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OTANI ONIJI II/ 2009
(  Satoshi Kinoshita )
| Series: | Prints on paper: Portraits 2 | | Medium: | Giclée on Japanese matte paper | | Size (inches): | 16.5 x 11.7 (paper size) | | Size (mm): | 420 x 297 (paper size) | | Edition size: | 25 | | Catalog #: | PP_0110 | | Description: | From an edition of 25. Signed, titled, date, copyright, edition in pencil on the reverse / Aside from the numbered edition of 5 artist's proofs and 2 printer's proofs.
Quotes of Tōshūsai Sharaku? No kidding! He was a mystery man...
Sharaku -
Tōshūsai Sharaku (東洲斎写楽, active 1794 - 1795) is widely considered to be one of the great masters of the woodblock printing in Japan. Little is known of him, besides his ukiyo-e prints; neither his true name nor the dates of his birth or death are known with any certainty. His active career as a woodblock artist seems to have spanned just ten months in the mid-Edo period of Japanese history, from middle 1794 to early 1795.
Biography:
One theory claims that Sharaku was not a person, but a project launched by a group of artists to help a woodblock print house that had aided them. In this theory, the name Sharaku is taken from sharakusai, "nonsense," and is an inside joke by the artists, who knew that there was no actual Sharaku. The rapidly changing style that Sharaku utilized, with four distinct stylistic changes in his short career, lends credibility to this claim. It was also common for woodblock prints of this time to involve anywhere from five to ten or more artisans working together. However, it seems unlikely that none of them would reveal Sharaku's true identity, or otherwise leave some information about Sharaku behind.
Another speculation associates Sharaku with the great ukiyo-e master Katsushika Hokusai. This explanation stems from Hokusai's disappearance from the art world between the years of 1792 and 1796, the period that Sharaku's work began to appear. Beyond giving a reason for Hokusai's absence from the Edo art scene during this time the theory has little evidence.
Regarding his abrupt disappearance, one conjecture is that his master was unhappy with his retainer's association with the demimonde of the kabuki theatre, instead of the more refined Noh theatre which the master supported. There is no evidence supporting or refuting this.
A headman of Kanda area in Edo named Gesshin Saitō (斎藤月岑, 1804-1878) wrote in his supplementary ukiyoe handbook that Sharaku was a Noh actor named Jurōbei Saitō (斎藤十郎兵衛). However, as research progressed, the existence itself of Jurōbei Saitō had become doubtful. A Noh actor, usually of samurai rank, would have documents proving his origin, the name of Jurōbei Saitō was not identified in any directory.
Therefore, numerous hypothesis and opinions have come out for a while who Sharaku was, such as an anonymous prominent ukiyoe painter, or a publisher Juzaburō Tsutaya, or if "Sharaku" was the name of a ukiyoe project by a group of artists, etc.
However in recent years, the existence of a Jurōbei Saitō was recognized in documents that were discovered in Saitama prefecture, which lends more credence to the Jurōbei Saitō hypothesis.
Retrospective observations:
His career appears to have been so brief in part because the radical nature of his work aroused the hostility of the art world in Edo. One contemporary manuscript records:
"Sharaku designed likenesses of Kabuki actors, but because he depicted them too truthfully, his prints did not conform to accepted ideas, and his career was short."
It seems likely that his prints, with their tendency to wring the last drop of truth from his subjects through close depiction of personal characteristics, left customers with a sense of unease, and made his prints difficult to sell. Further, it seems plausible that he was unwilling to compromise his art, and his critics hounded him from the art world.
Indeed, his work did not become popular among collectors in Japan until s rediscovered by German scholar Julius Kurth in 1910. He is now considered one of the greatest of all woodblock artists, and the first 'modern' artist of Japan, and the extraordinarily rare extant originals of his prints command fantastic sums at auctions.
References:
* Muneshige Narazaki, Sharaku: The Enigmatic Ukiyo-e Master (Kodansha, Tokyo, 1983)
* Harold G. Henderson, Louis V. Ledoux, Sharaku's Japanese Theatre Prints: An Illustrated Guide to his Complete Work (Dover Publications, New York, 1984)
* Matthi Forrer, "Hokusai" (Bibliotheque de l'Image, 1996)
-en.wikipedia.org/wiki/Sharaku
Otani Oniji II, dated 1794
Toshusai Sharaku (Japanese, active 1794–95)
Polychrome woodcut print on paper
15 x 9 7/8 in. (38.1 x 22.9 cm)
Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939 (JP2822)
The actor Otani Oniji II is captured here in the role of Yakko Edobe. A yakko is a manservant often used by samurai to perform violent deeds. Otani Oniji's leering face, shown in three-quarter view, bristling hair, and groping outstretched hands capture the ruthless nature of this wicked henchman. Sharaku was renowned for creating visually bold prints that gave rare revealing glimpses into the world of kabuki. He was not only able to capture the essential qualities of kabuki characters, but his prints also reveal, often with unflattering realism, the personalities of the actors who were famous for performing them. Because kabuki plays have relatively simple plots, the acting style of the performer is central to the performance. As a result, successful kabuki actors enjoyed great celebrity status. Unlike earlier masters, Sharaku did not idealize his subjects or attempt to portray them realistically. Rather, he exaggerated facial features and strove for psychological realism.
-www.metmuseum.org/toah/ho/09/eaj/ho_JP2822.htm
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