注意:18歳未満閲覧禁止
No admission to 18 years of age
yoko-e 11×17cm,20p, From the late Bunka era (1804-19).10 annotated ukiyo-e spring paintings constitute a spectacular scene of lewdness. They are overprinted with color woodblocks and have exquisite details. They are unrecorded and have been made public for the first time.
Keisai Eisen(1790-1848):The son of the calligrapher and poet Ikeda Shigeharu, Eisen studied painting with Kano Hakkeisai, a senior student at the Kano Eisen-in studio. He later boarded at the house of the genre painter, Kikugawa Eijiri where he met Eijiri’s second son, the artist Kikugawa Eizan (1787-1867). he became Eizan’s student who gave him the name Eisen in 1816.
From the late Bunka era (1804-19) onwards many illustrations for the various genres of popular literature as well as surimono and a large output of single-sheet prints of women, including some fine bust portraits, exploring the world of the unlicensed pleasure quarters of Edo in his own rich, seductive style. Also many illustrations to erotic works.
Eisen painted a relatively large number of hanging scrolls of beauties, sometimes with particularly large (half life-size) figures drawn so that they appear to get larger the higher up the body they are viewed, giving them very vivid presence. The eyes are set wide apart with particularly luxuriant lashes and the pupils always glancing off to one side, but otherwise the faces are not unlike those painted by Eizan.
Although Eisen was born into a samurai family which would have accorded him some social status, he experienced a painful fall from grace triggered by the deaths of first his father and then his stepmother only months apart in 1810. At the age of 20, Eisen was forced to find ways to support himself as well as three younger half-sisters.
He began producing shunga the following year, relatively early in his artistic career. Unlike his contemporaries in the studio of Utagawa Toyokuni (1769-1825) who was chastened by a crackdown in 1804 by the authorities and apparently forbade his students to produce shunga for a considerable period.
Eisen designed shunga albums and novels with his own text, narratives and even his own calligraphy. Although the lavish shunga publications were mostly produced under pseudonyms, his distinctive style was easily identifiable and invited scrutiny which eventually forced him to give up his samurai rank.
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