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*''Japanese'': 磯田湖竜斎 ''(Isoda Koryuusai)''
Isoda Koryûsai was an ''[[ukiyo-e]]'' artist of the 1760s-80s, who drew considerable influence from [[Suzuki Harunobu]]. Though he produced many skilled and masterful non-erotic prints, he is also considered one of the chief producers of ''[[shunga]]'' images.
Koryûsai was originally trained in the [[Kano school|Kanô school]] of painting. He produced mainly prints in the 1760s before turning primarily to painting in the 1780s. His prints reflect a stronger affection for scenes of everyday life, and for a degree of realism in the representation, two trends which arose just after Harunobu's death in 1770.
Koryûsai led the pack in repopularizing a number of media and formats, including an opaque orange made from iron oxide that had fallen out of use, and pioneered the use of themes from [[bird and flower painting]] in prints. He is particularly known, however, for his extensive use of the ''[[hashira-e]]'' ("pillar print") form, a tall, narrow format which created a rather dramatic effect in its extreme horizontal cropping of the subject.
Later prints by Koryûsai include a number of ''ôban'' sized images of courtesans and [[kabuki]] actors. ''Ukiyo-e'' expert [[Richard Lane]] describes these as lacking the intimacy of Harunobu's works, and as being sharply realistic, representing the start of an influential trend in the development of ''ukiyo-e''.
==References==
*Lane, Richard. ''Images from the Floating World''. New York: Konecky & Konecky, 1978. pp111-114.
[[Category:Edo Period]]
[[Category:Artists and Artisans]]
Isoda Koryûsai was an ''[[ukiyo-e]]'' artist of the 1760s-80s, who drew considerable influence from [[Suzuki Harunobu]]. Though he produced many skilled and masterful non-erotic prints, he is also considered one of the chief producers of ''[[shunga]]'' images.
Koryûsai was originally trained in the [[Kano school|Kanô school]] of painting. He produced mainly prints in the 1760s before turning primarily to painting in the 1780s. His prints reflect a stronger affection for scenes of everyday life, and for a degree of realism in the representation, two trends which arose just after Harunobu's death in 1770.
Koryûsai led the pack in repopularizing a number of media and formats, including an opaque orange made from iron oxide that had fallen out of use, and pioneered the use of themes from [[bird and flower painting]] in prints. He is particularly known, however, for his extensive use of the ''[[hashira-e]]'' ("pillar print") form, a tall, narrow format which created a rather dramatic effect in its extreme horizontal cropping of the subject.
Later prints by Koryûsai include a number of ''ôban'' sized images of courtesans and [[kabuki]] actors. ''Ukiyo-e'' expert [[Richard Lane]] describes these as lacking the intimacy of Harunobu's works, and as being sharply realistic, representing the start of an influential trend in the development of ''ukiyo-e''.
==References==
*Lane, Richard. ''Images from the Floating World''. New York: Konecky & Konecky, 1978. pp111-114.
[[Category:Edo Period]]
[[Category:Artists and Artisans]]
