specific genre but is known for a wide range of subjects including actors, classical literature, landscapes, and flowers and birds (kachō-e). His works were published in different formats like the narrow hosoban format, and produced as urushi-e (lacquer pictures), beni-e (pink, hand colored pictures), benizuri-e (two-color-printing), ishizuri-e (stone prints: woodblock prints with white outlines against a black background, resembling stone rubbings). The center figure is an example from an untitled series depicting the “Eight Views of Lake Ōmi” (Ōmi hakkei). Amongst his most famous works are the series “The Fifty-four Sheets of Genji” (Genji gojūyonmai no uchi) that he created together with Torii Kiyomasu II from c.1730–35, and the gazetteer “Picture Book of Edo Souvenirs” (Ehon Edo-miyage) from 1753.
He greatly influenced both Sukuki Harunobu and Ishikawa Toyonobu, who are sometimes seen as his students. His signature is occasionally preceded by the expressions “Yamato gakō” (Yamato painting artisan) or “Nihon gakō” (Japan painting artisan).
Some sources erronously suggest that he signed his works also as Nishimura Magosaburō, however it was Nishimura Shigenobu (act. c.1723–47) who used the name Magosaburō early in his career.
c.1720s/30s “Mapple leaves in fall” (Aki no momiji yakata fū). Hosoban urushi-e. Publisher: Maruya Kuzaemon. National Museum of Ethnology, Leiden, The Netherlands.
1720s “Sunset Glow at Seta” (Seta no sekishō), from an untitled series on the “Eight Views of Lake ōmi”. Hosoban urushi-e. Publisher: Emiya Kichiemon. Collection Peter Rieder.
c.1720s/30s. “Chin Nan” (Ch. Chen Nan) conjures a dragon out of a gourd causing a rainstorm. Hosoban beni-e. Publisher: Kinoshita Jin’emon. Asian Art Museum, National Museums in Berlin.
c.1720s/30s Flower vendor. Hosoban beni-e. Publisher: Igaya Kan’emon. Library of Congress.
1730s “In the fashion of a stylish priestess” (Imayō bikuni fū). Hosoban urushi-e. Publisher: Fujita Chōbei. Asian Art Museum, National Museums in Berlin.
Kiyomasu
Act. c.1704–18
Given name: Shōjirō. Art surname: Torii.
Obscure early print designer about whom no primary evidence exists apart from the works signed by him. Kiyomasu is believed to be related to Torii Kiyonobu in some way by presumably being his oldest son, brother, or student, but it also has been suggested that he actually established a different lineage within the Torii School. Nevertheless, he was one of the principal artists of the first generation of the Torii School.
No books with illustrations by Kiyomasu are known. His period of activity can only be defined according to the dated actor prints, therefore 1704 until 1718. During that time he worked for six publishers. Kiyomasu predominantly designed actor prints but also some of warriors, beauties, and other subjects. Most of his over 80 known theater prints are from the 1710s. Presumably around 1715, he designed a number of series of horizontal sumizuri-e (black-and-white pictures) that illustrate stage scenes. His statuesque beauties follow the style of the Kaigetsudō School artists. Because since 1719, works signed “Kiyomasu” bear different signatures, it is believed that they are by Kiyomasu II. Having left no prints dated after 1718, he seemed to have disappeared rather quickly from the scene and perhaps died young.
early 1700s. Kintarō wrestling with a black bear. 55.2 x 32.1 cm, tan-e. Publisher: Igaya Kan’emon. Honolulu Academy of Arts: Gift of James A. Michener, 1975 (16576).
Kiyomasu II
1706–1763
Given name: Hanzaburō. Art surname: Torii.
Like Kiyomasu, Kiyomasu II’s life is also obscure. Works since 1719 signed “Kiyomasu” are believed to be by Kiyomasu II. However, the Torii family genealogy (Torii ga keifu kō; from the 1900s) states Kiyomasu II to have lived from 1706 to 1763, which would make him thirteen when he designed his earliest prints. We are also told that Kiyomasu II became the second-generation head of the entire Torii family, married in 1724, and later in his life moved from Naniwachō to Sumiyoshichō. However, the accuracy of the Torii family genealogy must be questioned as it does not distinguish between two generations of artists named Kiyomasu and therefore fails to explain who was the artist of several prints from the 1700s signed “Kiyomasu.”
Kiyomasu II’s style is similar to that of Kiyonobu II but he seems to have been even more active. He worked for at least eleven publishers, especially Igaya Kan’emon for whom he designed a number of series like “The Eight Sheets on the Eight Views of the Yoshiwara” (Yoshiwara hakkei hachimai no uchi). Very active in many genres, he was most prolific in actor prints. His range of works includes haribako-e (prints intended to be cut out) and hosoban (narrow format) but also prints in the ōban format, published in the 1750s. Kiyomasu II illustrated a number of books, for example “Crusade of the Fashionable Sightseers” (Fūryū urokuzu taiji; 1745) and “Abbreviated Figures of Famous Actors” (Yakusha meibutsu yatsushi sugata; 1757).
Kiyomasu II’s students included Kiyohiro (act. c.1752–60), Kiyotsune (act. c.1757–1778) and his second son, Kiyomitsu. Kiyomasu II is believed to have died aged 58, on the second day of the 11th month, 1763. He is buried in the Hōjōji, Asakusa, and received the posthumous name Seigon’in Sōrin Nichijō.
c.1718 The actor Tamazawa Rin’ya in an unidentified role. Hosoban tan-e. Publisher: Iseya Kinbei. Collection Peter Rieder. Mutō 2005, no. 435.
c.1730–35 “No. 2—Night rain at Edomachi” (Edomachi no yau), from the series “The Eight Sheets on the Eight Views of the Yoshiwara” (Yoshiwara hakkei hachimai no uchi). Hosoban beni-e. Publisher: Igaya Kan’emon. Collection Peter Rieder.
c.1740 “Three—Komachi at Kiyomizu Temple” (San—Kiyomizu Komachi), from the series “Seven Komachi” (Nana Komachi). Hosoban urushi-e. Publisher: Igaya Kan’emon. Library of Congress.
c.1710s “Shitaya-style, set of three—right” (Shitayafū sanpukutsui). Hosoban urushi-e. Publisher: Urokogataya Magobei. Collection Peter Rieder.
Late 1740s The actor Ichikawa Ebizō II in the role of Kinzaemon Yorikata in an unidentified play. Hosoban benizuri-e. Publisher: Maruya Kohei.
