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- figures are especially graceful and clearly idiosyncratic in their poses. Buncho designs incorporate flowing, delicate lines and radiant colours which show a distinctive colour sense.
Koryusai (active 1760�s-80�s) [6] studied under Harunobu, whose influence is quite evident in his colour scheme. Koryusai was noted for his delightful bird and flower prints and for his elongated pillar prints (hashira-e), which were designed to be displayed on the supporting pillars of the Japanese home. Although Koryusai was one of the first to make nature prints, he especially excelled in the represen�tation of erotic subjects.
Beautiful women featured in the work of Shigemasa (1739-1820), whose most famous prints depicted groups of geisha. Shigemasa was a great teacher and had a large student following. His most talented pupils included the left-handed artist Shumman (1757-1820) [13], whose prints were particularly delicate in design and colour; the novelist Kitao Masanobu, who illustrated his own work; and Kitao Masayoshi, another book illustrator.
Kiyonaga (1752-1815) [7] is credited with initiating the Golden Age of ukiyo-e. He dominated the 1780�s and is now regarded as one of the most distinguished of the great ukiyo-e masters. In design and colour, Kiyonaga�s prints were perfectly executed and his slender coy beauties appear to move with a stately elegance. Kiyonaga was also one of the first to use the triptych format (three prints making one scene) and the pentaptych format (five prints). His style influenced most of his contemporaries including such notables as Shuncho (active 1770�s-90�s), Shunzan (active 1780�s-90�s), Utamaro (1753-1806) and Toyokuni (1769-1825).
Because they were neither innovative nor prolific, Shuncho and Shunzan were both artists of secondary importance. Utamaro [8], however, was extremely popular and incre�dibly innovative. He raised the art of printmak�ing to new heights, and today he is Japan�s most famous ukiyo-e artist. As a youth Utamaro lived in Tokyo near the Yoshiwara and was fascinated by the beautiful and elegantly dressed women of the district. Un�fortunately, he led a debauched life and was imprisoned in 1804 for producing a libellous
Kiyonobu II (actif 1729-1763), Kiyomasu II (actif milieu des ann�es 1720-1763) [2] et d�autres noms encore. La troisi�me g�n�ration com�prend Torii Kiyomitsu (1735-1785) et Kiyohiro (actif ann�es 1750-1760). Ce dernier afini plus tard par abandonner l��cole Torii en faveur de styles plus en vogue.
Moronobu et les �coles primitives Kaigetsudo et Torii �taient souvent appel�s �primitifs,� parce qu�ils se servaient de m�thodes d�im�pression simples et rudimentaires. Au cours de la premi�re moiti� du dix-huiti�me si�cle, l�artiste a commenc� � affiner ses techniques et � introduire de nouvelles id�es, telles que l�emploi de la perspective occidentale. Oku�mura Masanobu (1686-1764) a invent� plu�sieurs nouvelles techniques, y compris l�ajout de couleurs telles que le rouge et le vert. On appelait ces estampes colori�es � la main beni-e. Toshinobu (actif 1717-1750) et Genroku (actif 1710-ann�es 1720) �taient les �l�ves de Masanobu. Shigenaga (mort en 1756?) a �galement exp�riment� de nouvelles tech�niques telles qu l�ajout de touches de laque ou de crachin de m�tal ou de mica � ses estampes. Masanobu et Shigenaga ont fait tous deux des exp�riences avec l�emploi de la perspective occidentale dans des estampes appel�es uki-e (perspective � vol d�oiseau). Les estampes de l��l�ve de Shigenaga, Toyonobu (1717-1750) laissent aussi entrevoir des traces d�influence europ�enne. Toyonobu s�est servi de planches pour ajouter des couleurs (telles que le rouge et le vert) � ses estampes noir et blanc. Ce genre d�estampe s�appelle benizuri-e.
D�s 1765, l�art de la gravure avait subi un profond changement, d� � l�introduction des nishiki-e (images de brocart), fa�onn�es � partir de cinq bois grav�s de couleur. Le ma�tre de cette nouvelle technique �tait Harunobu (1725-1770) [4] dont l�oeuvre a domin� la gravure japonaise jusqu�� sa mort en 1770. Harunobu �tait prolifique et a dessin� plus d�un millier d�estampes. Ses oeuvres abondent en couleurs harmonieuses et brillantes et il �tait un des premiers artistes � incorporer dans ses estampes un arri�re-plan encombr� destin� � cr�er de l�ambiance. Plut�t que de prendre des acteurs comme sujet, il s�est concentr� sur l�image charmante de la femme, soit en pose naturelle, soit vaquant � des activit�s gracieuses. Certaines �taient courtisanes, mais bien d�autres n��taient
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