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Published by De Luca Edizioni D'Arte, 1989
ISBN 10: 8878131962ISBN 13: 9788878131965
Seller: Isaiah Thomas Books & Prints, Inc., Cotuit, MA, U.S.A.
Book
Paperback. Condition: Very Good. Lightly edge worn and rubbed; Italian Edition; 10.6 X 9.1 X 0.7 inches; 254 pages.
Published by w/o place w/o year.
Seller: Fundus-Online GbR Borkert Schwarz Zerfaß, Berlin, Germany
Book
Condition: Gut. Front cover with a small image of the art print, 1 side text, 1 side with art print fixed to one side, back side blank. Leaflet slightly bumped at the lower edge in the fold, art print very good. Text in Japanese and English. - Yoko Oban Nishikie - (Unregistered) - The linking of courtesans feelings or sentiments with odes by medieval poets was a device frequently employed by ukiyoe artists. Eizan s design provides this courtesan with an elaborate coiffure, balanced by the wide-spread hems of her garment. The artist s mannerism can be seen in the facial expression and the raised knee. Eizan (1787-1867) received his first instruction in painting from his father, who had studied in the Kano school. He was also a pupil of Suzuki Nanrei. Eizan formed his own school, independent of Utamaro or Hokusai. His style, however, is close to that of Utamaro s last years. Sprache: Englisch Gewicht in Gramm: 550 Leaflet 28,5*42 cm, Art print 36,5 * 25 cm.
Published by De Luca edizioni d'arte, 1989
ISBN 10: 8878131962ISBN 13: 9788878131965
Book
Soft cover. Condition: Good. No Jacket. 4to. 254pp. Many illus. some in color. Original wr., slightly rubbed, binding slightly weak, owner stamps on title-page and last page.
Published by Shogakukan Inc., 1998
Seller: Sunny Day Bookstore, SINGAPORE, Singapore
Condition: Fine. Number of books: 1 book.
Published by Shogakukan Inc., 1998
Seller: Sunny Day Bookstore, SINGAPORE, Singapore
Condition: Fine. Number of books: 1 book.
Estampe japonaise ancienne, gravure sur bois en couleurs, 20,5 x 32,5 cm,
Condition: Fine. Number of books: 1 book.
Seller: Librairie Chat, Beijing, China
Condition: Fine. Size:35.5x23.
Published by Eizan Hitsu, Tokyo, 1808
Seller: Hirschfeld Galleries, Saint Louis, MO, U.S.A.
Book First Edition Signed
Hardcover. Condition: Very Good. Kikukawa Eizan (illustrator). 1st Edition. Eizan was the most prolific, longest-lived and ultimately the best of the late followers of Utamaro, who attempted to carry on the master's bijin style after his death in 1806. Along with Kikumaro, Tsukimaro and Utamaro II, Eizan has generally been dismissed by connoisseurs as a plagiarist of Utamaro's late style, but his work in fact develops, like that of most ukiyo-e artists, from a close identification with a leading master to a studied independence, and contains pieces of remarkable beauty and interest. ukiyo-e artists with whom he is often associated, Eizan was not an actual pupil of Kitagawa Utamaro, but studied originally with his father, Kikugawa Eiji, a Kano style painter and fan maker, and later with the Shijo artist Suzuki Nanrei and the Hokusai pupil Hokkei. Few traces of this eclectic training can be seen in Eizan's early work, produced shortly after the death of Utamaro and for the most part in that master's style. In the following decade, however, as Eizan reached artistic maturity, he began to develop his own figural style, still focused for the most part on prints of beautiful women (bijin-ga). Eizan's work retains the sensitivities and lyricism that marks the Utamaro style, however, not following the earthier realism and more overt sensuality of Kunisada and Ikeda Eisen in their . Eizan, like Toyokuni I in actor prints, is the last manifestation of the classical ukiyo-e style in bijin work, with harmonious colors and graceful lines and subjects. After him, one senses the introduction of a different aesthetic, with harsher colors, angular lines and less ethereal material, more of an emphasis, in sum, on the material weight of earthly life, rather than its transformation into something of elegance. With Eizan, the alchemy of elegance is still alive, and in his best work, properly produced, he can cast a magic glow over the forms of the world and create lightness and grace. He is also left-handed, which was strange at such a time in Japan. By the Artist.