栄之 / 青楼模様合
SKU： C28003
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作品
年代 : -
サイズ : 大判
刷 : 良
保存 : 良
詳細 : 少汚れ / 小虫穴補修
ディレクターコメント
栄之は狩野典信に師事した後に文竜斎に師事し、天明後期頃から浮世絵師として活動を始めており、当初は清長の影響が強い美人画などを描いていた。寛政期になると栄之独自の静穏な美人画の画風を打ち立てた。特に女性の全身像に独自の様式を確立、十二頭身と表現される体躯の柔らかな錦絵美人画を寛政後期まで多数制作している。
栄之の描線は細やかで優美、その女性像は背丈のスラッとした優雅なもので、遊里に生きる女性を理想像に昇華し、清長よりもほっそりとして、歌麿のような艶麗さがなく、容貌は物静かといった栄之独自のスタイルを確立している。
Information
Date : -
Size : O-ban
Impression : Good
Condition : Good
Detail : Slight browning / Restored small wormholes
Eishi first studied under Kanō Takanobu and later under Bunryūsai. He began working as an ukiyo-e artist around the late Tenmei period. Initially, his works, including bijin-ga (portraits of beautiful women), were strongly influenced by Kiyonaga. However, by the Kansei period, Eishi had established his own distinctive style of serene and elegant bijin-ga.
He particularly developed a unique approach to depicting full-length portraits of women, creating numerous prints in the late Kansei period that featured graceful figures with elongated proportions, often described as having twelve-head-high proportions. His delicate and refined linework captured the slender and elegant stature of his female subjects, idealizing the women of the pleasure quarters. Compared to Kiyonaga, his figures were slimmer, and unlike Utamaro, his works lacked an overt sensuality. Instead, he cultivated a distinctive style characterized by quiet and refined beauty.
Please double-tap on the image to zoom up images.
作品
年代 : -
サイズ : 大判
刷 : 良
保存 : 良
詳細 : 少汚れ / 小虫穴補修
ディレクターコメント
栄之は狩野典信に師事した後に文竜斎に師事し、天明後期頃から浮世絵師として活動を始めており、当初は清長の影響が強い美人画などを描いていた。寛政期になると栄之独自の静穏な美人画の画風を打ち立てた。特に女性の全身像に独自の様式を確立、十二頭身と表現される体躯の柔らかな錦絵美人画を寛政後期まで多数制作している。
栄之の描線は細やかで優美、その女性像は背丈のスラッとした優雅なもので、遊里に生きる女性を理想像に昇華し、清長よりもほっそりとして、歌麿のような艶麗さがなく、容貌は物静かといった栄之独自のスタイルを確立している。
Information
Date : -
Size : O-ban
Impression : Good
Condition : Good
Detail : Slight browning / Restored small wormholes
Eishi first studied under Kanō Takanobu and later under Bunryūsai. He began working as an ukiyo-e artist around the late Tenmei period. Initially, his works, including bijin-ga (portraits of beautiful women), were strongly influenced by Kiyonaga. However, by the Kansei period, Eishi had established his own distinctive style of serene and elegant bijin-ga.
He particularly developed a unique approach to depicting full-length portraits of women, creating numerous prints in the late Kansei period that featured graceful figures with elongated proportions, often described as having twelve-head-high proportions. His delicate and refined linework captured the slender and elegant stature of his female subjects, idealizing the women of the pleasure quarters. Compared to Kiyonaga, his figures were slimmer, and unlike Utamaro, his works lacked an overt sensuality. Instead, he cultivated a distinctive style characterized by quiet and refined beauty.
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