237:
out the
Utagawa surname, and the use of “Toshinomaru”, which is Utagawa's own family crest that is only found within the Utagawa family to the best students. The “Yearball”, rounded design, was the symbol of the Utagawa family. This symbol was easy to recognize, so the people who wore the Utagawa crested kimono did not need the ticket to the Edo theater at that time. The “Tatsunori no Maru” crest of the same shape with an added line, was used only by the master of Muneya and his workers. The next master was decided at a convention of the very large Utagawa Ichimon family. The master was mainly decided by personality and their Ukiyo-e skills. However, the higher the rank, the better chance that they would be chosen. There were gifts such as crests from the shogunate in the house using this family crest. Utagawa Kazumon did not only pay attention to the aesthetic of the picture, but also tried to maintain a close relationship with the masses, calling himself “painter”.
466:
246:
or copies of the final shita-e. It is still uncertain who produced the final shita-e, however the clues that remain are the series of sketches and corrections in red ink. More research remains to be done in this area, yet one reason for the vast success of the
Utagawa School and its ability to support so many artists was the studio setup of printmaking in the nineteenth century. Paradoxically, the focus on a limited number of great printmakers of the day actually increased their standing and sales, and so supported the pupils beneath them.
17:
898:
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Shita-e drawings are still used in the present time, with rough sketches and more refined brush paintings, on different kinds of paper with and without corrections, depending on the artist. Moreover, since the final drawing will be carved away, the drawings that would remain would be either sketches
205:
Kunisada I (Toyokuni III) apparently despised
Toyoshige, and refused to acknowledge him as head of the Utagawa school. Apparently, this was because he felt that as the best pupil, he should have been named head after the old master died, and was upset with Toyoshige, who apparently got the position
236:
According to the encyclopedia of Ukiyo-e in the late 1980s, the
Utagawa school had 151 students, 147 workers from Kuniyoshi, and 173 people from Kuniyoshi. Students who studied at the Utagawa school would gain the chance to receive the Utagawa name if their skill is approved. The master would give
83:, an innovation in Japanese art. His immediate followers, Utagawa Toyohiro and Toyokuni adopted bolder, more sensuous styles than Toyoharu and specialized in different genres — Toyohiro in landscapes and Toyokuni in
58:, took over after Toyoharu's death and led the group to become the most famous and powerful woodblock print school for the remainder of the 19th century.
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When
Kunisada I took the art-name Toyokuni (c. 1842), he effectively removed Toyokuni II from house history and for a period actually signed as
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It was a
Japanese custom for successful apprentices to take the names of their masters. In the main Utagawa school, there was a hierarchy of
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were
Utagawa students. The school became so successful and well known that today more than half of all surviving ukiyo-e prints are from it.
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Following is a list of some members of the main
Utagawa school, giving the succession of names, along with the modern numbering of each:
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342:
Amatori, Franco; Jones, Geoffrey, eds. (2003), "Business
History around the World", Cambridge University Press, pp. xvii–xviii,
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at the
University of Wisconsin, Madison, has a collection of more than 4,000 Japanese prints in its E. B. Van Vleck Collection
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202:, a mediocre pupil and son-in-law of Toyokuni I who became head of the Utagawa school after Toyokuni I died.
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An additional complexity is the fact that there are two different artists who are sometimes referred to as
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110:), from the most senior to junior. As each senior person died, the others would move up a step.
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This numbering persisted, so when Kochoro became head of the Utagawa school, he signed as
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213:. However, he is now numbered, Toyokuni III. There are prints which signed
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Biography of Utagawa Hiroshige in: Forbes, Andrew; Henley, David (2014).
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Kochoro (II) -> Kunimasa (IV) -> Kunisada (III) -> Toyokuni (V)
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proclaimed himself head of the school (c. 1842), he started signing as
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Kochoro -> Kunimasa (III) -> Kunisada (II) -> Toyokuni (IV)
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The next most senior member after him, in turn, began signing as
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316:"Lines of Descent: Masters and Students of the Utagawa School"
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297:"Fleeting Pleasures of Life In Vibrant Woodcut Prints"
148:(Kunimasa IV, in this case), which had been Kochoro's
217:which are by the artist now known as Toyokuni III.
283:. Chiang Mai: Cognoscenti Books. ASIN: B00HR3RHUY
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152:before he became Kunisada II. (The original
79:Founder Toyoharu adopted Western-style deep
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305:, March 22, 2008. Retrieved March 26, 2008
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54:(perspective picture). His pupil,
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38:) was one of the main schools of
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1553:List of Utagawa school members
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141:(Kunisada II, in this case).
2009:influenced non-Japanese art
348:10.1017/cbo9780511512100.001
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451:List of ukiyo-e terms
320:asianartnewspaper.com
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42:, founded by
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2046:Ligne claire
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2012:
2006:
1995:
1986:Shijō school
1978:
1971:
1962:Kyoto school
1937:Rinpa school
1839:Toko Shinoda
1809:Tetsuya Noda
1737:Sosaku-hanga
1735:
1734:
1673:Hasui Kawase
1649:
1648:
1640:20th century
1548:Adachi Ginkō
1412:
1341:Torii school
1225:Ōoka school
1129:Keisai Eisen
819:Sōsaku-hanga
809:Nikuhitsu-ga
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776:Torii school
576:Monogatari-e
374:|title=
323:. Retrieved
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222:Toyokuni III
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163:Toyokuni (I)
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88:actor prints
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29:
27:
2040:Art Nouveau
1952:Hara school
1947:Akita ranga
1942:Kanō school
1884:Reika Iwami
1779:Masao Maeda
1759:Itow Takumi
1693:Ohara Koson
1663:Itō Shinsui
1583:Ogata Gekkō
1573:Sawa Sekkyō
1264:Hirosada II
975:Shiba Kōkan
723:Kappazuri-e
226:Toyokuni IV
215:Toyokuni II
211:Toyokuni II
193:Toyokuni II
81:perspective
2064:Categories
1651:Shin-hanga
1631:Yokohama-e
1626:Nagasaki-e
1621:Kamigata-e
1259:Hirosada I
814:Shin-hanga
738:Sumizuri-e
728:Kirazuri-e
718:Ishizuri-e
708:Benizuri-e
696:Techniques
687:Yokohama-e
682:Nagasaki-e
677:Kamigata-e
511:Hanshita-e
325:2019-11-20
267:References
154:Kunimasa I
123:Kunisada I
74:Yoshitoshi
56:Toyokuni I
2014:Japonisme
1789:Maki Haku
1614:By region
1289:Yoshitaki
1144:Tsukimaro
733:Nishiki-e
656:Yakusha-e
546:Komochi-e
516:Hashira-e
200:Toyoshige
108:art-names
70:Kuniyoshi
62:Hiroshige
22:Hiroshige
1274:Kunimasu
1249:Ashiyuki
748:Urushi-e
703:Aizuri-e
661:Yūrei-zu
646:Uchiwa-e
641:Surimono
611:Omocha-e
596:Namazu-e
566:Mitate-e
561:Meisho-e
556:Megane-e
541:Kodomo-e
491:Bijin-ga
365:citation
250:See also
146:Kunimasa
139:Kunisada
127:Toyokuni
119:Toyokuni
66:Kunisada
48:bijin-ga
2007:Ukiyo-e
1980:Nihonga
1925:Related
1900:Others
1568:Sharaku
1284:Shunshi
878:Ukiyo-e
871:General
824:Tosa-ha
758:Schools
713:Bokashi
626:Shita-e
621:Shini-e
616:Senso-e
606:Ōkubi-e
591:Muzan-e
586:Musha-e
551:Kuchi-e
536:Kaika-e
526:Kachō-e
506:Fushiga
501:Egoyomi
496:Boshi-e
444:General
437:Ukiyo-e
241:Shita-e
131:Kochoro
121:. When
40:ukiyo-e
636:Sumo-e
631:Shunga
601:Ogao-e
571:Moji-e
531:Kage-e
521:Jōge-e
486:Beni-e
474:Themes
354:
232:Family
85:kabuki
1973:Nanga
804:E-hon
743:Tan-e
651:Uki-e
481:Aka-e
52:uki-e
1997:Yōga
378:help
352:ISBN
181:here
179:See
72:and
28:The
344:doi
35:歌川派
2066::
369::
367:}}
363:{{
350:,
334:^
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150:gō
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851:t
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429:e
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376:(
346::
328:.
106:(
32:(
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