Utagawa Toyokuni I

Training under Utagawa Toyoharu is recorded. Utagawa Kunimasa, Utagawa Kuninaga and Utagawa Kunisada are recorded as having studied under Utagawa Toyokuni I. the recorded working language is Japanese. The field of work recorded is woodcut process. Subjects and genres recorded for the work are landscape and portrait. Places of work recorded in the authority are Japan. Work by Utagawa Toyokuni I is recorded in the collections of Minneapolis Institute of Art, Museo del Prado, Auckland Art Gallery, Finnish National Gallery and National Gallery of Victoria.

Toyokuni was born in 1769, the son of Kurahashi Gorobei, a carver of dolls and puppets, including replicas of kabuki actors. At around 14, Toyokuni was apprenticed to the first head of the Utagawa house, Utagawa Toyoharu, whom his father knew well and who lived nearby. One of his fellow pupils under Toyoharu was Toyohiro, whose pupil was the great landscape artist Hiroshige. In recognition of his artistic ability, Toyokuni later took the name Utagawa Toyokuni, following the common practice of using one syllable of his master's name. Toyokuni seems to have studied intently those who came before him, particularly Utamaro, Chōbunsai Eishi and Eishōsai Chōki, and produced first a mastery, and then a synthesis of their styles, to create a style of his own. He was known mostly for his prints related to the kabuki theatre, in particular his yakusha-e actor portraits, a field which he took to new heights. He also, however, produced other genres such as musha-e warrior prints, shunga erotica, and most notably bijin-ga. • Illustration — Onoe Eisaburo I, c. 1800 • Illustration — Ichikawa Komazo and Ichikawa Yaozo; circa 1800 Among Toyokuni's most significant achievements in this field was the series Yakusha butai no sugata-e ("Actors on Stage"), comprising more than fifty multicoloured prints of full-length actor portraits published from 1794 by the Edo publisher Izumiya Ichibei; the series predates the celebrated actor portraits produced by Sharaku, whose own work in the genre began in May 1794. Over the course of his career Toyokuni produced close to three thousand woodblock prints, including more than ninety print series. In his actor prints, like Sharaku, one sees the real subject; but his prints merely portrayed what he saw, unlike Sharaku who exaggerated those aspects he saw as the most key. It is said of Toyokuni's prints that they recreate exactly what one would see on stage; they show actors acting, not merely just pictures of actors. Together, these characteristics made Toyokuni's prints far more popular among theatre-goers than Sharaku's, although history has come to judge Sharaku the keener observer and greater artist. His popularity and prolific output may in part have been his undoing, though. From 1803 through 1817, his work became more static, even as it became more popular. He continued to produce large quantities of prints, but the quality as a rule did not match that of his earlier days. Occasional prints from this period, however, show his old brilliance. He died in Edo in 1825, surrounded by many of his pupils.

Like most Edo period Japanese artists, Toyokuni was known by several names throughout his lifetime, some sequentially and some concurrently. • Family name (姓 - sei): Kurahashi (倉橋) • Childhood name (幼名 - yōmyō): Kumakichi (熊吉) • Nickname (通称 - tsūshō): Kumaemon (熊右衛門) • Art names (号 - gō): Utagawa Toyokuni (歌川豊国), Utagawa Ichiyōsai (歌川 一陽斎), Ichiyōsai Toyokuni (一陽斎 豊国) • Posthumous Buddhist name (戒名 - kaimyō / 法名 - hōmyō): Tokumyōin Jissaireigō Shinji In addition, the name 'Toyokuni' has been transcribed through several kanji character combinations, both by the artist himself and by those writing about him. • Characters used to write Toyokuni: 豊国, 豊國, 豊圀, 豐國, 豐圀 Today, Toyokuni is almost universally written using the characters 豊国. Each of the other kanji are no longer in common usage.

Evaluations of Toyokuni as an artist are somewhat mixed. Indeed, he himself is reported to have once said: • "My pictures – they are merely something that I draw, and nothing more than that!" The main criticisms of his works relate to his "predominantly imitative" style, and to the "marked decline" in the quality of works from later in his career. However, Toyokuni's style is admired for characteristics such as "decorative bombast", and "bold, taut designs". He is also credited with such innovations as diptych, triptych and polyptych formats, and with training future masters of ukiyo-e. His work captured the world around him, particularly the kabuki theatre, with great clarity, and his style was a step forward. In addition, it was commercially successful, and thus freed woodblock prints from many of the restrictive canons which had limited previous generations of artists.

• Illustration — The poet Ono-no Komachi in the rain • Illustration — Kabuki actors, ca. 1800 • Illustration — Kinokuniya Sawamura Sojuro III as Ogishi Kurando, 1794

The authorities additionally record the headings Toyokuni I, Utagawa Toyokuni, Ichiyōsai, Toyokuni Utagawa and Ichiyōsai Toyokuni. His recorded language was Japanese. 2 children are recorded: Toyotoshi Utagawa and Utagawa Kunikame. Other recorded relations include Utagawa Toyokuni II.

• Udinotti Museum of Figurative Art