In 19th century Tokyo, theaters were concentrated in a particular part of town, the Shibaimachi. Visitors could see kabuki plays, attend teahouses, restaurants, and other forms of entertainment in this popular area. A trip to the Shibaimachi offered an opportunity to show off. Yoshitoshi presents a particularly elegant woman in the purple predawn light. In keeping with the fashion of the day, her teeth are blackened, her top lip red and her bottom lip green. This color scheme came from a popular lipstick that delivered a red color with one coat, and an iridescent green when applied in several layers. The beauty dominates the foreground, while graceful shadows return home from a night of reverie.
The son of a Tokyo physician, Yoshitoshi Tsukioka (né Kinzaburo Yoshioka) is considered one of the last great masters of ukiyo-e. As a young boy he showed remarkable talent and began to study under the renowned Kuniyoshi at the age of 12. Yoshitoshi also studied under Yosai and was adopted by the Tsukioka family.
As modernization pushed ahead, Yoshitoshi suffered a nervous breakdown in 1872, living in poverty and ceasing all artistic production. A year later, he resumed working; adopting the artist name Taiso and fulfilling his creative potential. In 1885, he began one of his most acclaimed series, 100 Views of the Moon. 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.
Yoshitoshi’s prints are known for their eerie and imaginative component. He worked in a Japan undergoing rapid change, straddling the domains of the old, feudal systems and the new, modern world. His considerable 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, graphic violence to the gentle glow of the moon, Yoshitoshi not only offers compositional and technical brilliance, but also unfettered passion.