aardbeving van 1923 verloren gegane serie ontwerpen in (zeer fijn) penseel en inkt voor (vermoedelijk nooit uitgevoerde) houtsneden, alle portretten ten voeten uit van steeds twee in kimono gekleedde sumo worstelaars.vóórBlokdrukZwart-wit reproductiedruk van prentontwerp in penseel, inkt en aquarelGoedEngelsThe sumo wrestlers Kashiwada Sogoro and Arauma Umagoro2009-12-15Reek, J. vanSharaku, Tôshûsai (fl. 1794-95)Adachi Instituteschenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1111:42:0910:14:0308:37:3013:10:18collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73375Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad35,7 x 23,536,3 x 24,2circa1891circacmcmCVR-JP-P0570.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 570CVR.JP-P0570MargesnauwelijksStevenson 1992, cat. nr. I, pp. 18-19papierDepot 3-lade 180 --prentDoos 36 GeestenZachtgrijze, mistige avondlucht, daartegen gerafeld vel papier beschreven met tekst (inhoudsopgave van de serie 36 geesten) omringd door vallende esdoornbladeren, en bedekt met spinrag. | De titels gegeven (van rechtsboven naar linksonder) als in de gekleurde cartouches rechtsboven in iedere prent (tevens de titels als gegeven en vertaald in Stevenson 1992). | De titelpagina heeft geen rode stempels - inscripties in de marge.De titelpagina ontworpen door of in samenwerking met de calligraaf Suiko.serietitelvóórmarges links en onder te nauw afgesnedenBlokdrukHoutsnede, kleurenuitstekendEngelsContents page2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1111:42:1010:14:0308:37:3113:10:18collect>internCOLLECT>interncollect>interncollect>interncollect>intern 73376Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,336,0 x 23,7exact1892exactcmcmCVR-JP-P0571.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 571CVR.JP-P0571MargesnauwelijksStevenson 1992, cat. nr. XXXV, pp. 88-89papierDepot 3-lade 1835 35prentDoos 36 Geesten, Tsuruya Nanboku, Yotsuya kaidan, 1825 (een toneelstuk voor het Kabuki theater). Populair stuk, is verschillende malen verfilmdOiwa en haar zoontje, kort voordat ze door Oume, de dochter van haar buurman, die op haar echtgenoot Iyemon verliefd was, werd vergiftigd.serietitelvóórlinks te nauw afgesneden, albumdoublureBlokdrukHoutsnede, kleurenuitstekendJapansEngelsYotsuya kaidanThe Yotsuya Ghost Story2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1110:14:0408:37:3113:10:19collect>internCOLLECT>interncollect>interncollect>intern 73377Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1891Lengte x BreedteLengte x BreedteBlokBlad35,2 x 23,536,0 x 23,7exact1891exactcmcmCVR-JP-P0572.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 572CVR.JP-P0572MargesnauwelijksStevenson 1992, cat. nr. XXVIII, pp. 74-75papierDepot 3-lade 1828 28prentDoos 36 Geesten, Funa Benkei (= De boot van Benkei). Traditioneel stuk voor het Noh-theater, later bewerkt tot een stuk voor het Kabuki theaterDe geest van Taira no Tomomori, met zijn volledige Taira clan enige maanden tevoren verslagen bij Dannoura in de baai van Daimotsu, verschijnt met zijn gestorven gezellen aan zijn overwinnaar Yoshitsune no Minamoto en diens kompaan Benkei, en probeert een storm op te wekken om hun schip te laten vergaan. Dankzij boeddhistische gebeden van Benkei, die ook priester was, mislukte deze toeleg. | Mooie bliddruk in het ondergewaad van Tomomoriserietitelvóórlinks te nauw afgesneden, albumdoublureBlokdrukHoutsnede, kleurenuitstekendJapansEngelsDaimotsu nu ura ni rei Taira no Tomomori kaijo ni shutsugen no zuThe Ghost of Taira no Tomomori Appearing at Daimotsu Bay2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1110:14:0408:37:3113:10:19collect>internCOLLECT>interncollect>interncollect>intern 73378Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1889Lengte x BreedteLengte x BreedteBlokBlad34,6 x 23,535,6 x 24,2exact1889exactcmcmCVR-JP-P0573.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 573CVR.JP-P0573MargesnauwelijksStevenson 1992, cat. nr. V, pp. 28-29papier5 6prentDoos 36 Geesten, Het toneelstuk SakurahimeThe ghost of Seigen, former abbot of the temple of Kiyomizudera, appearing from the ashes to haunt his beloved courtesan, Sakurahime.| Witte blinddruk, doorschijnende houtnerf in achtergrond. | Very slightly trimmed. Remnants of Japanese album backing on verso. Minor offsetting, vreases, marks and flaws. Generally good state of preservation.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsSeigen no rei Sakurahime o shitau no zuThe Ghost of Seigen Haunting Sakurahime2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1210:14:0408:37:3113:10:19collect>internCOLLECT>interncollect>interncollect>intern 73379Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1888Lengte x BreedteLengte x BreedteBlokBlad44,9 x 23,535,6 x 24,1exact1888exactcmcmCVR-JP-P0574.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 574CVR.JP-P0574MargesnauwelijksStevenson 1992, cat. XVI, pp. 50-51papierDepot 3-lade 1816 16prentDoos 36 Geesten, Het traditionele Noh-toneelstuk Momiji-gari (Maple-viewing Picnic), in de jaren 1880 bewerkt tot een stuk voor het Kabuki theater.N.B.: de identificatie van de verkoper Omori Hokoschichi, seeing a beautiful girl's face unmasked in the water dish as an evil demon is onjuist, vergelijk met prent 4 uit de serie. Let op: kleuren wijken af van het exemplaar afgebeeld in Stevenson. | Very lsightly trimmed. Remnants of Japanese album backing on verso. Minor creases, marks and flaws. Generally good state of preservation. |serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsTaira no Koremochi Togakushi-yama ni akki o taijisu zuTaira no Koremochi Vanquishing the Demon of Mount Togakushi2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1210:14:0408:37:3113:10:19collect>internCOLLECT>interncollect>interncollect>intern 73380Japanse PrentenCentre CéramiqueTakeda Katsuchiyo, later bekend onder de naam Takeda Shingen (1521-1573), was een van de bekendste generaals in de Japanse burgeroorlogen in de 16de eeuw, en een uitstekend strateeg en bestuurder. Deze prent beeldt een episode uit zijn jeugd af, die zich tijdens zijn militaire training afspeelde. Diep in studie verzonken wordt hij opgeschrikt door een vraag over militaire strategie die hem gesteld werd door - geloof het of niet - het houten paard waarop zijn zadel werd bewaard als het niet in gebruik was. Takeda begreep dat er iets niet klopte, en sloeg met zijn zwaard zo hard als hij kon in op het paard: een oude das viel dood aan zijn voeten. De das was een magisch beest dat zich gemakkelijk een andere gedaante kon aannemen. Maar hier had het buiten de waard, in casu Takeda gerekend.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad34,7 x 23,535,6 x 24,0cmcmCVR-JP-P0575.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 575CVR.JP-P0575MargesnauwelijksStevenson 1992, cat. nr. 3, pp. 24-25papier3 3prentDoos 36 GeestenTakeda Katsuchiyo, later bekend onder de naam Takeda Shingen (1521-1573), was een van de bekendste generaals in de Japanse burgeroorlogen in de 16de eeuw, en een uitstekend strateeg en bestuurder. Deze prent beeldt een episode uit zijn jeugd af, die zich tijdens zijn militaire training afspeelde. Diep in studie verzonken wordt hij opgeschrikt door een vraag over militaire strategie die hem gesteld werd door - geloof het of niet - het houten paard waarop zijn zadel werd bewaard als het niet in gebruik was. Takeda begreep dat er iets niet klopte, en sloeg met zijn zwaard zo hard als hij kon in op het paard: een oude das viel dood aan zijn voeten. De das was een magisch beest dat zich gemakkelijk een andere gedaante kon aannemen. Maar hier had het buiten de waard, in casu Takeda gerekend. | Takeda Katsuchiyo, as a boy, killing a giant sic badger which had transformed itself into a saddle stand. | wit en gekleurde blinddruk in zadelkleed. | Very slightly trimmed. Remnants of Japanese album backing on verso. Minor thinned spots, marks and flaws. Generally good state of preservation.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsTakeda Katsuchiyo tsukiyo ni rori o utsu no zuTakeda Katsuchiyo Killing an Old Badger in the Moonlight2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1210:14:0408:37:3113:10:20collect>internCOLLECT>interncollect>interncollect>intern 73381Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1889Lengte x BreedteLengte x BreedteBlokBlad35,2 x 23,535,7 x 24,1exact1889exactcmcmCVR-JP-P0576.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 576CVR.JP-P0576MargesnauwelijksStevenson 1992, cat. nr. VI, pp. 30-31papierDepot 3-lade 186 4prentDoos 36 Geesten, Ibaraki, stuk voor het Noh theater - bewerkt voor het Kabuki theater in 1883From the series Shinkei Sanjurokkaisen, the Demon hag Ibaraki flying through the sky, clutching her arm severed by Watanabe no Tsune at Rashomon in 976. Witte blinddruk. Very slightly trimmed, Remnants of Japanese album backing on verso. Minor thinned spots, marks and flaws. Generally good state of preservation.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsRoba kiwan o mochisaru zuThe Old Woman Retrieving Her Arm2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1210:14:0408:37:3113:10:21collect>internCOLLECT>interncollect>interncollect>intern 73382Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1890-10-05Lengte x BreedteLengte x BreedteBlokBlad35,0 x 23,435,7 x 24,0exact1890-10-05exactcmcmCVR-JP-P0577.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 577CVR.JP-P0577MargesnauwelijksStevenson 1992, cat. nr. IX, pp. 36-37papierDepot 3-lade 189 19prentDoos 36 Geesten, Bakin, Yimihari Tsuki (- avonturenroman ovrer Tametomo uit de Edo-periode)Tametomo fiercely repelling the Smallpox demons. | Slightly trimmed. Remnants of Japanese album backing paper on verso. Minor soils, marks and flaws. A little browned at paper edges. Generally good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsTametomo no bui tokijin o shirizoku zuTametomo's Ferocity Drives Away the Smallpox Demons2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1210:14:0508:37:3113:10:21collect>internCOLLECT>interncollect>interncollect>intern 73383Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1890Lengte x BreedteLengte x BreedteBlokBlad34,8 x 23,335,7 x 24,1exact1890exactcmcmCVR-JP-P0578.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 578CVR.JP-P0578MargesnauwelijksStevenson 1992, cat. nr. X , pp. 38-39papierDepot 3-lade 1810 21prentDoos 36 GeestenSlightly trimmed. Remnants of Japanese album backing paper on verso. A thinned spt bottom right corner margin. A few small creases. Minor soils, marks and flaws. A little browned at paper edges. Generally fairly good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsDairi ni Ii no Hayata nue o sasu zuIi no Hayata Killing a Nue at the Imperial Palace2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1310:14:0508:37:3113:10:22collect>internCOLLECT>interncollect>interncollect>intern 73384Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1891Lengte x BreedteLengte x BreedteBlokBlad34,9 x 23,335,6 x 24,1exact1891exactcmcmCVR-JP-P0579.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 579CVR.JP-P0579MargesnauwelijksStevenson 1992, cat. nr. XXIII , pp. 64-65papierDepot 3-lade 1823 26prentDoos 36 Geesten, Volksverhaal, ondere andere verteld in een Noh- toneelstuk.Slightly trimmed. Remnants of Japanese album backing paper on verso. A tiny corner damage top right. Minor offsetting, soils, marks and flaws. Generally good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsNasu nohara sessho seki no zuThe Death Stone at Nasu Moor2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1310:14:0508:37:3213:10:22collect>internCOLLECT>interncollect>interncollect>intern 73385Depot 3-lade 18Japanse PrentenCentre CéramiqueDe schurk Kuronoshi wil bij een tolbarrière buiten Kyoto een schrijntje bouwen om zijn snode plannen te doen lukken. Daarvoor wil hij het hout van een oude kersenboom gebruiken. Voordat hij die kan omhakken verschijnt de geest van de kersenboom voor hem in de gedaante van een mooie courtisane. Hij vertelt haar zijn plannen, maar dan verandert ze in een vijandige gedaante die hem met een kersentak neerslaat nog voor hij zijn bijl kan pakken.MaastrichtJapanse prenten1889-10-07Lengte x BreedteLengte x BreedteBlokBlad34,8 x 23,435,1 x 24,0exact1889-10-07exactcmcmCVR-JP-P0580.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 580CVR.JP-P0580MargesnauwelijksStevenson 1992, cat. nr. VIII, pp. 34-35papierDepot 3-lade 188 7prentDoos 36 Geesten, Tsumori Koi no Seki no To (= Love Story at the Snow-covered Barrier), Kabuki toneelstuk uit 1784Blinddruk in kraag en de kersenbloesems op de kimono. | Slightly trimmed. Remnants of Japanese album backing paper on verso. Minor soils, marks and flaws. A little browned at paper edges. Generally good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsKomachi-zakura no seiThe Spirit of the Komachi Cherry Tree2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1310:14:0508:37:3213:10:22collect>internCOLLECT>interncollect>interncollect>intern 73386Depot 3-lade 18Japanse PrentenCentre CéramiqueDe oude vrouw heeft vol hebzucht een grote doos geopend. Afgrijselijke schepsels verschijnen.Zij gaan haar verzwelgen.MaastrichtJapanse prenten1892Lengte x BreedteLengte x BreedteBlokBlad34,8 x 23,335,6 x 24,1exact1892exactcmcmCVR-JP-P0581.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 581CVR.JP-P0581MargesnauwelijksStevenson 1992, cat. nr. XXXVI , pp. 90-91papierDepot 3-lade 1836 36prentDoos 36 GeestenThe greedy old woman chose a heavy chest, believing it to be full of riches, but which turns out to be packed with demons and goblins. | Slightly trimmed. Remnants of Japanese album backing paper on verso. Minor offsetting, brown spots, soils, marks and flaws. A little browned at paper edges. Generally good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsOmoi tsuzaraThe Heavy Basket2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1310:14:0508:37:3213:10:23collect>internCOLLECT>interncollect>interncollect>intern 73387Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1889-04-10Lengte x BreedteLengte x BreedteBlokBlad34,8 x 23,535,6 x 24exact1889-04-10exactcmcmCVR-JP-P0582.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 582CVR.JP-P0582MargesnauwelijksStevenson 1992, cat. nr. II , pp. 22-23papier, nauw afgesneden linksDepot 3-lade 182 2prentDoos 36 Geesten, Volksverhaal - sprookje, onder andere bewerkt to ballet Sagi-Musume uit 1762Fijne blinddruk in kimono. | Slightly trimmed. Remnants of Japanese album backing paper on verso. Minor creases, soils, marks and flaws. A little browned at paper edges. Generally good state.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsSagi musumeHeron maiden2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1410:14:0608:37:3213:10:23collect>internCOLLECT>interncollect>interncollect>intern 73388Depot 3-lade 18Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1889-04-10Lengte x BreedteLengte x BreedteBlokBlad34,7 x 23,235,6 x 24,1exact1889-04-10exactcmcmCVR-JP-P0583.jpgOntwerperUitgeverGeesten en legendenCVR-JP-P 583CVR.JP-P0583MargesnauwelijksStevenson 1992, cat. nr. 1 , pp. 20-21papier, nauw afgesneden linksDepot 3-lade 181 1prentDoos 36 Geesten, Okagami(een geschiedenisverhaal uit de 13de eeuw)De minister Sadanobu wordt 's avonds, op weg naar het keizerlijk paleis, lastiggevallen door een harige demon. Hij grijpt deze vast en roept dat hij op weg naar de keizer is, en dat het onverstandig is voor wie dan ook om hem dat te verhinderen. De demoon, geschrokken van de onverschrokkenheid van de Sadanobu, rukt zich los en vlucht. | Fraaie toepassing van de shomen-zuri techniek: in de zwarte gewaden van de minister: het al gedrukte blad wordt op een in reliëf gesneden houtblok geplaatst, waarna het zwart met zwijnstand wordt gepolijst. Dit geeft een fraai, bij strijklicht op lichtend damastpatroon. | De kleuren van deze druk wijken af van het in Stevenson 1992 geïllustreerde exemplaar.serietitelAuction Ukiyo-e Ltd., 7 Rackham Mews, London SW16 6BE, U.K. | october 2005vóórBlokdrukHoutsnede, kleurenGoedJapansEngelsSadanobu-ko yoru kyuchu ni kai osoreshimu no zuSadanobu Threatening a Demon in the Palaze at Night2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Sasaki Toyokichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1410:14:0608:37:3213:10:23collect>internCOLLECT>interncollect>interncollect>intern 73389Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1834moderne herdruk 19??, authentieke reproductie1831CVR-JP-P0585.jpgOntwerperUitgeverDorps- en stadsgezichtenCVR-JP-P 585CVR.JP-P058555prentDit is de laatste etappe van de Tokaido van Hiroshige, in de eerste (Hoeido) editie 55 Kyoto. In the foreground the long bridge over the Kamo River, and people crossing over, with the town beyond, behind which rise hills overlooking it, the most distant printed from graded colourblock only. While decending to Kyoto, travellers could enjoy a panoramic view of the elegant imperial capital from the mountain pass and undoubtedly felt joy and relief at seeing the final destination of their journey from Edo. In those days it was the wish of every Japanese to see Kyoto once in his life. 55. Kyoto. Sanjo Ohashi The long trestle-bridge, with people crossing, covers the foreground. Beyond, the city lies along the river bank at the foot of a range of many-peaked hills and, beyond, a mountain range. Seal, Hoyeido. Plate 55. Kyoto. In the foreground the long bridge over the Kamo River, and people crossing over, with the town beyond, behind which rise hills overlooking it, the most distant printed from graded colourblock only, in a reddish-brown tint. The bridge and figures crossing it should stand out well-defined against the white mists lying over the river beyond.serietitelvóórBlokdrukJapansEngelsKyoto, Sanjo OhashiSanjo Ohashi Bridge, Kyoto2009-12-15Reek, J. vanHiroshige, Ando (1797-1858)Takenouchi Magohachi (= Hoeido)schenking2013-01-272015-05-272013-09-182013-06-1217971858IesewfhelmesjpeetersewfhelmesNot long after his parents' deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting.[2] He sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him.[3] A librarian introduced him instead to Toyohiro of the same school.[4] By 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige.[2] He also studied the techniques of the well-established Kanō school, the nanga whose tradition began with the Chinese Southern School, and the realistic Shijō school, and likely the perspective techniques of Western art and uki-e.[5] Hiroshige's apprentice work included book illustrations and single-sheet ukiyo-e prints of female beauties and kabuki actors in the Utagawa style, sometimes signing them Ichiyūsai[6] or, from 1832, Ichiryūsai.[7] In 1823, he resigned his post as fire warden, though he still acted as an alternate.[a] He declined an offer to succeed Toyohiro upon the master's death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for, such as the Eight Views of Ōmi series.[8] He also created an increasing number of bird and flower prints about this time.[7] About 1831, his Ten Famous Places in the Eastern Capital appeared, and seem to bear the influence of Hokusai, whose popular landscape series Thirty-six Views of Mount Fuji had recently seen publication.[9] An invitation to join an official procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints.[9] Hiroshige built on the series' success by following it with others, such as the Illustrated Places of Naniwa (1834), Famous Places of Kyoto (1835), another Eight Views of Ōmi (1834). As he had never been west of Kyoto, Hiroshige based his illustrations of Naniwa (modern Osaka) and Ōmi Province on pictures found in books and paintings.[10] Around 1838 Hiroshige produced two series entitled Eight Views of the Edo Environs, each print accompanied by a humorous kyōka (ja) poem. The Sixty-nine Stations of the Kiso Kaidō saw print between about 1835 and 1842, a joint production with Keisai Eisen, of which Hiroshige's share was forty-six of the seventy prints.[12] Hiroshige produced 118 sheets for the One Hundred Famous Views of Edo[13] over the last decade of his life, beginning about 1848.[14] In his declining years, Hiroshige still produced thousands of prints to meet the demand for his works, but few were as good as those of his early and middle periods. He never lived in financial comfort, even in old age. In no small part, his prolific output stemmed from the fact that he was poorly paid per series, although he was still capable of remarkable art when the conditions were right — his great One Hundred Famous Views of Edo (名所江戸百景 Meisho Edo Hyakkei) was paid for up-front by a wealthy Buddhist priest in love with the daughter of the publisher, Uoya Eikichi (a former fishmonger). In 1856, Hiroshige "retired from the world," becoming a Buddhist monk; this was the year he began his One Hundred Famous Views of Edo. He died aged 62 during the great Edo cholera epidemic of 1858 (whether the epidemic killed him is unknown) and was buried in a Zen Buddhist temple in Asakusa. Just before his death, he left a poem: "I leave my brush in the East And set forth on my journey. I shall see the famous places in the Western Land." (The Western Land in this context refers to the strip of land by the Tōkaidō between Kyoto and Edo, but it does double duty as a reference to the Paradise of the Amida Buddha). Despite his productivity and popularity, Hiroshige was not wealthy—his commissions were less than those of other in-demand artists, amounting to an income of about twice the wages of a day labourer. His will left instructions for the payment of his debts.[15] Hiroshige produced over 8,000 works.[17] He largely confined himself in his early work to common ukiyo-e themes such as women (美人画 bijin-ga) and actors (役者絵 yakusha-e). Then, after the death of Toyohiro, Hiroshige made a dramatic turnabout, with the 1831 landscape series Famous Views of the Eastern Capital (東都名所 Tōto Meisho) which was critically acclaimed for its composition and colors. This set is generally distinguished from Hiroshige's many print sets depicting Edo by referring to it as Ichiyūsai Gakki, a title derived from the fact that he signed it as Ichiyūsai Hiroshige. With The Fifty-three Stations of the Tōkaidō (1833–1834), his success was assured.[13] These designs were drawn from Hiroshige's actual travels of the full distance of 490 kilometers (300 mi). They included details of date, location, and anecdotes of his fellow travelers, and were immensely popular. In fact, this series was so popular that he reissued it in three versions, one of which was made jointly with Kunisada.[18] Hiroshige went on to produce more than 2000 different prints of Edo and post stations Tōkaidō, as well as series such as The Sixty-nine Stations of the Kisokaidō (1834–1842) and his own Thirty-six Views of Mount Fuji (1852–1858).[13] Of his estimated total of 5000 designs, these landscapes comprised the largest proportion of any genre. He dominated landscape printmaking with his unique brand of intimate, almost small-scale works compared against the older traditions of landscape painting descended from Chinese landscape painters such as Sesshu. The travel prints generally depict travelers along famous routes experiencing the special attractions of various stops along the way. They travel in the rain, in snow, and during all of the seasons. In 1856, working with the publisher Uoya Eikichi, he created a series of luxury edition prints, made with the finest printing techniques including true gradation of color, the addition of mica to lend a unique iridescent effect, embossing, fabric printing, blind printing, and the use of glue printing (wherein ink is mixed with glue for a glittery effect). One Hundred Famous Views of Edo (issued serially between 1856 and 1859) was immensely popular. The set was published posthumously and some prints had not been completed — he had created over 100 on his own, but two were added by Hiroshige II after his death. Hiroshige was a member of the Utagawa school, along with Kunisada and Kuniyoshi. The Utagawa school comprised dozens of artists, and stood at the forefront of 19th century woodblock prints. Particularly noteworthy for their actor and historical prints, members of the Utagawa school were nonetheless well-versed in all of the popular genres. During Hiroshige’s time, the print industry was booming, and the consumer audience for prints was growing rapidly. Prior to this time, most print series had been issued in small sets, such as ten or twelve designs per series. Increasingly large series were produced to meet demand, and this trend can be seen in Hiroshige’s work, such as The Sixty-nine Stations of the Kisokaidō and One Hundred Famous Views of Edo. In terms of style, Hiroshige is especially noted for using unusual vantage points, seasonal allusions, and striking colors. In particular, he worked extensively within the realm of meisho-e (名所絵) pictures of famous places. During the Edo period, tourism was also booming, leading to increased popular interest in travel. Travel guides abounded, and towns appeared along routes such as the Tōkaidō, a road that connected Edo with Kyoto. In the midst of this burgeoning travel culture, Hiroshige drew upon his own travels, as well as tales of others’ adventures, for inspiration in creating his landscapes. For example, in The Fifty-three Stations on the Tōkaidō (1833), he illustrates anecdotes from Travels on the Eastern Seaboard (東海道中膝栗毛 Tōkaidōchū Hizakurige, 1802–1809) by Jippensha Ikku, a comedy describing the adventures of two bumbling travelers as they make their way along the same road. Hiroshige’s The Fifty-three Stations of the Tōkaidō (1833–1834) and One Hundred Famous Views of Edo (1856–1858) greatly influenced French Impressionists such as Monet. Vincent Van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin was a major artist.[citation needed] Cézanne and Whistler were also amongst those under Hiroshige's influence.[19] Hiroshige was regarded by Louise Gonse, director of the influential Gazette des Beaux-Arts and author of the two volume L'Art Japonais in 1883, as the greatest painter of landscapes of the 19th century Further reading Hiroshige: One Hundred Famous Views of Edo (1986). Smith II, Henry D.; Poster, G Amy; Lehman, L. Arnold. Publisher: George Braziller Inc, plates from the Brooklyn Museum. Paperback: ISBN 0-87273-141-3; hardcover: ISBN 0-8076-1143-3 Ukiyo-e: 250 years of Japanese Art (1979). Toni Neuer, Herbert Libertson, Susugu Yoshida; W. H. Smith. ISBN 0-8317-9041-5 Friese, Gordon: Keisai Eisen - Utugawa Hiroshige. Die 69 Stationen des Kisokaidô. Eine vollständige Serie japanischer Farbholzschnitte und ihre Druckvarianten. Verlag im Bücherzentrum, Germany, Unna 2008. ISBN 978-3-9809261-3-3 Tom Rassieur, 'Degas and Hiroshige', Print Quarterly XXVIII, 2011, pp. 429–31 Calza, Gian Carlo (2009). Hiroshige: The Master of Nature. Skira. ISBN 978-88-572-0106-1. Uspensky, Mikhail (2011). Hiroshige. Parkstone International. ISBN 978-1-78042-183-4. single objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1410:14:0608:37:3213:10:24collect>internCOLLECT>interncollect>interncollect>intern 73390Depot 3-lade 16Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1749Lengte x BreedteBlad43,0 x 29,6moderne reproductie, authentieke reproductiehelft eeuw1700helft eeuwcmCVR-JP-P0586.jpgOntwerperBijin (Mooie vrouwen)CVR-JP-P 586CVR.JP-P0586MargesbreedpapierDepot 3-lade 16prentNOTA BENE: Dit is geen houtsnede, maar een fotografsiche zwart-wit reproductie van een tekening in penseel en inkt, gedrukte japanse tekst in de margevóórmarge volgescheven met annotatiesBlokdrukZwart-wit reproductie/ boekdruk van tekening (prentontwerp?) in penseel en inktMatigEngelsLady in landscape2009-12-15Reek, J. vanToshinobu, Okumura (actief ca 1717-1750)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1410:14:0608:37:3213:10:24collect>internCOLLECT>interncollect>interncollect>intern 73391Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,611,4 x 18,0cmcmCVR-JP-P0591.jpgOntwerperCVR-JP-P 591CVR.JP-P0591MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsVisitors to the Shrine of Yushimatati.: Full Moon2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1410:14:0608:37:3213:10:25collect>internCOLLECT>interncollect>interncollect>intern 73392Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,411,8 x 17,7cmcmCVR-JP-P0592.jpgOntwerperCVR-JP-P 592CVR.JP-P0592MargesMaatcode passepartoutnormaalafwijkendpapier, crèmeDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsUemo Park in spring with cherry blossom2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1510:14:0608:37:3213:10:25collect>internCOLLECT>interncollect>interncollect>intern 73393Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,7 x 15,411,8 x 17,9cmcmCVR-JP-P0593.jpgOntwerperCVR-JP-P 593CVR.JP-P0593MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsPedestrians at roadside, the city in the distance2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1510:14:0708:37:3213:10:26collect>internCOLLECT>interncollect>interncollect>intern 73394Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 15,411,1 x 17,9cmcmCVR-JP-P0594.jpgOntwerperCVR-JP-P 594CVR.JP-P0594MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsKurazame: street in the snow2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1510:14:0708:37:3313:10:26collect>internCOLLECT>interncollect>interncollect>intern 73395Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,4 x 15,411,1 x 17,6cmcmCVR-JP-P0595.jpgOntwerperCVR-JP-P 595CVR.JP-P0595MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsAzuma bridge, modern style2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1510:14:0808:37:3313:10:26collect>internCOLLECT>interncollect>interncollect>intern 73396Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,411,2 x 17,8cmcmCVR-JP-P0596.jpgOntwerperCVR-JP-P 596CVR.JP-P0596MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsYoroi Bridge beneath crescent moon2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1510:14:0808:37:3313:10:27collect>internCOLLECT>interncollect>interncollect>intern 73397Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,7 x 15,411,9 x 18,0cmcmCVR-JP-P0597.jpgOntwerperCVR-JP-P 597CVR.JP-P0597MargesMaatcode passepartoutnormaalafwijkendpapier, crèmeDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsNight at river and Yoroi bridge at full moon2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1610:14:0808:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73398Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 1715,411,2 x 17,8cmcmCVR-JP-P0598.jpgOntwerperCVR-JP-P 598CVR.JP-P0598MargesMaatcode passepartoutnormaalafwijkendpapier, rozeDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsNaval Department2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1610:14:0808:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73399Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 15,511,2 x 17,1cmcmCVR-JP-P0599.jpgOntwerperCVR-JP-P 599CVR.JP-P0599MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 10prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsSea at Omori2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1610:14:0808:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73400Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,4 x 15,411,1 x 17,9cmcmCVR-JP-P0600.jpgOntwerperCVR-JP-P 600CVR.JP-P0600MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 10prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsAkabanebashi2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1610:14:0808:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73401Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,511,3 x 17,7cmcmCVR-JP-P0601.jpgOntwerperCVR-JP-P 601CVR.JP-P0601MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsKoma Bridge -Suspension Bridge2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1610:14:0908:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73402Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 15,411,2 x 17,2cmcmCVR-JP-P0602.jpgOntwerperCVR-JP-P 602CVR.JP-P0602MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsSakurada - Soldiers training2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1710:14:0908:37:3313:10:28collect>internCOLLECT>interncollect>interncollect>intern 73403Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,4 x 15,411,1 x 18,0cmcmCVR-JP-P0603.jpgOntwerperCVR-JP-P 603CVR.JP-P0603MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsTakebashinai2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1710:14:0908:37:3313:10:29collect>internCOLLECT>interncollect>interncollect>intern 73404Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 15,411,7 x 18,0cmcmCVR-JP-P0604.jpgOntwerperCVR-JP-P 604CVR.JP-P0604MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsView from a teahouse on Mount Atago2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1710:14:0908:37:3413:10:29collect>internCOLLECT>interncollect>interncollect>intern 73405Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,7 x 15,411,3 x 17,9cmcmCVR-JP-P0605.jpgOntwerperCVR-JP-P 605CVR.JP-P0605MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentsic (dit is een foutieve beschrijving door een het Engels niet machtige Duitser)serietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsTaranomon and the Imperial College of Engineering: reflection on rain slick road2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1710:14:1008:37:3413:10:29collect>internCOLLECT>interncollect>interncollect>intern 73406Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,2 x 15,711,3 x 18,0cmcmCVR-JP-P0606.jpgOntwerperCVR-JP-P 606CVR.JP-P0606MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsBlack ship of Europeans2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1710:14:1008:37:3413:10:29collect>internCOLLECT>interncollect>interncollect>intern 73407Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,5 x 15,011,2 x 18,0cmcmCVR-JP-P0607.jpgOntwerperCVR-JP-P 607CVR.JP-P0607MargesMaatcode passepartoutnormaalafwijkendpapier, crèmeDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsSummer scene of Yokkaichi2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1810:14:1008:37:3413:10:30collect>internCOLLECT>interncollect>interncollect>intern 73408Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad11,5 x 15,811,5 x 17,8cmcmCVR-JP-P0608.jpgOntwerperCVR-JP-P 608CVR.JP-P0608MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsMyogen Hall in Yanagashima2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1810:14:1008:37:3413:10:30collect>internCOLLECT>interncollect>interncollect>intern 73409Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,8 x 15,611,4 x 18,0cmcmCVR-JP-P0609.jpgOntwerperCVR-JP-P 609CVR.JP-P0609MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsWinter scene of Imada Bridge2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1810:14:1008:37:3413:10:30collect>internCOLLECT>interncollect>interncollect>intern 73410Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,411,6 x 17,0cmcmCVR-JP-P0610.jpgOntwerperCVR-JP-P 610CVR.JP-P0610MargesMaatcode passepartoutrechts stuk tekst afgesnedenafwijkend?papierDepot 3-lade 07prentenige ex. met rechts een tekst, die deels is afgesneden.serietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoed2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1810:14:1108:37:3413:10:30collect>internCOLLECT>interncollect>interncollect>intern 73411Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,6 x 15,711,3 x 18,0cmcmCVR-JP-P0611.jpgOntwerperCVR-JP-P 611CVR.JP-P0611MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsModern currency department2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1810:14:1108:37:3413:10:31collect>internCOLLECT>interncollect>interncollect>intern 73412Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,7 x 15,411,3 x 18,0cmcmCVR-JP-P0612.jpgOntwerperCVR-JP-P 612CVR.JP-P0612MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsChitese-za theater2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1910:14:1108:37:3413:10:31collect>internCOLLECT>interncollect>interncollect>intern 73413Depot 3-lade 07Japanse PrentenCentre CéramiqueMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad9,7 x 15,711,4 x 17,9cmcmCVR-JP-P0613.jpgOntwerperCVR-JP-P 613CVR.JP-P0613MargesMaatcode passepartoutnormaalafwijkendpapierDepot 3-lade 07prentserietitelFuji Arts (W.Fagan), 301 E Liberty Street STE 725, Ann Arbor MIvóórBlokdrukHoutsnede, kleurenGoedEngelsCircus2009-12-15Reek, J. vanYasuji, Inoue (1864 -1889)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1910:14:1108:37:3413:10:31collect>internCOLLECT>interncollect>interncollect>intern 73414Depot 3-lade 10Japanse PrentenCentre CéramiqueMaastrichtJapanse prenten1933Lengte x BreedteLengte x BreedteBlokBlad40,4 x 25,840,4 x 25,8exact1933exactcmcmCVR-JP-P0614.jpgOntwerperCVR-JP-P 614CVR.JP-P0614Margesvolledig afgesnedenpapierDepot 3-lade 10prentBijin: Young lady in red kimono, against cream mica groundBijin: jongedame in rode kimono tegen een crème mica achtergrond |Mooie druk, achtergrond bestrooid met mica (ofparelmoer ?), enige vlekjes en restanten albumlijm | Kiyoshi Kobayakawa, 1896-1948 Kiyoshi Kobayakawa was a student of Kiyokata Kaburagi. He worked in Shin Hanga style. His prints were either self-published or created in cooperation with the publishers Hasegawa, Watanabe or Ensedo. Kiyoshi Kobayakawa took part in the second exhibition of shin hanga prints in Toledo-USA of 1936.?vóórprent goed, enige kleine onvolmaaktheden, maar marges afgesneden (inclusief tekst etc. )BlokdrukHoutsnede, kleuren, bestrooid met zilver-kleurig micapoederredelijkEngelsHead & shoulders portrait of Geisha Ichimaru2009-12-15Reek, J. vanKobayakawa, Kiyoshi (1896-1948)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1910:14:1208:37:3513:10:32collect>internCOLLECT>interncollect>interncollect>intern 73415Depot 3-lade 12Japanse PrentenCentre CéramiqueArajishi Otoko-no-suke tracht Nikko Danjo aan te vallen, die zich als rat vermomd een belangrijke tekstrol had toegeëigend. Op heterdaad betrapt verandert deze weer in de geest van de boef die hij is, en met een handgebaar maakt hij zichzelf onzichtbaar om aan Otoko te ontsnappen. De gouvernante Masaoka licht Otoko bij. | Mooie blionddruk in de ondergewaden van Nikko Danjo en masaokaMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad35,0 x 71,036,7 x 71,5circa1880circacmcmCVR-JP-P0615a.jpgOntwerperCVR-JP-P 615 aCVR.JP-P0615aMargesmarges rechts en onder afgesneden, deel schuinhttp://ccdl.libraries.claremont.edu/cdm4/item_viewer.php?CISOROOT=/cyw&CISOPTR=141&CISOBOX=1papier, drie losse vellenDepot 3-lade 12prentDrieluikThis scene is from the 2nd act of the long play The Precious Incense and Autumn Flowers of Sendai / Meiboku Sendai hagi, first written in 1777 for the Osaka kabuki stage in and then greatly expanded in 1785 for the puppet theater, the reverse of the usual way plays developed. Over the years, many scenes were added and dropped, but this story of political intrigues in the Date clan of Sendai continues to be an annual kabuki favorite. Nikki Danjo, the figure at left in this print, is one of the great villains of the kabuki repertoire. An attempted coup in 1660 was the basis for the drama, but censorship laws required that the names and dates be changed, so the kabuki play takes place in Kyoto during the Onin Wars of the mid 16th century instead of Sendai in the 17th century. Prior to the scene shown here, the wet-nurse Masaoka has been loyally guarding the young son of a local daimyo /feudal lord, even though her own son mistakenly dies from poison food meant for the other boy. (See Plate 4) Masaoka obtains a scroll that lists the names of those involved in the murderous plot, but in a violent struggle with another female attendant, the scroll is dropped on the floor, and a giant rat runs off with it. The warrior Arajishi Otoko-no-suke, who is also devoted to the young lord, has been hiding under the mansion floorboards in order to protect the boy. Otoko-no-suke sees the rat, steps on its tail and tries to grab the scroll. He hits the rat's forehead with the steel handle of his fan, but the beast escapes. At this moment on stage, the boy actor dressed as a rat disappears through a trapdoor, and a man dressed in a gray (rat colored) kimono rises out of the stage floor, with a scroll in his mouth. This is Nikki Danjo, one of the evil conspirators. Danjo throws a dagger at Otoko-no-suke and then does mysterious hand gestures to make himself invisible. Chikanobu's print records the moment after the dramatic transformation, as Nikki Danjo's body begins to disappear. Masaoka holds out a lantern to help Otoko-no-suke, but Danjo is already fading into the darkness. James R. Brandon and Samuel L. Leiter (ed.), Kabuki Plays on Stage, Volume II Villany and Vengence 1773-1799 (University of Hawai'i Press, Honolulu, 2002), pp. 48-71. Aubrey S. & Giovanna M. Halford, The Kabuki Handbook (Charles E. Tuttle, Tokyo, 1956), pp. 212-220. Arendie & Henk Herwig, Heroes of the Kabuki Stage (Hotei Publishing, Amsterdam, 2004), pp. 242-249.vóórniet recht afgesnedenBlokdrukHoutsnede, kleuren, blinddruk, gepolijst zwart in de balustraderedelijkEngelsThe Ghost of Nikko Danjo2009-12-15Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:1910:14:1208:37:3513:10:32collect>internCOLLECT>interncollect>interncollect>intern 73416Depot 3-lade 12Japanse PrentenCentre CéramiqueArajishi Otoko-no-suke tracht Nikko Danjo aan te vallen, die zich als rat vermomd een belangrijke tekstrol had toegeëigend. Op heterdaad betrapt verandert deze weer in de geest van de boef die hij is, en met een handgebaar maakt hij zichzelf onzichtbaar om aan Otoko te ontsnappen. De gouvernante Masaoka licht Otoko bij. | Mooie blionddruk in de ondergewaden van Nikko Danjo en masaokaMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad35,0 x 71,036,7 x 71,5circa1880circacmcmCVR-JP-P0615b.jpgOntwerperCVR-JP-P 615 bCVR.JP-P0615bMargesmarges rechts en onder afgesneden, deel schuinhttp://ccdl.libraries.claremont.edu/cdm4/item_viewer.php?CISOROOT=/cyw&CISOPTR=141&CISOBOX=1papier, drie losse vellenDepot 3-lade 12prentDrieluikThis scene is from the 2nd act of the long play The Precious Incense and Autumn Flowers of Sendai / Meiboku Sendai hagi, first written in 1777 for the Osaka kabuki stage in and then greatly expanded in 1785 for the puppet theater, the reverse of the usual way plays developed. Over the years, many scenes were added and dropped, but this story of political intrigues in the Date clan of Sendai continues to be an annual kabuki favorite. Nikki Danjo, the figure at left in this print, is one of the great villains of the kabuki repertoire. An attempted coup in 1660 was the basis for the drama, but censorship laws required that the names and dates be changed, so the kabuki play takes place in Kyoto during the Onin Wars of the mid 16th century instead of Sendai in the 17th century. Prior to the scene shown here, the wet-nurse Masaoka has been loyally guarding the young son of a local daimyo /feudal lord, even though her own son mistakenly dies from poison food meant for the other boy. (See Plate 4) Masaoka obtains a scroll that lists the names of those involved in the murderous plot, but in a violent struggle with another female attendant, the scroll is dropped on the floor, and a giant rat runs off with it. The warrior Arajishi Otoko-no-suke, who is also devoted to the young lord, has been hiding under the mansion floorboards in order to protect the boy. Otoko-no-suke sees the rat, steps on its tail and tries to grab the scroll. He hits the rat's forehead with the steel handle of his fan, but the beast escapes. At this moment on stage, the boy actor dressed as a rat disappears through a trapdoor, and a man dressed in a gray (rat colored) kimono rises out of the stage floor, with a scroll in his mouth. This is Nikki Danjo, one of the evil conspirators. Danjo throws a dagger at Otoko-no-suke and then does mysterious hand gestures to make himself invisible. Chikanobu's print records the moment after the dramatic transformation, as Nikki Danjo's body begins to disappear. Masaoka holds out a lantern to help Otoko-no-suke, but Danjo is already fading into the darkness. James R. Brandon and Samuel L. Leiter (ed.), Kabuki Plays on Stage, Volume II Villany and Vengence 1773-1799 (University of Hawai'i Press, Honolulu, 2002), pp. 48-71. Aubrey S. & Giovanna M. Halford, The Kabuki Handbook (Charles E. Tuttle, Tokyo, 1956), pp. 212-220. Arendie & Henk Herwig, Heroes of the Kabuki Stage (Hotei Publishing, Amsterdam, 2004), pp. 242-249.vóórniet recht afgesnedenBlokdrukHoutsnede, kleuren, blinddruk, gepolijst zwart in de balustraderedelijkEngelsThe Ghost of Nikko Danjo2009-12-15Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:2010:14:1208:37:3513:10:33collect>internCOLLECT>interncollect>interncollect>intern 73417Depot 3-lade 12Japanse PrentenCentre CéramiqueArajishi Otoko-no-suke tracht Nikko Danjo aan te vallen, die zich als rat vermomd een belangrijke tekstrol had toegeëigend. Op heterdaad betrapt verandert deze weer in de geest van de boef die hij is, en met een handgebaar maakt hij zichzelf onzichtbaar om aan Otoko te ontsnappen. De gouvernante Masaoka licht Otoko bij. | Mooie blionddruk in de ondergewaden van Nikko Danjo en masaokaMaastrichtJapanse prenten1880Lengte x BreedteLengte x BreedteBlokBlad35,0 x 71,036,7 x 71,5circa1880circacmcmCVR-JP-P0615c.jpgOntwerperCVR-JP-P 615 cCVR.JP-P0615cMargesmarges rechts en onder afgesneden, deel schuinhttp://ccdl.libraries.claremont.edu/cdm4/item_viewer.php?CISOROOT=/cyw&CISOPTR=141&CISOBOX=1papier, drie losse vellenDepot 3-lade 12prentDrieluikThis scene is from the 2nd act of the long play The Precious Incense and Autumn Flowers of Sendai / Meiboku Sendai hagi, first written in 1777 for the Osaka kabuki stage in and then greatly expanded in 1785 for the puppet theater, the reverse of the usual way plays developed. Over the years, many scenes were added and dropped, but this story of political intrigues in the Date clan of Sendai continues to be an annual kabuki favorite. Nikki Danjo, the figure at left in this print, is one of the great villains of the kabuki repertoire. An attempted coup in 1660 was the basis for the drama, but censorship laws required that the names and dates be changed, so the kabuki play takes place in Kyoto during the Onin Wars of the mid 16th century instead of Sendai in the 17th century. Prior to the scene shown here, the wet-nurse Masaoka has been loyally guarding the young son of a local daimyo /feudal lord, even though her own son mistakenly dies from poison food meant for the other boy. (See Plate 4) Masaoka obtains a scroll that lists the names of those involved in the murderous plot, but in a violent struggle with another female attendant, the scroll is dropped on the floor, and a giant rat runs off with it. The warrior Arajishi Otoko-no-suke, who is also devoted to the young lord, has been hiding under the mansion floorboards in order to protect the boy. Otoko-no-suke sees the rat, steps on its tail and tries to grab the scroll. He hits the rat's forehead with the steel handle of his fan, but the beast escapes. At this moment on stage, the boy actor dressed as a rat disappears through a trapdoor, and a man dressed in a gray (rat colored) kimono rises out of the stage floor, with a scroll in his mouth. This is Nikki Danjo, one of the evil conspirators. Danjo throws a dagger at Otoko-no-suke and then does mysterious hand gestures to make himself invisible. Chikanobu's print records the moment after the dramatic transformation, as Nikki Danjo's body begins to disappear. Masaoka holds out a lantern to help Otoko-no-suke, but Danjo is already fading into the darkness. James R. Brandon and Samuel L. Leiter (ed.), Kabuki Plays on Stage, Volume II Villany and Vengence 1773-1799 (University of Hawai'i Press, Honolulu, 2002), pp. 48-71. Aubrey S. & Giovanna M. Halford, The Kabuki Handbook (Charles E. Tuttle, Tokyo, 1956), pp. 212-220. Arendie & Henk Herwig, Heroes of the Kabuki Stage (Hotei Publishing, Amsterdam, 2004), pp. 242-249.vóórniet recht afgesnedenBlokdrukHoutsnede, kleuren, blinddruk, gepolijst zwart in de balustraderedelijkEngelsThe Ghost of Nikko Danjo2009-12-15Reek, J. vanChikanobu, Toyohara (1838-1912)schenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt14:27:2010:14:1208:37:3513:10:34collect>internCOLLECT>interncollect>interncollect>intern 73418Depot 3-lade 15Japanse PrentenCentre CéramiqueToen Yosaburo een affaire had met de geisha Otomi, werd hij gepakt door haar criminele vriend en verwond. Hier staat hij rechts voor het huis van Otomi. Een sjaal bedekt zijn littekens. Yasu, een andere misdadiger, heeft een tattoo in de vorm van een vleermuis op zijn gezicht.MaastrichtJapanse prenten1885exact1885exactCVR-JP-P0616.jpgOntwerperUitgeverCVR-JP-P 616CVR.JP-P0616Depot 3-lade 151prentTweeluik? Yoshitoshi - BrocaatserietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterJapansEngelsOtomo Yosaburo-banashiThe Story of Otomi and Yasoburo2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2010:14:1208:37:35MaastrichtMaastricht13:10:34collect>internCOLLECT>interncollect>interncollect>intern 73419Depot 3-lade 15Japanse PrentenCentre CéramiqueDorpelingen in de omgeving van Edo leden honger. Hun hoofdman Sakura Sogo verliet om hen te helpen zijn familie en deed een ongeoorloofd beroep op de Shogun voor hulp. Dit verzoek werd gehonoreerd maar de familie werd ter dood veroordeeld. De terechtstelling vond plaats in 1653.MaastrichtJapanse prenten1885exact1885exactCVR-JP-P0617ab.jpgOntwerperUitgeverCVR-JP-P 617 abCVR.JP-P0617abDepot 3-lade 152prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelW. O'Rorke, 43, Pembridge Road, London W11 3HGBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsSakuro Sôgorô leaves his family2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272015-01-142013-09-182013-09-182013-06-12Iesewfhelmesjpeetersjpeetersjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2014:29:2511:42:1810:14:1208:37:35MaastrichtMaastricht13:10:35collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>intern 73420Depot 3-lade 15Japanse PrentenCentre Céramique47 Ronin spannen samen om de dood van hun meester te wreken. Ze vielen s’nachts de verblijfplaats van hun vijand aan. Een jongen hield dapper stand en gooide een komfoor. De ronin onthoofden hun vijand en brachten zijn hoofd naar het graf van hun meester. Deze dappere mannen kregen toestemming om zelfmoord te plegen. Hun urnen kunnen nog altijd bezocht worden.MaastrichtJapanse prenten1885exact1885exactCVR-JP-P0618.jpgOntwerperUitgeverCVR-JP-P 618CVR.JP-P0618Depot 3-lade 154prentTweeluik? Yoshitoshi - BrocaatserietitelDane Owen | www.shibui.comBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsA Young Retainer of Lord Kira Hurling a Brazier at Kataoka Gengoemon during the Night Attack of the Forty-Seven Rônin2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2010:14:1308:37:35MaastrichtMaastricht13:10:35collect>internCOLLECT>interncollect>interncollect>intern 73421Depot 3-lade 15Japanse PrentenCentre CéramiqueEen gevecht tussen twee beroemde zwaardvechters wordt uitgebeeld. De oude Tsukohara wordt verondersteld zich gemakkelijk te kunnen verdedigen tegen de jonge Miyamoto. Eigenlijk kan dit gevecht nooit plaatsgevonden hebben, omdat de oude man al gestorven was, toen zijn jonge tegenstander geboren werd.MaastrichtJapanse prenten1885exact1885exactCVR-JP-P0619.jpgOntwerperUitgeverCVR-JP-P 619CVR.JP-P0619Depot 3-lade 155prentTweeluik? Yoshitoshi - BrocaatserietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe Duel Between Miyamoto Musashi and the Old Master Tsukahara Bokuden2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2110:14:1308:37:35MaastrichtMaastricht13:10:35collect>internCOLLECT>interncollect>interncollect>intern 73422Depot 3-lade 15Japanse PrentenCentre CéramiqueDe Shogun is in een goede stemming, omdat hij plezier zal hebben! De dame Osame draagt een prachtige kimono en kijkt verlegen. Ze zal een liefdesles krijgen.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0620ab.jpgOntwerperUitgeverCVR-JP-P 620 abCVR.JP-P0620abDepot 3-lade 156prentHorizontaal tweeluik? Yoshitoshi - Brocaatserietitelwww.theartofjapan.com | Douglas Fraser, P.O. Box 432, Medina WA 98309Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe Shogun Tsunayoshi teaches Osame to be a courtesan2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2110:14:1308:37:35MaastrichtMaastricht13:10:36collect>internCOLLECT>interncollect>interncollect>intern 73423Depot 3-lade 15Japanse PrentenCentre CéramiqueHet is het verhaal van Kaïn en Abel in Japan. De ene broer vermoordt de ander. De grote slagkracht van een Japans zwaard wordt gedemonstreerd.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0621ab.jpgOntwerperUitgeverCVR-JP-P 621 abCVR.JP-P0621abDepot 3-lade 157prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelRonin, 425 Madison Ave, New York NY 10017Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsMurai Chôan Murders his Brother at the Crossroads of Fudanotsuji2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2110:14:1308:37:36MaastrichtMaastricht13:10:36collect>internCOLLECT>interncollect>interncollect>intern 73424Depot 3-lade 15Japanse PrentenCentre CéramiqueIn Shinto-heiligdommen werd aan Sumo-worstelen gedaan. Op een dag kwamen brandweermannen de wedstrijd verstoren. Er werd toen hevig gevochten.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0622ab.jpgOntwerperUitgeverCVR-JP-P 622 abCVR.JP-P0622abDepot 3-lade 158prentHorizontaal tweeluik? Yoshitoshi - Brocaatserietitel? W. O'Rorke, 43, Pembridge Road, London W11 3HGBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsYotsuguruma Daihachi en Kotengu Heisuke Duelling During the Battle Between Firemen and Sumô -wrestlers at the Shinmei Shrine in Shiba in 18052009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2110:14:1308:37:36MaastrichtMaastricht13:10:37collect>internCOLLECT>interncollect>interncollect>intern 73425Japanse PrentenCentre CéramiqueWanneer een priester een moord begaat, vliegt een koekoek langs de rivieroever. Hij geniet van de samenloop van omstandigheden. Zij lijdt alleen maar.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0623ab.jpgOntwerperUitgeverCVR-JP-P 623 abCVR.JP-P0623ab11prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterJapansEngelsDaininbô Umegae o satsugai no zuThe Priest Dainichi Murders Umegae. A Cuckoo Flying Along the Riverbank2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2210:14:1308:37:36MaastrichtMaastricht13:10:38collect>internCOLLECT>interncollect>interncollect>intern 73426Japanse PrentenCentre CéramiqueEen huisvrouw vraagt zich af wat haar echtgenoot ‘s nachts doet. Zij kleedt zich als een man in een zwarte mantel, zodat ze het bordeel kan betreden. Zij ziet haar dronken echtgenoot steunend op een prostituee. Waarschijnlijk staat de verteller van het verhaal, Shiraito, links in beeld bijtend op een zakdoek, een teken van wellust.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0624ab.jpgOntwerperUitgeverCVR-JP-P 624 abCVR.JP-P0624ab12prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe Story of Shiraito, a Courtesan of the Hashimotoya House2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2210:14:1308:37:36MaastrichtMaastricht13:10:38collect>internCOLLECT>interncollect>interncollect>intern 73427Depot 3-lade 15Japanse PrentenCentre CéramiqueOkuma trouwde om financiële redenen. Haar geheime minnaar was Chushichi, een bediende van haar echtgenoot. In de scène zijn ze bezig haar echtgenoot te vermoorden om er vervolgens vandoor te gaan. De moordenaars werden in 1747 terechtgesteld.MaastrichtJapanse prentenCVR-JP-P0625ab.jpgOntwerperUitgeverCVR-JP-P 625 abCVR.JP-P0625abDepot 3-lade 1513prentHorizontaal tweeluik? Yoshitoshi - BrocaatShirakoya Okuma was a historical figure, executed in 1747 for murdering her husband to run off with her lover. Since the early Meiji government forbade the portrayal of women on stage as evil (don't ask me why), she and her lover were portrayed in Kawatake Mokuami's 1873 drama as victims of Shinza, an ex-gangster hairdresser, and being freed in the end. The play involves any number of complications, including kidnap, rape, extortion and blackmail, but no murder that I can find, and ends up with Shinza being cheated out of his ransom by his own landlord. What happens to Okuma we never do find out .serietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe Story of Okuma of the Shirokiya2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2210:14:1408:37:36MaastrichtMaastricht13:10:38collect>internCOLLECT>interncollect>interncollect>intern 73428Depot 3-lade 15Japanse PrentenCentre CéramiqueDe vader van Tamiya Botaro werd in 1624 vermoord door een jaloerse schermmeester. De verpleegster Otsuji verzorgt hem als jongen. Ze haalt water naar boven uit een put. Door de vele lotusbloemen lijkt het op een Jugendstil voorstelling. Botaro werd later een uitstekende zwaardvechter. Hij zou zijn vader wreken op zeventienjarige leeftijd.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0626ab.jpgOntwerperUitgeverCVR-JP-P 626 abCVR.JP-P0626abDepot 3-lade 1514prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelG. Dunn, 17 East 76th Street, New York NY 10021Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterJapansEngelsTamiya Botaro no hanashiThe Story of Tamiya Bôtarô2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2210:14:1408:37:36MaastrichtMaastricht13:10:39collect>internCOLLECT>interncollect>interncollect>intern 73429Depot 3-lade 15Japanse PrentenCentre CéramiqueOkubo had zich onderscheiden als een vechter. Daarnaast gedroeg hij zich nogal excentrisch. Misschien werd hij daarom naar het kasteel van de Shogun vervoerd in een houten draagstoel in plaats van het middelpunt van een imposante stoet te zijn.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0627.jpgOntwerperUitgeverCVR-JP-P 627CVR.JP-P0627Depot 3-lade 1515prentTweeluik? Yoshitoshi - BrocaatserietitelBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsOkubo Hikozaemon carried to the shogun's castle in a tub2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2310:14:1408:37:36MaastrichtMaastricht13:10:39collect>internCOLLECT>interncollect>interncollect>intern 73430Depot 3-lade 15Japanse PrentenCentre CéramiqueDe hofdame Ejima bezocht een theater. Ze had een feestje gehad en het was laat geworden. Een onderzoek had een liefdesaffaire van zeven jaar tussen de dame en de acteur Ikushima Shigoro aan het licht gebracht. Alle betrokken personen werden streng gestraft.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0628ab.jpgOntwerperUitgeverCVR-JP-P 628 abCVR.JP-P0628abDepot 3-lade 1516prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelW. O'Rorke, 43, Pembridge Road, London W11 3HGBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsDe Lady Ejima and the Actor Ikushima Shingorô2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2310:14:1408:37:36MaastrichtMaastricht13:10:40collect>internCOLLECT>interncollect>interncollect>intern 73431Japanse PrentenCentre CéramiqueOmatsu was een “femme fatale”. Zij verleidde en trouwde met de blinde Samurai Shirosaburo. Toen ze een stroom overstaken, zat zij op zijn rug en stak hem met haar dolk. De Samurai kan zien en overleeft in andere versies van dit verhaal.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0629.jpgOntwerperUitgeverCVR-JP-P 629CVR.JP-P062917prentTweeluik? Yoshitoshi - Brocaatserietitelwww.theartofjapan.com | Douglas Fraser, P.O. Box 432, Medina WA 98309Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsThe demon Omatsu kils Shirôsaburô at the ford2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2310:14:1408:37:36MaastrichtMaastricht13:10:40collect>internCOLLECT>interncollect>interncollect>intern 73432Japanse PrentenCentre CéramiqueToen in het paleis een banket werd georganiseerd, mochten de vrouwen niet deelnemen. De koningin en de hofdames keken door een scherm naar het spektakel.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0630.jpgOntwerperUitgeverCVR-JP-P 630CVR.JP-P063018prentTweeluik? Yoshitoshi - BrocaatserietitelTokugawa Gallery, 1714 W. Wescott Drive, Phoenix, AZ 85027Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsLadies Watching the Banquet at the Koshida Palace2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2310:14:1508:37:37MaastrichtMaastricht13:10:41collect>internCOLLECT>interncollect>interncollect>intern 73433Depot 3-lade 15Japanse PrentenCentre CéramiqueWe zien Gompachi rechts in beeld. Hij kwam naar de uitgangswijk in Edo. Nadat hij was beroofd waarschuwde Komurasaki hem, dat zijn leven in gevaar was. Zij was opgesloten als prostituee. Ze werden verliefd op elkaar en vluchtten samen. Door geldgebrek werd hij een misdadiger. Uiteindelijk werd hij gevangen genomen en terechtgesteld. Zij weent bij zijn graf en zal zichzelf van kant maken. Ze werden geportretteerd in het Kabuki stuk “de nachtmerrie der geliefden” in Yoshiwara.MaastrichtJapanse prenten1886exact1886exactCVR-JP-P0631ab.jpgOntwerperUitgeverCVR-JP-P 631 abCVR.JP-P0631abDepot 3-lade 1519prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelG. Dunn, 17 East 76th Street, New York NY 10021Bai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsKomurasaki Lamenting at the Grave of her Lover Shirai Gonpachi2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2310:14:1508:37:37MaastrichtMaastricht13:10:41collect>internCOLLECT>interncollect>interncollect>intern 73434Depot 3-lade 15Japanse PrentenCentre CéramiqueDe grote Ota Dokan draagt bescheiden kleding en nadert een eenvoudige herberg. Een bediende volgt hem in de regen. Ota vraagt een regenmantel. Een dienares brengt hem een Yamabushi bloem op een waaier. In het Japans bezit deze bloem geen capsule of “regenmantel”.MaastrichtJapanse prenten1887exact1887exactCVR-JP-P0632ab.jpgOntwerperUitgeverCVR-JP-P 632 abCVR.JP-P0632abDepot 3-lade 1520prentHorizontaal tweeluik? Yoshitoshi - Brocaathttp://www.paghat.com/kerria.html: Relating to this is a tale well worth retelling, regarding the Kerria Rose & the 15th Century samurai, Ota Dokan, who served the Hojo Clan.General Dokan had ridden from Chiyoda (Edo) Castle to go hawking. He had gotten as far as Ogose village in Saitama when an unexpected storm broke forth. He reigned aside his horse at the doorway of a roadside inn, which was so run-down it looked like a haunted ruin. A serving maid came to the door. General Dokan called to her, requesting the loan of a grass raincoat. She hurried away & returned to him with an open fan, upon which lay a Yamabuki flower, presenting this with extravagant courteousness. Dokan expressed himself angrily at the nonsensicality of her actions. He returned to Chiyoda Castle soaking wet, & in a bad mood. Later his old retainer explained to Dokan, That maiden intended to remind you of the poem 'Yamabuki-no-Mino,' for the word mino (grass raincoat) also means 'seed.' Then the old retainer sang, The Yamabuki enriches our house with flowers, yet there is sadness here, for these riches are an illusion, & our flower has no mino. Dokan belatedly realized the maiden had no raincoat, the inn being so impoverished it could not afford even a thing so humble as the woven grass from which raincoats were made. He was regretful that he had become angry due only to his lack of knowledge. From that moment on, he was devoted to poetic studies, so that thanks to a poor innkeeper's daughter, he was in time himself a great poet. The roadside encounter is commemorated in an old painting reproduced above. It was further depicted by woodblock designer Yoshitoshi, in the diptych shown here, though in this version the maiden offers Dokan a Kerria sprig on a tray rather than a blossom on a fan. So well known is this tale throughout Japan, to this day many people believe all Kerria roses have no seeds, but of course it is only the double-form that has extra petals instead of stamins thus is sterile, the single Kerria seeds fine.serietitelW. O'Rorke, 43, Pembridge Road, London W11 3HGBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsOta Dôkan deciding to study poetry2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-05-272013-09-182013-06-12Iesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1014:27:2410:14:1508:37:37MaastrichtMaastricht13:10:41collect>internCOLLECT>interncollect>interncollect>intern 73435Depot 3-lade 15Japanse PrentenCentre CéramiqueEen worstelaar loopt naar een toernooi en zijn oog valt op een mooie boerendochter. Hij probeert haar aan te raken, maar zij pakt zijn hand en hij kan zich niet losrukken. Terwijl zij een emmer draagt, neemt zij hem mee naar huis en wil hem leren worstelen.MaastrichtJapanse prenten1889exact1889exactCVR-JP-P0633ab.jpgOntwerperUitgeverCVR-JP-P 633 abCVR.JP-P0633abDepot 3-lade 1523prentHorizontaal tweeluik? Yoshitoshi - BrocaatserietitelW. O'Rorke, 43, Pembridge Road, London W11 3HGBai-obanvóórBlokdrukVerbeeld theaterVerbeeld theaterEngelsTakashima Oiko leads Saeki Urinaga home in an effort to strengthen him for a wrestling match2009-12-15Reek, J. vanYoshitoshi, Tsukioka (Taiso) (1839-1892)Tsunashima Kamekichischenking2013-01-272015-10-282015-05-272013-09-182013-06-12Iesewfhelmesewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2012-04-172012-04-172012-06-102012-06-1008:53:0014:27:2410:14:1508:37:37MaastrichtMaastricht13:10:42collect>internCOLLECT>internCOLLECT>interncollect>interncollect>intern 138177Japanse PrentenCentre CéramiqueZij is op weg door de sneeuw naar haar werk in een Geisha-huisin de Fukgawa wijk in het oostelijke deel van Edo. Dit type Geisha was niet voor de well-to-do, maar voor de Ronin, het gewone volkMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24 x 3424x341888-02-25cmcmCVR.JP.P0634.T.jpgCVR-JP-P0634.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-634CVR.JP-P0634MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier11prentCourtisane et grijze kimono met witte stippen, , achtergrond grijs met witte sneeuwvlokkenewfhelmesserietitel29Centre CéramiqueBlokdrukhoutsnede, kleuren, itabokashi-techniek (relief-druk)Verstilde schoonheidGoedYoshitoshi Taiso (1839-1892)2014-03-192015-10-282015-05-272014-03-19ewfhelmesewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0108:50:1114:27:2418:12:37Maastricht18:11:05collect>internCOLLECT>internCOLLECT>intern 138178Japanse PrentenCentre CéramiqueDe dame is een anego, een dame met autoriteit. Brandweerlieden waren een belangrijke klasse in Edo, waar vaak brand uitbrak. Symbolen van dapperheid bij het gewone volk. Brandweermanjas hangt achter de dame, dik en indien vochtig een goede bescherming. Daarop de Patio, het de standaard van de brandweereenheid, die hij als aanvoerder mocht dragen Dame heeft een pijp in de hand. De theeketel prutteltom de man te verwelkomen..MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,2 x 35,824,2 x 35,81888-02-12cmcmCVR.JP.P0635.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-635CVR.JP-P0635MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier19prentCourtisane met bruinzwart geblokte kimono, achtergrond links zwartgeblokte doek met rode tekstewfhelmes serietitel37Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsExpectant - the appearance of a fireman's wife ofthe Kaei Era (1848-1854)jikutsikuso kaei nenkan anego no fuzokaYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2418:12:39Maastricht18:11:08collect>internCOLLECT>intern 138179Japanse PrentenCentre CéramiqueDame met bloesemblaadjes is een oiran, een courtisane van hoge rang, de publiekstrekker van haar bordeel. Zij wacht met spanning op een bewonderaar die ze waarschijnlijk graag mag Zij draagt vrije tijdsdracht. De vallende blaadjes zijn een symbool voor verval van schoonheid.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24 x 3624 x 361888-10-15cmcmCVR.JP.P0636.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-636CVR.JP-P0636MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier21prentDame met rode, paars omrande kimono te midden van vallende kersenbloesemewfhelmes serietitel39Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsEager - the appearance of a courtesan of the Kaei Period (1848-1854)aitaso kaei nenkan oiran no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2418:12:40Maastricht18:11:09collect>internCOLLECT>intern 138180Japanse PrentenCentre CéramiqueDe liggende dame heeft een mon-bloem, een tuinanjelier op haar mouw. Met de mussen , symbolen van trouw afgebeeld op haar kimono is zij s dus een yamato nadeshiko,een vertegenwoordigster van de rustige traditionele kwaliteiten van de Japanse vrouw. Zo is is relaxed en sexy, haar mouw zit wat slordig wat niet overeenkomstig de hoge standaarden van de Geisha is. naast haar een pasgevouwen origami kraanvogelMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad35,6 x 23,723,7 x 35,61888-02-25cmcmCVR.JP.P0637.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-637CVR.JP-P0637MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier2prentBovenste deel liggende dame, hoofd rechts, blauwe kimonoewfhelmes serietitel20Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsRelaxed - the appearance of a Kyoto geisha during the Kansei-era (1789-1801)shidaranasaso kansei nenkan kyoto geiko fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2518:12:40Maastricht18:11:09collect>internCOLLECT>intern 138181Japanse PrentenCentre Céramiquejuffrouw met kopje sake in haar hand, links. Zij heeft flink gedronken, vandaar de wat rossige teint van haar hoofd. Let op de subtiele wijze van drukken van de roodrossige plekjesMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36 x 2436 x241888cmcmCVR.JP.P0638.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-638CVR.JP-P0638MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier22prentjuffrouw met theekopje, waarin echter Sake…ewfhelmes serietitel40Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsThirsty - the appearance of a town geisha, a bargirl in the Ansei-era (1854-1860)nomitaso ansei nenkan machi geisha zoku ni shakunin no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2518:12:41Maastricht18:11:10collect>internCOLLECT>intern 138182Japanse PrentenCentre Céramiquenaishitsu betekent persoon van de binnenkamer, het nette woord voor huisvrouw. , Zij is geslaagd in haar meest belangrijke opdracht het baren van een zoon. Geschoren wenkbrauwen, en zwart gelakte tanden zijn het teken van een getrouwde vrouw"MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,7 x 35,723,7 x 35.7Eerder getekend in 18771888-04-15cmcmCVR.JP.P0639.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-639CVR.JP-P0639MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier26prentenige prent van de serie waarvan de datering bekend isdame naar rechtstoegewend, met kindje tegen zich aan gedruktewfhelmesserietitel44Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsCute: the appearance of a housewife in the tenth year of Meiji (1877)Kawayurashiso meiji junen irai naishitsu no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2518:12:41Maastricht18:11:11collect>internCOLLECT>intern 138183Japanse PrentenCentre CéramiqueHet jonge meisje bijt op haar mouw, waarmee zij verlegenheid veinst. Echter, er zijn ook prenten waarbij het bijten op de mouw duidt op het onderdrukken van kreetjes van gepassioneerde kreetjes van verrukking.. Zij oogt met haar kleding wat gewoontjes. De haardracht duidt op een nog niet getrouwd meisje uit de koopmansklasse. Zij ziet er naar Japanse maatstaven koket uit. Let op het verfijnde afbeelden van haar haar op het voorhoofd.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,2 x 35,624,2 x 35,61888-11cmcmCVR.JP.P0640.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-640CVR.JP-P0640MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier29prentjuffrouw bijtend op mouwewfhelmes serietitel47Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsShy - the appearance of a maiden of the Meiji erahazukashisho meji nenkan mesume no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2518:12:42Maastricht18:11:11collect>internCOLLECT>intern 138184Japanse PrentenCentre CéramiqueAlseen man succes of macht had was het normaal dat hij een concubine(mekake) nam en haar in zijn eigen woning huisvestte . Deze mekakehad een rijke lover, haar kapsel is getooid met goud en zij draagt rijk gedecoreerde kledingMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,5 x 3623,5 x 361888-04-05cmcmCVR.JP.P0641.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR -JP-P-641CVR.JP-P0641MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier7prentjuffrouw me4t zakdoekje in mond wast haar handenewfhelmes serietitel25heel klein sneetje rechtsonderCentre CéramiqueBlokdrukhoutsnede met kleuren, licht relief, mica dat volgens Stevenson aanwezig zou moeten zijn ontbreekt eVerstilde schoonheidMatigEngelsChilly - the appearance of a concubine of the Bunka era (1804-1818)tsumetaso bunka nenkan mekake no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:43Maastricht18:11:12collect>internCOLLECT>intern 138185Japanse PrentenCentre CéramiqueJonge Geisha speelt op een vuurvliegjespartij (een hotarugari), een geliefd tijdverdrijf tijdens de warme zomernachten. Ze heeft net een vuurvliegje gevangen en houdt daarom haar waaier in de mond. Tijdens het vuurvliegjes vangen znt men het liedje 'Kom vuurvliegje kom' De wijze waarop zij de waaier in de mond houdt wordt geassocieerd met seksuele passie. Vuurvliegjes werden gevangen en verkocht aan restaurants en bordelenMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,2 x 36,725,2 x 36,71888cmcmCVR.JP.P0642.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR -JP-P-642CVR.JP-P0642MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier31prentjurk is grijs ipv paarsGeisha met waaier in de mondewfhelmes serietitel49Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsDelighted The appearance of a Geisha today, during the Meiji era,ureshiso meiji nenkan tokon geigi no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:43Maastricht18:11:12collect>internCOLLECT>intern 138186Japanse PrentenCentre CéramiqueZij is eigenares van een theehuis of restaurant, getrouwd (zwartgelakte tanden, geschoren wenkbrauwen)MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,5 x 3523.5x 351888cmcmCVR.JP.P0643.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P643CVR.JP-P0643MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier18prentewfhelmes serietitel36Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsUndecided - the appearance of a proprietress of the Kaei-period (1848-1854)Yoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:44Maastricht18:11:13collect>internCOLLECT>intern 138187Japanse PrentenCentre CéramiqueVerwend nest uit de gegoede klasse. Zij wil geen bewonderaar. Feestelijk gekleed, maar het motief op haar buitenste kleed is gebaseerd op kringen van sneeuw, wat een koud hart suggereert. Haar haartooi duidt er op dat zij ongetrouwd was en deel uitmaakte van de chonin-klasse (kooplui) . NaOsaka was Nagoya het grootste handelscentrum van Japan tijdens de Edo-periode. Dit is de laatste prent van deze serie diescenes uit de pre-meiji-periode afbeeldt.MaastrichtJapanse prentenoban-tat-e formaatLengte x BreedteLengte x BreedteBlokBlad35,9 x 23,735,9 x 23,71888cmcmCVR.JP.P0644.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-644CVR.JP-P0644MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier23prentDame zegt ho, niet verderewfhelmes41Paper toning Lightky soiled slightly trimmed album backingCentre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidgoodEngelsDisagreeable - the appearance of a young lady from Nagoya during the Ansi Era (1854-1860)nikurashiso ansei nenkan nagoyajo no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:44Maastricht18:11:14collect>internCOLLECT>intern 138188Japanse PrentenCentre CéramiqueMuzieklerares die de shamisen bespeelt, een van oorsprong Chinees dat via Okinawa in de 16e eeuw in Japan werd geïntroduceerd. Instrument was samengesteld uit redwood met kattenhuid en zijden snaren. Zij gaf waarschijnlijk les aan Geisha's en was mogelijk zelf Geisha geweest . De houten post links laat zien dat zij zich bevindt in de tokonama,de ceremoniële alkoof in dekamer waar de gasten werden ontvangen. Zij gaf daar waarschijnlijk ook les. De sombere kleding hoort bij haar beroep, en duidt op winterse temperaturen. Japanse huizen waren koud.MaastrichtJapanse prentenoban-tat-e formaatLengte x BreedteLengte x BreedteBlokBlad23,5 x3623,5 x 361888-11-03cmcmCVR.JP.P0645.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-645CVR.JP-P0645MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier20prentJo met de banjoewfhelmes38Paper toning Lightky soiled Red ink stains on the lower areas slightly trimmed album backingCentre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidgoodEngelsEnjoying herself - the appearance of a teacher of the Kaei era (1848-1856)tanoshindeiso kaei nenkan shisho no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:44Maastricht18:11:14collect>internCOLLECT>intern 138189Japanse PrentenCentre CéramiqueZij bijt op haan zakdoek terwijl haar arm wordt getatoeëerd met een tekst. De openingswoorden laten vermoeden dat dit een gedicht is over de sakura, kersenbloesem, mogelijk de naam van haar minnar. De prent is een is een parodie op een bekende prent van Utamaro waar een prostitué haar naam op de arm van haar minnaar tatoeëert. De lange vierkante haarpin klopt niet met de periode. De klederdracht en het feit dat ze getatoeëerd wordt laten zien dat zij een joro is, een meisje je uit de lagere klassen. Tattooing kwam voornamelijk juist daar voor. De zwart met ijzerverf gleurde tanden horen zag men bij gehuwde vrouwen als bij prostituees. Het toen van witte tanden werd in verband gebracht met de dood.. Haar rode onderjurk, haar verwarde haren en de hint naar sadisme zullen hebben bijgedragen (volgens Stevenson) aan de erotische bijsmaak van deze prent"MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad35,5 x 23,536 x 23,51888-02-25cmcmCVR.JP.P0646.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-646CVR.JP-P0646MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 63prentdame bijt op haar zakdoekewfhelmes21Paper toning Lightly soiled stains on her right elbow, red ink specks aroud her neck. Pin sized hole on the left edge. Rounded corners on the right side album backingCentre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidgoodEngelsPainful - the appearance of a prosytitute of the Kansei period (1789-1801)itaso kansei nenkan joro no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2618:12:45Maastricht18:11:15collect>internCOLLECT>intern 138190Japanse PrentenCentre CéramiqueDe geisha staat op het punt aan een partyop een boot mee te gaan doen. De houten paal waaraan het schip ligt wordt door Stevenson in verband gebracht meet een phallus.. Ze heeft waarschijnlijk houten schoenen aan, war je snel mee struikelt. Het haar is in de war, mogelijk is zij dronken. Het blaadje op haar rechtermouw is een teken dat zij uite een verarmde samurai familie komt. Samurais waren in de Meiji-periode niet meer nodigMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad36 x 23,736 x 23,7188-05-01cmcmCVR.JP.P0647.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-647CVR.JP-P0647MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papier28prentdame houdt zich nog net wast aanmeerpaal voor ze valtewfhelmes46Centre CéramiqueBlokdrukhoutsnede kleuren, embossedVerstilde schoonheidGoedEngelsDangerous - the appearance of acontemporary geisha of the Meiji eraabunaso meiji menkan toji no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2718:12:46Maastricht18:11:15collect>internCOLLECT>intern 138191Japanse PrentenCentre CéramiqueEen van de36 kabukispelers portretten van Shunsen Natori , de illustrator van de krant ShimbunMaastrichtJapanse prenten1929Lengte x BreedteLengte x BreedteBlokBlad25,7 x 38,126, 5 x 39,7ongeveer1925cmcmCVR.JP.P0648.T.jpgOntwerperUitgeverCVR-JP-P-648CVR.JP-P0648Margespapierprentportret van heer met zwaard.ewfhelmes69Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsIchikawa Sumizo as GonpachiNatori, ShunsenWatanabe2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:32:3114:27:2718:12:46Maastricht18:11:16collect>internCOLLECT>internCOLLECT>intern 138192Japanse PrentenCentre CéramiqueZij is te druk bezig om de klok (en de tijd) op te merken.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad26 x 3428,7 x 37,11964cmcmCVR.JP.P0649.T.jpgOntwerperUitgeverde klok en de schoonheidCVR-JP-P-649CVR.JP-P0649MargesNewland, Amy R and S. Hamanaka: The female image - 20th century prints of japanese beauties, Leiden- Hotei, 2000 isbn 9074822207 pg 83papier4prentlippen stiftende dame met klokewfhelmes60Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsClock and beautey 4 -Red and white-Tokei to Bijin IVShinsui ItoHotta watchmaker2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2718:12:47Maastricht18:11:17collect>internCOLLECT>intern 138193Japanse PrentenCentre Céramiquein gepeins verzonken let zij niet op de klokMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad26 x 34,527,2 x 35,8ongeveer1964cmcmCVR.JP.P0650.T.jpgOntwerperUitgeverde klok en de schoonheidCVR-JP-P-650CVR.JP-P0650MargesNewland, Amy R and S. Hamanaka: The female image - 20th century prints of japanese beauties, Leiden- Hotei, 2000 isbn 9074822207 pg 83papier3prentpeinzende dame, let niet op klokewfhelmes59Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsClock and beauty 3Tokei to Bijin IIIShinsui ItoHotta watchmaker2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2718:12:47Maastricht18:11:17collect>internCOLLECT>intern 138194Japanse PrentenCentre Céramiquede Wachtende dame met klokMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,9 x 34,227,3 x 35,5ongeveer1964cmcmCVR.JP.P0651.T.jpgOntwerperUitgeverde klok en de schoonheidCVR-JP-P-651CVR.JP-P0651MargesNewland, Amy R and S. Hamanaka: The female image - 20th century prints of japanese beauties, Leiden- Hotei, 2000 isbn 9074822207 pg 83papier2prentwachtende dame met klok Is hij er nog niet?ewfhelmes58Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsClock and beauty 2Tokei to Bijin IIShinsui ItoHotta watchmaker2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2718:12:48Maastricht18:11:18collect>internCOLLECT>intern 138195Depot 3-lade 01Japanse PrentenCentre CéramiqueGeisha geniet in een plezierboot van de koele avond. De rode lamp duidt op een plezierboot. Het waait en is koud, de baren zijn woelig. -her nipples are erect-verzucht Stevenson. De doorzichtige jurk zou op straat niet kunnen -MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,5 x 36,225 x 37,1heel precies1888-05-04cmcmCVR.JP.P0652.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-652CVR.JP-P0652Margesrechts en onder afgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 0124prentDame in doorzichtige jurk kijkt in boot met rode lamp over de woelige baren. Zij heeft het koud.ewfhelmes42Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidGoedEngelsCool - the appearance of a Geisha in the fifth or sixth year of Meiji (1872 0f 1873)suzushiso meiji goroku nen irai geigi no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:32:1014:27:2818:12:48Maastricht18:11:18collect>internCOLLECT>internCOLLECT>intern 138196Japanse PrentenCentre CéramiqueIn this okubi-e (‘large-head portrait'), Kunimasa gives us an unusual profile view of Ebiz?. The main elements of the striking costume and make-up are clearly visible: the 'five-spoke wheel' wig with, top right, the paper 'strength' decorations under the black lacquer court hat the fierce red make-up the green jacket with design of stylized cranes and most significant of all, the familiar persimmon-coloured costume with the three white interlocking squares (mimasu), which are the Ichikawa family emblem. Kunimasa (1773-1810) designed this print as a tribute to the great Ebiz? (formerly Ichikawa Danj?r? V) on the occasion of his retirement from the Kabuki stage in 1796. He chose to depict him in the shibaraku scene, one of the most famous in all Kabuki drama. With a thundering cry of 'shibaraku!' ('wait a moment!'), the hero bursts on to the hanamichi walkway from the back of the theatre just in time to save the characters on stage from certain death. Perhaps, in this print, Ebiz? is depicted on the very brink of calling out. (British Museum)MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,5 x 37,926,3 x 38,5heel precies1796-11cmcmCVR.JP.P0653.T.jpgOntwerperDe acteur Ichikawa Ebizo in een shibaraku rolCVR-JP-P-653CVR.JP-P0653MargesL. Smith, V. Harris and T. Clark, Japanese art: masterpieces in (London, The British Museum Press, 1990)papierprentnaar links kijkende heer met geometrische gelaatsbeschildering en mantel met drie omgekeerde in elkaewfhelmes68Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsThe actor Ichikawa Ebizo in a shibaraku roleKunimasa Utagawa (1773-1810)2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:2818:12:48Maastricht18:11:19collect>internCOLLECT>intern 138197Depot 3-lade 01Japanse PrentenCentre CéramiqueGeisha neemt deel aan de Niwaka-vieringen, waarin Geisha's speciale dansen opvoeren in mannen en vrouwenkleding. Zij heeft een mannenwaaier (te herkennen aan tekst ipov bloemen) en draagt een mannelijke haardracht (knotje)en mannenkleren (waarschijnlijk van haar minnaar.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,3 x 26,226,6 x 38,7heel precies1888-04-24cmcmCVR.JP.P0654.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-654CVR.JP-P0654Margesrechts en onder afgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 0114prentGeisha with a Fan under the Full Moonewfhelmes32lijkt verkleurd ivm afbeelding bij StevensonCentre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidMatigEngelsSuitable - the appearance of a Geisha of the licensed quarters in the KOKA era (1844-1854)niaiso koka nenkan kuruwa no geisha fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:31:4614:27:2818:12:49Maastricht18:11:19collect>internCOLLECT>internCOLLECT>intern 138198Depot 3-lade 01Japanse PrentenCentre CéramiqueZij is een joro, prostitué van lage rang, en eet ebi tempura, geroosterde garnalen. Op de veranda zitten bij volle maan was een geliefkoosd tijdverdrijf tijdens de zomer. Haar lichte kleding verraadt het seizoen. Ze ziet er wat slordig uit erg gewone kleren, haar niet gekamd. Informeel zij gebruikt haar eetstokje ook niet op de juiste manier.MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,8 x 35,323,8 x 35,3heel precies1888-03-03cmcmCVR.JP.P0655.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-655CVR.JP-P0655MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 0117prentetende geisha op veranda bij volle maanewfhelmes35Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsTasty - the appearance of a prostitute during the kaei-era (1848-1854)mumaso kaei nenkan joro no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:31:3614:27:2818:12:50Maastricht18:11:20collect>internCOLLECT>internCOLLECT>intern 138199Depot 3-lade 01Japanse PrentenCentre CéramiqueDe dame is eem hoer met vergunning. Mond half open slaapt zij overdag, want zij heeft nog lange onderkleed aan dat men overdag droeg, wat duidt op slordigheid. Het doekje naast haar duidt op haar beroep. Deze prent wordt door kenners gezien als de beste prent vasn de serie. De houtsnijder was Yamamoto, ipv Wada die dee overige prenten sneed. Yamamoto deed ook de serie 100 aspecten van de maan."MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,7 x 35,723,7 x 35,7heel precies1888-04-10cmcmCVR.JP.P0656.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-656CVR.JP-P0656MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 0130prentslapende dame met doekjeewfhelmes48Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsDrowsy - the appearance of a harlot of the Meiji eranemuso meiji nenkan shogi no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:31:2514:27:2818:12:50Maastricht18:11:21collect>internCOLLECT>internCOLLECT>intern 138200Depot 3-lade 01Japanse PrentenCentre CéramiqueDe huisvrouw kwam zelden uit haar huis, af en toe voor kubuki-theater of tempelbezoek. De rook is er om de muggen op afstand te houden. De waaier heeft betrekking op het sprookje van GenjiMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,7 x 35, 623,7 x 35, 8heel precies1888-05-19cmcmCVR.JP.P0657.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-657CVR.JP-P0657MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 016prentbuigende dame met rooksliertewfhelmes24Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsSmoky - the appearance of a housewife of the Kyowa Era (1804)kemuso kyowa nenkan naishitsu no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:31:1614:27:2918:12:51Maastricht18:11:21collect>internCOLLECT>internCOLLECT>intern 138201Depot 3-lade 01Japanse PrentenCentre CéramiqueNog half slapend is ze begonnen met haar ochtendtoilet. Het is zomer, planten bloeien en ze draagt zomerkleren. Ze is niet gehuwd, maagd (musume)MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24 x 36,326,8 x 38,7heel precies1888-03-22cmcmCVR.JP.P0658.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-658CVR.JP-P0658MargesStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 0115prenttandenpoetsende juffrouwewfhelmes33Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsWaking up - the appearance of a girl of the koka era (1844-1848)megasameso koka nenkan musume no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:31:0614:27:2918:12:51Maastricht18:11:22collect>internCOLLECT>internCOLLECT>intern 138202Depot 3-lade 01Japanse PrentenCentre CéramiqueKanjo betekent aristocrate verbonden aan het keizerlijk hof. De cipressenhouten waaier is een teken van haar rang , evenals het rood-witte hofkostuum uit de 18e eeuw. geschoren wenkbrauwen, en kunstmatige aangebrachte hogere wenkbrauwen volgens de Heian stijl wijzen hier ook op."MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad24,1 x 36,326,7 x 38,81888-04-13cmcmCVR.JP.P0659.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P-659CVR.JP-P0659MargesStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 015prentdame in rood-witewfhelmes23Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsRefined - the appearanve of a courtlady during the Kyowa era (1801-1804)hingayosaso kyowa nenkan kanjo no fuzokuYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:30:5314:27:2918:12:51Maastricht18:11:22collect>internCOLLECT>internCOLLECT>intern 138203Depot 3-lade 01Japanse PrentenCentre CéramiqueDe Naishitsu, (= welgestelde huisvouw van stand) wordt behandeld met moxa, schroeiende propjes die op specifieke plekken op de rug geplaatst worden, met het zelfde doel als acupunctuur genezen. Met name chonin,( gewone burgers handelslui) en geisha's deden dit, samurai nooit.. Gezien zijn voorkeur voor het afbeelden van pijn lijdende vrouwen (o.m. no 3 van deze serie, P 0646), laadt Yoshitoshi de verdenking op zich dat hij pervers was. De term -heet- heeft in het japans ook de zelfde twee betekenissen als bij ons. het laten zien van de nek wordt in Japan ook als erotisch gezien. Het doosje waarop ze haar hoofd legt is een stoof, wat ook een verwijzing is naar heet... "MaastrichtJapanse prenten1888-03-10Lengte x BreedteLengte x BreedteBlokBlad23,6 x 3623,6 x 36,0cmcmCVR.JP.P0660.T.jpgOntwerperUitgeverFuzoku sanjunisoCVR-JP-P660CVR.JP-P0660MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 018prentde stoof waarop de dame haar hoofd neerlegd is gedrukt met de itame mohukan techniek in het blokje hout wordt geen motief gesneden, maar het hout wordt voor het geInkt wordt in het water gelegd zodat de nerven het patroon gaan vpormen.naar links knielende dame met hoofd op doos en brandende peuk op rug.ewfhelmes26paper toning, soiled, red ink stains on t5he left area, twoopin sized hole on the right edge, a diagonal crease on the lower right corner album backingCentre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidgoodEngelsHot: the appearance of a wealthy housewife in the Bunsei era (1818-1830)atsuso bunsei nenkan naishitsu no fuzokuThirty-two Customs and Manners of Women / Fuzoku sanjunisoYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:30:3914:27:2918:12:52Maastricht18:11:23collect>internCOLLECT>internCOLLECT>intern 138204Depot 3-lade 01Japanse PrentenCentre CéramiqueNatori Shunsen developed an interest in kabuki actor portraits while working as an illustrator for the newspaper Asahi Shimbun. During this time, he had the opportunity to meet the publisher Watanabe Sh?zabur?, who was the primary force behind the shin-hanga movement.In 1925, Natori and Watanabe worked together on a series of 36 actor portraits. This series contains some of Natori's finest kabuki designs. Watanabe lavishly produced each print in a limited edition of 150 and sold them only by subscription. The series lasted through 1929, followed by a supplemental series of 15 actor prints produced through 1931.Natori's actor portraits were mainly in the ?kubi-e (large head) format which allowed him to focus on the expression and emotions of the character's face Natori Shunsen continued to work as an artist in the kabuki theater, but did not design any other actor prints until the early 1950s. From 1951 to 1954, he again collaborated with Watanabe on another series of 30 actor prints. Like the earlier series, these designs were beautifully printed and are very expressive, especially the ?kubi-e portrait. .Kabuki actor Bando Shucho III performing a ballad dance with a smmall hourglass shaped drum Shizuki's mother, Iso no Zenji, was a shiraby?shi as well. According to the Gikeiki, Shizuka was invited at one point by Retired Emperor Go-Shirakawa, along with 99 other dancers, to dance for rain after the chanting of 100 Buddhist monks failed to bring that same result. Though the 99 dancers likewise failed to bring rain, Shizuka's arrival brought the desired effect. She was then praised by the Emperor, and it was at this time that she met Yoshitsune. When Yoshitsune fled Kyoto in 1185, after the end of the Genpei War, and following a disagreement with his brother, Yoritomo, the first Kamakura shogun, Shizuka was left behind in Yoshino. The exact details of how far she traveled with Yoshitsune before being sent back, or whether she traveled further than Yoshino at all, differ from one literary work to the next, as do many of the other finer details of her tale. In any case, she was captured by H?j? Tokimasa and forces loyal to Yoritomo, and according to some versions of the story, forced to dance for the new shogun at Tsurugaoka Hachiman-g?. There, she sang songs of her longing for Yoshitsune, which angered Yoritomo but Yoritomo's wife H?j? Masako was sympathetic, and helped to have her released. However, she was by this point pregnant with Yoshitsune's child Yoritomo declared that if it were a daughter she could live on peacefully, but if it were a son, he would have the child killed. A short time later, when Shizuka was 19, she gave birth to a son Adachi Kiyotsune tried to take the child, who was instead given to Shizuka's mother. She then traveled back to Kyoto, where she became a Buddhist nun. Shizuka was later killed, however, along with her and Yoshitsune's child, by the order of Yoritomo.According to some versions of the story, she did not become a nun upon her return, nor was she killed. Alternatively, she returned to Kyoto and was welcomed by H?j? Masako back into court life, where she remained for a time. She then left the capital once more, committing suicide by drowning herself in a river, though versions differ on where this occurred (Wiki)MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlok25,1 x 37,527,5 x 401925cmcmOntwerperUitgeverCVR-JP-P661CVR.JP-P0661Margesrechts en onder afgesnedenShunsen Natori- Collection of Kushigata Shunsen Museum of Art , Kushigata City Shunsen Art Museum, 2002, p.24, pl 8.papierDepot 3-lade 01prentDame met rode, wit omrande kimono met zwaardewfhelmespaper toning , discolorations along the left margin edg, needle size holes on the four margin cornersBlokdrukhoutsnede kleuren , toevoeging micaBladGoedEngelsShizukaShunsen Natori 1886-1920Watanabe2014-03-192015-05-272015-05-27ewfhelmesjpeetersewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt17:30:4614:27:3018:11:24collect>internCOLLECT>internCOLLECT>intern 138205Japanse PrentenCentre CéramiqueMorita Kanya XII (1846-1897) was een acteur die vernieuwend was voor het Kabukitheater. Genta Kajiwara Kagesue (1162 - February 6, 1200), also known as Kajiwara Kagetoki, was a samurai in service to the Minamoto clan during the Genpei War of Japan's late Heian period.[1]The Heike monogatari records an anecdote about a friendly competition with Sasaki Takatsuna prior to the second battle of Uji. Mounted on Yoritomo's black horse, Surusumi, he races Takatsuna across the River Uji.[2]Kagesue met death in Suruga at the hands of men loyal to Minamoto no Yoriie.[1]MaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad25,4 x 37, 527 x 401928cmcmCVR.JP.P0662.T.jpgOntwerperUitgeverCVR-JP-P662CVR.JP-P0662Margesrechts en onder afgesnedenBrown, Kendall H and Hollis Goodall-Cristante- Shin Hang, new prints in modern Japan Los Angeles Museum and University of washington Press, 1996 ISBN 0295975172 p.52 voor deze seriepapier28prentOp de serie die uitgebracht werd tussen 1925 en 1929 kon worden ingetekendportret heer met rode jas met witte klavertjesdrieewfhelmes70paper toning , slight Creases several light foxing pin holes and a small missing area repaired on the marginsCentre CéramiqueBlokdrukhoutsnede kleuren , embossedVerstilde schoonheidGoedEngelsMorita Kanya speelt Genta KagesueShunsen Natori 1886-1920Watanabe2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:3018:12:53Maastricht18:11:24collect>internCOLLECT>intern 138206Depot 3-lade 01Japanse PrentenCentre CéramiqueDe titelpagina van deze bij ons complete serie met indexMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,5 x 3624x361888cmcmCVR.JP.P0663.T.jpgOntwerperUitgeverCVR-JP-P663CVR.JP-P0663MargesafgesnedenStevenson, John: Yoshitoshi's 'women, The woodblock-print series Fuzoku sanjuniso Seattle, rev.edition 1995 SB 78 C 6papierDepot 3-lade 010prenttwee bloemenmanden met heel veel Japanse tekstewfhelmes18Centre CéramiqueBlokdrukhoutsnede kleurenVerstilde schoonheidEngelsIndex - Thirty-two Aspects of Customs and Manners of WomenYoshitoshi Taiso (1839-1892)Tsuna Skhima Kamakichi2014-03-192015-05-272015-05-272014-03-19ewfhelmesjpeetersewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0116:28:0814:27:3018:12:54Maastricht18:11:25collect>internCOLLECT>internCOLLECT>intern 138207Japanse PrentenCentre CéramiqueDame kijkt naar klok met kleine belletjesMaastrichtJapanse prentenLengte x BreedteLengte x BreedteBlokBlad23,5 x 3225,5 x 35ongeveer1964cmcmCVR.JP.P0664.T.jpgOntwerperUitgeverCVR- JP-P664CVR.JP-P0664MargesafgesnedenNewland, Amy R and S. Hamanaka: The female image - 20th century prints of japanese beauties, Leiden- Hotei, 2000 isbn 9074822207 pg 83papier1prentBlauwe dame staart peinzend naar klok met belletjes op pedestalletjeewfhelmes57slightly creased. Tape residues on top left an bottom right are seen tot the frontCentre CéramiqueBlokdrukHoutsnede, kleurenVerstilde schoonheidgoodEngelsClock and Beauty ITokei to Bijin ISinsui Ito 1898-1972Hotta watchmaker2014-03-192015-05-272014-03-19ewfhelmesewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0114:27:3018:12:54Maastricht18:11:25collect>internCOLLECT>intern 138169CVR.JP.P0665.T.jpgCVR.JP-P0665jpeeters30Centre CéramiqueVerstilde schoonheid2014-03-182015-10-282015-05-272014-03-192014-03-192014-03-18jpeetersewfhelmesewfhelmesjpeetersjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0109:12:4614:27:3009:21:0309:20:2518:03:31Maastricht17:20:28collect>internCOLLECT>internCOLLECT>interncollect>interncollect>interncollect>intern 138170Depot 3-lade 02CVR.JP.P0666.T.jpgCVR.JP-P0666Depot 3-lade 02jpeeters09Centre CéramiqueVerstilde schoonheid2014-03-182015-05-272015-05-272014-03-182014-03-18jpeetersjpeetersewfhelmesjpeetersjpeeterssingle objectenkelvoudig objectobjet individuelEinzelnes Objekt2014-04-082014-06-152014_0117:46:5814:27:3118:50:5717:39:05Maastricht17:21:02collect>internCOLLECT>internCOLLECT>interncollect>interncollect>intern 148488Depot 3-lade 17Japanse PrentenCentre CéramiqueMinamoto no Tsunenobu (1016-1097) was een vermaarde dichter en musicus. Op een nacht met volle maan droeg hij een gedicht voor van de beroemde dichter Kino Tsurayuki (?-945): Als ik het geluid hoor van ritselende kleding / de wolken verdwijnen en de maan schijnt / en ik zie iemand in de lucht / die nog steeds wakker is. Plotseling verscheen er een demoon in de lucht, droeg een gedicht voor als reactie op het gedicht van Kino, en verdween. Op de prent is alleen een been te zien van de demoon. Rechtsboven in het roze cartouche staat de titel van de prent Tsuki Hyakushi en in het cartouche daarnaast het gedicht van Kino.MaastrichtJapanse prenten1886-1CVR.JP-P0727.jpgOntwerperCentre CéramiqueCVR.JP-P0727papierDepot 3-lade 1714prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsTsunenobu 経信Minamotono Tsunenobu and a demon2015Aarts, SjoerdYoshitoshi no in (zegel)2004-04Reek, J. vanYoshitoshi (1839-1892)schenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:12:4011:02:06COLLECT>intern 148489Depot 3-lade 17Japanse PrentenCentre CéramiqueUbasuteyama is een oud Japans volksverhaal over Tatsuhei, die gedwongen werd om zijn moeder Rin achter te laten in de bergen vanwege een ernstige hongersnood. Zijn moeder blijft zich echter zorgen maken over hem, of hij goed thuis is gekomen, terwijl ze zelf haar onvermijdelijke dood tegemoet ziet. Een toonbeeld van oprechte ouderliefde.MaastrichtJapanse prenten1891-12CVR.JP-P0728.jpgOntwerperCentre CéramiqueCVR.JP-P0728papierDepot 3-lade 1797prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsObasute no tsukiThe Moon and the Abandoned Old Woman2015Aarts, SjoerdTaiso2004-04Reek, J. vanYoshitoshi (1839-1892)schenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:11:4111:02:07COLLECT>intern 148490Depot 3-lade 17Japanse PrentenCentre CéramiquePortret van een schoonheid die op tatami matten ligt. Ze kijkt naar de schaduw van de dennenboom die op de grond valt. Door het interieur met het vouwscherm en een bron om water mee te verhitten lijkt de ruimte op een teehuis. De vrouw kan een geisha, courtisane of entertainer zijn. Rechtsboven in het roze cartouche staat de titel van de serie Tsuki Hyakushi, met daarnaast de titel van de prent. De titel is een gedicht van de beroemde haiku meester Takarai Kikaku (1661-1707).MaastrichtJapanse prenten1885-10CVR.JP-P0729.jpgOntwerperCentre CéramiqueCVR.JP-P0729papierDepot 3-lade 175prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsMeigetsu ya tatami no ue ni matsu no kageFull moon on the tatami mats shadows of the pine branches2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)schenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:11:1011:02:08COLLECT>intern 148491Depot 3-lade 17Japanse PrentenCentre CéramiqueEen van de oorspronkelijke volgelingen van Boeddha ontvangt de zaden van de cassiabomen die groeien op de maan. De cassia boom is bekend om zijn regeneratie en de zaden symboliseren onsterfelijkheid. De positie van de maan creert ook het effect van een halo rond de monnik's hoofd.MaastrichtJapanse prenten1891-6CVR.JP-P0730.jpgOntwerperCentre CéramiqueCVR.JP-P0730papierDepot 3-lade 1793prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsBonso tsukiyo ni keishi o ukuA Buddhist Monk Receives Cassia Seeds on a Moonlit Night2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)schenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:10:2811:02:09COLLECT>intern 148492Depot 3-lade 17Japanse PrentenCentre CéramiqueSugawara Michizane (AD 845-903) was een hoveling, die postuum werd vergoddelijkt als Tenjin, de god van de muziek, literatuur en kalligrafie. Op elfjarige leeftijd, componeerde hij het volgende gedicht in de klassieke Chinese vorm: ~De maan glimmert zoals lichte sneeuw en de pruim bloesems verschijnen als reflecterende sterren - Ah! De gouden spiegel van de maan passeert boven mijn hoofd zoals de geur uit de jadekamer de tuin vult. ~ Dit gedicht staat rechtsboven in de gele cartouche.MaastrichtJapanse prenten1886-1CVR.JP-P0731.jpgOntwerperUitgeverCentre CéramiqueCVR.JP-P0731papierDepot 3-lade 1716prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsSugawara no MichizaneMichizane composes a poem by moonlight2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)Akiyama Buemonschenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:10:0911:02:09COLLECT>intern 148493Depot 3-lade 17Japanse PrentenCentre CéramiqueKapitein en dichter (Shosho) Fujiwara no Yoshitoshi (954-974) mediteert bij de Seson tempel buiten Kyoto. Zijn schoonheid, talent en persoonlijkheid waren zo geroemd dat gezegd werd dat er nooit een tweede Yoshitaka zou zijn. Dit ondanks het feit dat hij al op 21 jarige leeftijd overleed aan de pokken.MaastrichtJapanse prenten1888CVR.JP-P0732.jpgOntwerperUitgeverCentre CéramiqueCVR.JP-P0732papierDepot 3-lade 1769prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsSesonji no tsukiSeson Temple Moon2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)Akiyama Buemonschenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:09:0311:02:10COLLECT>intern 148494Depot 3-lade 17Japanse PrentenCentre CéramiqueDe courtisane 'geest dame' als haar voorganger Jigoku.MaastrichtJapanse prenten1890CVR.JP-P0733.jpgOntwerperCentre CéramiqueCVR.JP-P0733papierDepot 3-lade 1712prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendEngelsThe enlightenment of Jigoku-dayu2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)schenking2015-10-07ewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:02:10COLLECT>intern 148495Depot 3-lade 17Japanse PrentenCentre CéramiqueKomachi, de beroemde schoonheid en dichteres uit de 9de eeuw, zit op haar oude dag op een grafsteen. Ze is een zwerfster geworden en denkt na over haar vervlogen rijkdom en schoonheid. Komachi zit te staren onder de maan. Ono no Komachi was een mooie, intelligente vrouw en een van de meest talentvolle vroege dichters. Als jonge vrouw werd ze achtervolgd door veel vrijers, die ze harteloos afwees. Op haar oude dag werd ze arm en zwierf ze rond Kyoto om na te denken over de wereld en de ijdelheid van het leven. In het toneelstuk Noh Komachi en de grafsteen, gaat de oude dichteres zitten op een half begraven grafsteen. Twee passerende priesters bekritiseren haar gebrek aan respect voor de doden, maar ze geeft een dichterlijke reactie: Ook ik ben een half begraven stuk hout, maar in mijn hart heb ik nog steeds bloesems, waarom zouden ze niet goed genoeg zijn voor aanbiedingen? Verbaasd dat deze bedelaar-achtige vrouw zo een intelligente reactie geeft vragen de priesters haar naam. Maar de dichteres durft ze niet te beantwoorden vanwege schaamte over haar huidige toestand. Ze vervalt in een mijmering en herinnert zich haar jeugd toen ze werd versierd door een van haar vele vrijers. Wanneer de herrinnering passeert wordt ze weer rustig. Yoshitoshi's Komachi is nog steeds waardig, intelligent, alert en mooi op haar oude dag.MaastrichtJapanse prenten1886-3CVR.JP-P0734.jpgOntwerperUitgeverCentre CéramiqueCVR.JP-P0734papierDepot 3-lade 1725prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelssotōba no tsuki 卒都婆の月Grave marker moon2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)Akiyama Buemonschenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:05:3411:02:10COLLECT>intern 148496Depot 3-lade 17Japanse PrentenCentre CéramiqueDe prinselijke hoveling Minamoto no Tsunemoto (AD 894-961) stond bekend om zijn poëzie, maar hij was ook een ervaren boogschutter. In 932, tijdens een nacht in de buurt van Joganden, een gebouw in de paleistuin van Kyoto, zou hij een demonisch hert hebben neergeschoten dat de Keizer wilde aanvallen. Hij speelde ook een belangrijke rol in het onderdrukken van Taira no Masakado’s rebellie tegen de keizer waardoor hij de titel Chinjufu-Shogun (commandant van het garnizoen) ontving.MaastrichtJapanse prenten1888-12CVR.JP-P0735.jpgOntwerperUitgeverCentre CéramiqueCVR.JP-P0735papierDepot 3-lade 1767prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendEngelsJōganden Moon – Minamoto no Tsunemoto2015Aarts, SjoerdYoshitoshi2004-04Reek, J. vanYoshitoshi (1839-1892)Akiyama Buemonschenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:07:2111:02:11COLLECT>intern 148497Depot 3-lade 17Japanse PrentenCentre CéramiqueDe compositie toont een modieus geklede dame die het theater district Edo verlaat na een nacht van feestvreugde. Behalve drie theaters (Kabuki), waren er in de wijk ook veel restaurants en ochaya (theehuizen met geisha’s) die tot in de vroege ochtend druk bezocht werden. Als de centrale figuur vertrekt en de maan achter haar langzaam verdwijnt, begint de rode zon te stralen van achter de verlichte gebouwen. De figuren in de linker benedenhoek van de afdruk doen denken aan Hiroshige zijn bekende prent van het theater district Edo, namelijk One Hundred Famous Views of Edo: Night View of Saruwaka-machi van 1856.MaastrichtJapanse prenten1886CVR.JP-P0736.jpgOntwerperUitgeverCentre CéramiqueCVR.JP-P0736papierDepot 3-lade 1743prentewfhelmesserietitelauthentieke reproductieBlokdrukuitstekendJapansEngelsShibaimachi no akatsukiTheater-district dawn moon2015Aarts, SjoerdYoshitoshiReek, J. vanYoshitoshi (1839-1892)Akiyama Buemonschenking2015-10-072015-10-07ewfhelmesewfhelmessingle objectenkelvoudig objectobjet individuelEinzelnes Objekt11:08:0311:02:11COLLECT>intern Unstructured6750675000\\spzl.local\applicatie\appl-gma\adlib\adlib application 3.4\dataCOLLECTintern11476786722