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- 1820), Hokkei (1780-1850) [24], Gakutei (17867-1868) and Shigenobu (1782-1832).
Although Hiroshige [25, III] was for a time contemporary with Hokusai, he is sometimes referred to as Hokusai�s successor. In fact, however, they were rivals and had consider�ably different outlooks, not only in their compositions but also in their use of colour. Hiroshige�s prints tended to be calmer and more peaceful than those of Hokusai. A pupil of the landscape artist, Toyohiro, Hiroshige also studied Western perspectives in addition to the different styles of the Kano, Nanga and Shijo painting schools. He had numerous opportunities to travel out of Tokyo into the Japanese countryside, and while on these trips he made sketches which served as a basis for his landscape prints. Although his illustrations were true to nature, his colours were brighter, richer and more vibrant than natural colours. His sensitivity to atmosphere is evident in his portrayal of the season, the weather and the time of day. A passionate understanding of nature also informs his images of silent snowfalls, teeming rains and misty mornings.
Hiroshige�s most famous print series were �The Fifty-three Stations of the Tokaido� and �Famous Views of Edo.� The public displayed such an insatiable demand for his views of Edo (Tokyo) that he is said to have produced more than twelve hundred different scenes in various seasons and at different times of day. His landscapes almost always contained human figures, but they were not the focal point. Human figures served primarily to emphasize the vast proportions of the land�scape or natural phenomenon such as a heavy rain. Although Hiroshige often depicted common people involved in everyday activities, he also made some gorgeous bird-and-flower studies (kacho-e) as well as genre scenes and scenes from famous historical legends such as the story of the Forty-seven Ronin [25g].
After Hiroshige�s death, his student Shigenobu married Hiroshige�s daughter and assumed his name. He became known as Hiroshige II (1829-69) [26]. Hiroshige II created worthy landscapes in the style of his mentor, but in 1865 he divorced his wife and moved to Yokohama, where he began to make Yoko- hama-e, or depictions of foreigners at Yoko�hama port. After this, a young artist named
extr�mement rares et atteignent aujourd�hui parmi les prix les plus �lev�s aux ventes aux ench�res.
Utamaro et Sharaku ont tous deux travaill� � l��re Kansei (1781-1801), au cours de laquelle l�on a produit certaines des meilleures es�tampes ukiyo-e, malgr� la rigoureuse censure gouvernementale. A ce moment-l�, toute satire et toute critique � l�encontre du gou�vernement, m�me les plus anodines, �taient strictement interdites. Avant de pouvoir mettre une estampe en vente, il fallait y faire apposer un sceau officiel d�homologation, ce qui indiquait que l�estampe avait �t� �approuv� (kiwame).
A la fin du dix-huiti�me si�cle et au d�but du dix-neuvi�me, certains des artistes les plus comp�tents se sont concentr�s sur le genre connu sous le nom de bijin-ga (�images de jolies femmes�). Ce groupe comprenait Eishi (1756-1829), Choki (actif 1785-1805), et un peu plus tard, Eizan (1787-1867) et Eisen (1790-1848). Leurs estampes refl�tent souvent la mode changeante dans le v�tement et la coiffure.
Eishi [14] a re�u sa formation � l��cole Kano. Il �tait d�origine samourai, et en raison de ses ant�c�dents aristocratiques, les m�c�nes des classes sup�rieures se sont int�ress�s � ses estampes �l�gantes de grandes femmes majesteuses. Un de ses meilleurs �l�ves, Eisho (actif ann�es 1790) [18], s�est �galement sp�cialis� dans les portraits de t�tes de belles femmes, d�habitude des courtisanes.
Choki [15] �tait moins bien connu que la plupart de ses contemporains, bien qu�il ait produit certaines �tudes de femmes exquises qui paraissent avoir subi l�influence de la gr�ce d�Utamaro et de l�audace de Sharaku. Son coloris est peu habituel, r�unissant le jaune, le gris, le violet, le bleu et le noir.
Eizan [17] et Eisen [16] ont tous deux prosp�r� gr�ce � leurs estampes bijin-ga qui, assez souvent, refl�tent la mode d�cadente et les coiffures changeantes de l��poque. Les estampes bijin-ga d�Eizan rappellent l�oeuvre d�Utamaro. Bien que les estampes bijin-ga d�Eisen refl�tent aussi l�influence d�Utamaro, elles diff�rent beaucoup de celles d�Eizan du point de vue du coloris et du dessin. Eisen a �galement produit des estampes de paysage attrayantes.
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