Eizan (1787 - 1867 )
A native of Edo, Eizan Kikukawa was born as Toshinobu Omiya in 1787. He began his artistic career studying with his father Eiji Kikukawa, a Kano painter and fan maker, before pursuing printmaking under Hokkei, a pupil of Hokusai. From the start of the 19th century to his retirement, Eizan was leading artist of Japanese bijin-ga (pictures of beautiful women) and shunga (erotic prints) woodblock prints. After 1830, he worked almost exclusively as a painter until his death in 1867.
Eizan admired and followed in the footsteps of Utamaro, despite the fact that he never trained with him. Working primarily in the genre of bijin-ga, Eizan captures beautiful women with sensibility and lyricism, imbuing them with an elegance and graceful classicality. Though the increased demand for ukiyo-e during the early 19th century caused some artists to rush their designs, Eizan Kikukawa resisted this pressure, maintaining impeccable design skills throughout his career.
Meiji Period Prints (1868-1912)
Meiji-period woodblock prints reflect an era of change. In 1853, the arrival of Commodore Perry’s black ships brought over 250 years of Japanese isolation to an abrupt end. The following year, as Japan engaged in international trade, Yokohama-e (Yokohama pictures) captured an influx of unfamiliar peoples, places and things entering Japan through Yokohama harbor. By 1868, the Imperial line attained control of the country under Emperor Meiji, terminating the feudal rule of the Tokugawa Shogunate and dissipating the culture of the floating world. Under the emperor, national modernization progressed rapidly. From Western-style clothes and pastimes, to exciting new inventions from overseas, Japan absorbed the massive influx of the foreign and developed a distinctly Japanese modern identity. While photography and lithography gained popularity at this time, the woodblock print continued to serve as a powerful medium. Meiji period artists made sense of a transitioning world with a familiar medium.
