Deutzia Flowers: The Wife of Kasamori - Original Woodblock Print by Suzuki Harunobu

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Deutzia Flowers: The Wife of Kasamori - Original Woodblock Print

Deutzia Flowers: The Wife of Kasamori, from the Series "Beauties … Read more Deutzia Flowers: The Wife of Kasamori - Original Woodblock Print

Deutzia Flowers: The Wife of Kasamori, from the Series "Beauties of the Floating World Associated with Flowers" by Suzuki Harunobu
(c. 1768–1769).

Suzuki Harunobu is a ukiyo-e artist who was active at the beginning of the nishiki-e period. The beautiful women of the streets of Edo were taken as the theme of his nishiki-e art, and the works of Harunobu that stimulated interest in this genre gained popularity. “Deutzia Flowers: The Young Woman of Kasamori” is a series that likened the existing beauty of young women to flowers. It features “Unohana,” features Osen, the poster girl the “Kagiya” teahouse in Kasamori Inari Shrine in Yanaka. Standing in front of a Shutorii (a traditional Shinto shrine gate colored red) representing the Kasamori Inari Shrine, at a teahouse with a furnace and chagama (tea kettle) that serves tea, is Osen, a slender beauty wearing a Kosode robe with a crest of ivy and holding a tray. On a garden bench sits a billet doux received by Osen. Sharing popularity with Osen is Ofuji of the Yōjiya “Motoyanagiya” in Sensōji Temple in Asakusa. In this series, the nishiki-e artwork “Violet” (collection of museum), depicting two beautiful Meiwa era women.

Presented in a giltwood frame.
Frame: 18"H x 14"W
Image: 10.75"H x 8"W

Suzuki Harunobu thus became one of the primary producers of images of bijinga (pictures of beautiful women) and kabuki actors of Edo, and of similar and related subjects for the Edo print connoisseur market. In a few special cases, notably his famous set of eight prints entitled Zashiki hakkei (Eight Parlor Views), the patron's name appears on the print along with, or in place of, Harunobu's own. The presence of a patron's name or seal, and especially the omission of that of the artist, was another novel development in ukiyo-e of this time.
Between 1765 and 1770, Harunobu created over twenty illustrated books and over one thousand color prints, along with a number of paintings. He came to be regarded as the master of ukiyo-e during these last years of his life, and was widely imitated until, a number of years after his death, his style was eclipsed by that of new artists, including Katsukawa Shunshō and Torii Kiyonaga.
In addition to the revolutionary innovations that came with the introduction of nishiki-e, Harunobu's personal style was unique in a number of other respects. His figures are all very thin and light; some critics say that all his figures look like children. However, it is these same young girls who epitomize Harunobu's personal style. Richard Lane describes this as "Harunobu's special province, one in which he surpassed all other Japanese artists - eternal girlhood in unusual and poetic settings". Though his compositions, like most ukiyo-e prints, may be said to be fairly simple overall, it is the overall composition that concerned Harunobu. Unlike many of his predecessors, he did not seek to have the girls' kimono dominate the viewer's attention. See less