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Yoshitoshi (1839 - 1892)

Moon of the Pleasure Quarters

Series: 100 Views of the Moon
Medium: Woodblock Print
Date: 1886
Size (H x W): 14.5 x 9.5 (inches)
Publisher: Akiyama Buemon
Seals: Yoshitoshi
Signature: Yoshitoshi
Condition: Very fine color and impression, light original album backing, embellished with embossing and black and purple lacquer.

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Description

Each spring, the cherry trees along the main avenue of the Yoshiwara, Edo’s licensed pleasure district, burst into bloom. Like the delicate cherry blossoms, the courtesans were transitory beauties. In this print, Yoshitoshi depicts a courtesan out on a moonlit stroll with her small kamuro, or apprentice. High atop her geta, or clogs, the courtesan gazes at the young girl who has stopped to watch the petals fall in the lamplight. The high clogs denote her special social status, and the pale petals blend with the pattern of her outer kimono. Yoshitoshi uses the word kuruwa in the title of this print. While it originally referred to an enclosed area of a castle, it came to mean an enclosed pleasure quarter, such as the famous Yoshiwara. 

About the artist

Considered one of the last great masters of ukiyo-e, Yoshitoshi Tsukioka's woodblock prints are known for their eerie and imaginative nature. Yoshitoshi worked in a Japan undergoing rapid change, straddling the domains of the old, feudal system of the Edo period and the new, modern world of the Meiji period. His powerful imagination and originality imbued his prints with a sensitivity and honesty rarely seen in ukiyo-e of this time period. From ghost stories to folktales, violent clashes to the gentle glow of the moon, Yoshitoshi offers not only compositional and technical brilliance, but also unfettered passion.

Yoshitoshi was born in Edo on April 30th, 1839. As a young boy, he showed remarkable artistic talent and fierce interest in classical Japanese literature and history. He began to study under the renowned Kuniyoshi at the age of 11. Kuniyoshi, a leading woodblock artist of the day, developed a close relationship with his pupil and gave him the name Yoshitoshi. Yoshitoshi published his first print to modest success in 1853, a triptych of a famous clash between the Taira and Minamoto clans. That same year, Commodore Perry's "black ships" docked in Edo Bay.

In the early 1860s, Yoshitoshi's work focused on kabuki subjects and historical scenes, as well as prints of foreigners. As the 19th century progressed, ukiyo-e felt the influence of the modern era, particularly through the introduction of synthetic dyes. Yoshitoshi learned to use these colors with subtlety and skill, holding his works to the highest printing standards throughout his career. Following Kuniyoshi's death in 1861, Yoshitoshi struggled as he set off on his own, taking Toshikage as his first student in 1863. As political instability grew in Japan during the late 1860s, he entered his "bloody period," an era marked by images of graphic violence and extravagant brutality.

As Meiji-period modernization pushed ahead, Yoshitoshi suffered a nervous breakdown in 1872, living in poverty and ceasing all artistic production. A year later, he resumed work; adopting the artist name Taiso, meaning "Great Resurrection," and fulfilling his creative potential. While Yoshitoshi continued to present battle scenes, he turned his attention to more recent incidents and slowly shifted from overt violence to the psychological struggles of individuals. In 1885, he began one of his most acclaimed series, One Hundred Views of the Moon (1885-1892). During the last decade of his life, Yoshitoshi designed numerous illustrated books and several other popular series including Thirty-two Aspects of Women (1888) and Thirty-six Ghosts and Strange Apparitions. (1889-1892). In the spring of 1892, he suffered his final mental breakdown and was committed to the Sugamo Asylum. On the 9th of June 1892, he died of a cerebral hemorrhage at the age of 53.