Kobayashi Kiyochika

He trained under Kawanabe Kyōsai, Shibata Zeshin, Awashima Chingaku and Shimooka Renjō.

As a teacher, Kobayashi Kiyochika is recorded in connection with Inoue Yasuji, Taguchi Beisaku, Mitsuharu Kaneko, Tsuchiya Kōitsu, Heibonji Mita and Shinohara Kiyo'oki. Each of those relationships is stated by the authority record rather than inferred from style.

Work by Kobayashi Kiyochika is held by National Gallery of Victoria, Minneapolis Institute of Art, Art Institute of Chicago and The Nelson-Atkins Museum of Art.

26 works under this name are catalogued by Wikidata Query Service, The Metropolitan Museum of Art, The Art Institute of Chicago and Wellcome Collection. Their recorded dates run from 1876 to 1900.

Rainy Day at Ochanomizu, Tokyo, held by Los Angeles County Museum of Art, inventory M.71.100.162. Battle of Phungdo, dated 1894. The Majesty of the Empire, dated 1895, held by Saint Louis Art Museum, inventory 1060:2010. Kyodō risshi no motoi. Sketches of Famous Places in Japan, dated 1896. One Hundred Views of Musashi. Flower Designs. The Great Fire at Ryōgoku Bridge, held by Princeton Art Museum, inventory 2009-77. View of Takanawa Ushimachi under a Shrouded Moon. The Fury of Monk Raigō, dated 1900, held by Metropolitan Museum of Art, inventory 2017.292. Street Scene in the Outskirts of Edo on an Evening in Winter, dated ca. 1878, woodblock print; ink and color on paper, held by The Metropolitan Museum of Art, inventory JP228. Illustration of the Great Korean War (Chōsen dai sensō no zu), dated August, 1882, right-hand sheet of a triptych of woodblock prints; ink and color on paper, held by The Metropolitan Museum of Art, inventory JP3310. Fuji with Boat at Miho in Sunshu (Shizuoka), dated October 1878, triptych of woodblock prints; ink and color on paper, held by The Metropolitan Museum of Art, inventory JP3336. Fireworks at Ikenohata, dated 1881 (Meiji 14), woodblock print; ink and color on paper, held by The Metropolitan Museum of Art, inventory 2016.577. The Moon Beyond Shinagawa (Shinagawa mikoshi no tsuki), from the series "One Hundred Views of Musashi Province (Musashi hyakkei no uchi)", dated 1884, color woodblock print; oban, held by The Art Institute of Chicago, inventory 1936.232. Sei Shonagon, from the series Ancient Patterns (Kodai moyo), dated Meiji period (1896–1912), 1896, color woodblock print, oban triptych, held by The Art Institute of Chicago, inventory 1998.163.1-3. A pair of ducks by a lotus pond, dated 1879, color woodblock print; oban, held by The Art Institute of Chicago, inventory 1936.128. Advancing across the Ansong River at the Battle of Asan (Gazan gekisen Anjo no watashi shingeki no zu), dated 1894, color woodblock print; oban triptych, held by The Art Institute of Chicago, inventory 1995.206.26. Escape of Emperor Godaigo, from the series "The Unofficial History of Japan (Nihon gaishi no uchi)", dated 1885, color woodblock print; oban triptych, held by The Art Institute of Chicago, inventory 1995.206.4. The Naval Battle of Pungdo in Korea (Chosen Hoto kaisen no zu), dated 1894, color woodblock print; two sheets from oban triptych, held by The Art Institute of Chicago, inventory 1995.206.10. A procession of Daimyō on New Year's Day to the Shogun's palace. Colour woodcut by Kobayashi Kiyochika, ca. 1890., dated [1890?], held by Wellcome Collection. Six renditions of a boy; the normal countenance is in the top oval, the remaining five distorted countenances are in the roundels. Colour woodcut by Kobayashi Kiyochika, 1884., dated 1884, held by Wellcome Collection. Six renditions of a girl; the normal countenance is in the top oval, the remaining five distorted countenances are in the roundels. Colour woodcut by Kobayashi Kiyochika, 1884., dated 1884, held by Wellcome Collection. Six renditions of an older boy; the normal countenance is in the top oval, the remaining five distorted countenances are in the roundels. Colour woodcut by Kobayashi Kiyochika, 1884., dated 1884, held by Wellcome Collection. The Mukōjima embankment: a street vendor sells articles to caricatures of contemporary figures under the cherry blossom; on the river, boats carrying Japanese students convey Western ideas. Colour woodcut by Kobayashi Kiyochika, 1883., dated 1883, held by Wellcome Collection. People standing on a bridge in Edo as a rickshaw passes by. Colour woodcut by Kiyochika, 1876., dated 1876, held by Wellcome Collection.

Work associated with this heading is recorded in 7 named public collections.

Los Angeles County Museum of Art: 1 recorded object, read from the institution's own published catalogue. Saint Louis Art Museum: 1 recorded object, read from the institution's own published catalogue. Princeton Art Museum: 1 recorded object, read from the institution's own published catalogue. Metropolitan Museum of Art: 1 recorded object, read from the institution's own published catalogue. The Metropolitan Museum of Art: 17 recorded objects, read from the institution's own published catalogue. The Art Institute of Chicago: 8 recorded objects, read from the institution's own published catalogue. Wellcome Collection: 6 recorded objects, read from the institution's own published catalogue.

6 scholarly publications naming this subject were located in the registry of record.

Kobayashi, Kiyochika, Oxford Art Online, 2003. Kiyochika, Benezit Dictionary of Artists, 2011. Les provinces de la nuit : quelques nocturnes de Kobayashi Kiyochika (1847-1915), Arts asiatiques, 2011. Depictions of Animals in the Satirical War Prints of Kobayashi Kiyochika, Art of the Orient, 2020. Kiyochika: Artist of Meiji Japan., Monumenta Nipponica, 1989. Revealing Details in Light and Shadows, Emerging Infectious Diseases, 2018.

This heading is established in Gemeinsame Normdatei (GND) (118889877) and Getty Union List of Artist Names (ULAN) (500121369). Those registers additionally record the forms Kobayashi Kiyochika, Kiyochika, Kiyochika, Kobayashi, 清親 and 小林清親.

10 digitised items associated with this heading are catalogued by Internet Archive.

Cherry Tree (1874) — Internet Archive. Various Foreigners — Internet Archive. Print (1894) — Internet Archive. Fuji with Boat at Miho in Sunshu (Shizuoka) (1878) — Internet Archive. View of the (whereabouts of) a Field Hospital (1895) — Internet Archive. The Trembling Army of Russia (1904) — Internet Archive. Street Scene in the Outskirts of Edo on an Evening in Winter (1878) — Internet Archive. A View of Conflict During the Great War with Korea (1875) — Internet Archive. Arrival of the Emperor at Shimbashi Station after the Victory (1895) — Internet Archive. The Spiraling (Effect) of the Fundamental Law on the Fearful Party (Russians) (1904) — Internet Archive.

Bibliographic registers publish measured figures for this heading: 14 language editions of the general reference literature carrying an article (Wikimedia (language editions)). A count of publications is evidence of attention, not of standing, and is given here only as a measure.

This article draws on 9 independent source lineages. Copies and mirrors of the same underlying record were collapsed into a single witness, so 9 means 9 genuinely separate publishers of record. 10 further registers were consulted and returned nothing for this heading.

training under Kawanabe Kyōsai, Shibata Zeshin and Awashima Chingaku is recorded. Inoue Yasuji, Taguchi Beisaku and Mitsuharu Kaneko are recorded as having studied under Kobayashi Kiyochika. the recorded working language is Japanese.

Subjects and genres recorded for the work are ukiyo-e. The authority associates the name with ukiyo-e.

Employment is recorded with Kanjōsho.

Works named in the authority record are View of Takanawa Ushimachi under a Shrouded Moon.

Work by Kobayashi Kiyochika is recorded in the collections of National Gallery of Victoria, Minneapolis Institute of Art, Art Institute of Chicago, The Nelson-Atkins Museum of Art and Finnish National Gallery.