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https://www.metmuseum.org/art/collection/search/454713

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https://www.metmuseum.org/art/collection/search/454049

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https://www.metmuseum.org/art/collection/search/437271

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https://www.metmuseum.org/art/collection/search/45085

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https://www.metmuseum.org/art/collection/search/400204?searchField=All&amp;sortBy=Relevance&amp;when=A.D.+1600-1800&amp;what=Chiaroscuro+woodcuts%7cWoodcuts&amp;ao=on&amp;ft=*&amp;offset=0&amp;rpp=20&amp;pos=11

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https://www.metmuseum.org/art/collection/search/90018550?rpp=20&pg=4&ao=on&ft=Fruit&pos=72

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https://collectionapi.metmuseum.org/api/collection/v1/iiif/49249/153489/main-image

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British caricaturist and book illustrator worked with Charles Dickens

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George Cruikshank (27 September 1792 - 1 February 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience.

Cruikshank was born in London. His father, Isaac Cruikshank, was one of the leading caricaturists of the late 1790s and Cruikshank started his career as his father's apprentice and assistant. His older brother, Isaac Robert, also followed in the family business as a caricaturist and illustrator.

Cruikshank's early work was caricature; but in 1823, at the age of 31, he started to focus on book illustration. He illustrated the first, 1823 English translation (by Edgar Taylor and David Jardine) of Grimms' Fairy Tales, published in two volumes as German Popular Stories.

On 16 October 1827, he married Mary Ann Walker (1807-1849). Two years after her death, on 7 March 1851, he married Eliza Widdison. The two lived at 263 Hampstead Road, North London.

Upon his death, it was discovered that Cruikshank had fathered 11 illegitimate children with a mistress named Adelaide Attree, his former servant, who lived close to where he lived with his wife. Adelaide was ostensibly married and had taken the married surname 'Archibold'.

Cruikshank's early career was renowned for his social caricatures of English life for popular publications.

He achieved early success collaborating with William Hone in his political satire The Political House That Jack Built (1819).

In the same year he produced the remarkable anti-abolitionist New Union Club. It satirised a dinner party organised by abolitionists with black guests.

His first major work was Pierce Egan's Life in London (1821) in which the characters Tom and Jerry, two 'men about town' visit various London locations and taverns to enjoy themselves and carouse. This was followed by The Comic Almanack (1835-1853) and Omnibus (1842).

He gained notoriety with his political prints that attacked the royal family and leading politicians. In 1820 he received a royal bribe of £100 for a pledge "not to caricature His Majesty" ( George IV of the United Kingdom) "in any immoral situation". His work included a personification of England named John Bull who was developed from about 1790 in conjunction with other British satirical artists such as James Gillray, and Thomas Rowlandson.

Cruikshank replaced one of his major influences, James Gillray, as England's most popular satirist. For a generation he delineated Tories, Whigs and Radicals impartially. Satirical material came to him from every public event - wars abroad, the enemies of Britain (he was highly patriotic), the frolic, among other qualities, such as the weird and terrible, in which he excelled. His hostility to enemies of Britain and a crude racism is evident in his illustrations commissioned to accompany William Maxwell's History of the Irish rebellion in 1798 (1845) where his lurid depictions of incidents in the rebellion were characterised by the simian-like portrayal of Irish rebels. Among the other racially engaged works of Cruikshank there were caricatures about the "legal barbarities" of the Chinese, the subject given by his friend, Dr. W. Gourley, a participant in the ideological battle around the Arrow War, 1856-60.

For Charles Dickens, Cruikshank illustrated Sketches by Boz (1836), The Mudfog Papers (1837-38) and Oliver Twist (1838). He also illustrated Memoirs of Joseph Grimaldi (1838), which Dickens edited under his regular nom de plume, "Boz". Cruikshank even acted in Dickens's amateur theatrical company.

On 30 December 1871 Cruikshank published a letter in which claimed credit for much of the plot of Oliver Twist. The letter launched a fierce controversy around who created the work. Cruikshank was not the first Dickens illustrator to make such a claim. Robert Seymour who illustrated the Pickwick Papers suggested that the idea for that novel was originally his; however, in his preface to the 1867 edition, Dickens strenuously denied any specific input.

The friendship between Cruikshank and Dickens soured further when Cruikshank became a fanatical teetotaler in opposition to Dickens's views of moderation.

In Somerset Maugham's short story "Miss King", Cruickshank's influence is referenced

She wore a large white cotton nightcap (on entering Ashenden has noticed the brown wig on a stand on the dressing-table) tied under the chin and a white voluminous nightdress that came high up in the neck. Nightcap and nightdress belonged to a past age and reminded you of Cruickshank's illustrations to the novels of Charles Dickens.

In the late 1840s, Cruikshank's focus shifted from book illustration to an emphasis on alcohol temperance and anti-smoking. Formerly a heavy drinker, he now supported, lectured to, and supplied illustrations for the National Temperance Society and the Total Abstinence Society, among others. The best known of these are The Bottle, 8 plates (1847), with its sequel, The Drunkard's Children, 8 plates (1848), with the ambitious work, The Worship of Bacchus, published by subscription after the artist's oil painting, now in the Tate Gallery, London. For his efforts he was made vice president of the National Temperance League in 1856.

When the invasion scare of 1859 led to the creation of the Volunteer Movement, Cruikshank was one of those who organised Rifle Volunteer Corps (RVCs). At first his unit was the 24th Surrey RVC, which recruited from working men who were total abstainers and was named 'Havelock's Own' in honour of Major-General Sir Henry Havelock, a hero of the Indian Mutiny and pioneer of Temperance Clubs in the army.

However, Cruikshank received little encouragement from the Lord-Lieutenant of Surrey, and was rebuked for crossing into Kent to recruit. Disgusted, he disbanded his unit in 1862 and began anew in Middlesex, organising the 48th Middlesex RVC (Havelock's Temperance Volunteers). The unit ran into financial difficulties and when Cruikshank was forced to retire due to age, he was replaced as commanding officer by Lt-Col Cuthbert Vickers, a wealthy shipowner.

The 48th Middlesex merged with the 2nd City of London RVC, also a working-men's unit, composed mainly of printers from the Fleet Street area, and the combined unit had a long history as the City of London Rifles.

After he developed palsy in later life, Cruikshank's health and work began to decline in quality. He died on 1 February 1878 and was originally buried in Kensal Green Cemetery. In November 1878 his remains were exhumed and reburied in St. Paul's Cathedral. Punch magazine, which presumably did not know of his large illegitimate family, said in its obituary: "There never was a purer, simpler, more straightforward or altogether more blameless man. His nature had something childlike in its transparency."

In his lifetime he created nearly 10,000 prints, illustrations, and plates. There are collections of his works in the British Museum and the Victoria and Albert Museum. A Royal Society of Arts blue plaque commemorates Cruikshank at 293 Hampstead Road in Camden Town.

The Life and Opinions of Tristram Shandy, Gentleman

Others

Evans, Hilary and Mary. The Man Who Drew the Drunkard's Daughter: Life and Art of George Cruikshank, 1792-1878. (London: Frederick Muller, 1978).

Cruikshank, George. Graphic Works of George Cruikshank (New York: Dover Publications, 1980) ISBN 0-486-23438-X

George, Mary Dorothy. Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum, vol. VI (1938), vol. VII (1942), vol. VIII (1947), vol. IX (1949).

Bryant and Heneage. Dictionary of British Cartoonists and caricaturists 1730-1980 (Scolar Press, 1994).

Buchanan-Brown, John. The Book Illustrations of George Cruikshank Charles Tuttle 1980

Cohn, Albert M. "George Cruikshank: A Catalogue Raisonne of the Work Executed During the Years 1896-1977", Bookmans journal (London, 1924).

Bates, William. George Cruikshank: The Artist, the Humourist, and the Man, with Some Account of his Brother Robert. A Critico-bibliographical Essay (Amsterdam: Emmering, 1972)

Price, Chris. "'Pictorially Speaking, so Ludicrous': George IV on the Dance Floor", Music in Art: International Journal for Music Iconography XLIII/1-2 (2018), 49-65.

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George Cruikshank (27 September 1792 - 1 February 1878) was a British caricaturist and book illustrator, praised as the "modern Hogarth" during his life. His book illustrations for his friend Charles Dickens, and many other authors, reached an international audience. Cruikshank was born in London.

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Élisabeth Louise Vigée Le Brun (1755–1842) - F

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Anne Vallayer-Coster
(1744–1818) - F

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Adélaïde Labille-Guiard (1749–1803) - F

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https://www.abc.net.au/news/2012-02-20/3840404?nw=0

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https://en.wikipedia.org/wiki/William_Blake

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OCEANIA

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Scipio Moorhead (active c. 1773) was an enslaved African-American artist who lived in Boston, Massachusetts. Moorhead is known through the contemporary African-American poet Phillis Wheatley's poem, dedicated "To S. M. a young African Painter, on seeing his Works", published in Poems on Various Subjects, Religious and Moral, 1773. His full name was learned from period marginalia.

Moorhead was a slave of the Reverend John Moorhead of Boston, Massachusetts. His talents for drawing were tutored by the Reverend's wife Sarah Moorhead, who was an art teacher. Although a slave, Scipio Moorhead enjoyed many of the rights of free workers. No original work by Scipio has survived, but he may be the person referred to the a Boston News-Letter advertisement on January 7, 1773, which spoke of a "negro artist... A negro of extraordinary genius."

It is possible that the copperplate engraving of Phillis Wheatley that adorns much of her published poetry is his creation. In the 19th century Wheatley's fame was revived by Massachusetts abolitionists and many stories about her were recovered through oral history, but Moorhead was never mentioned, so the attribution to him is uncertain; it was first publicly suggested by the Wheatley scholar William H. Robinson in 1984. However, it has been recognized that the portrait is extremely unusual. It resembles contemporary portraits by the famous Bostonian painter John Singleton Copley, but unlike any of Copley's work, it portrays a woman writing a poem and deep in thought. The novelty of the portrait was recognized and imitated by Bostonian printers when it was engraved for an edition of Wheatley's poetry in 1773, but the artist's name was never mentioned. It is the first frontispiece depicting a woman writer in American history, and possibly the first ever portrait of an American woman in the act of writing.

Scipio was auctioned in January 1775 as part of an estate sale. The advertised location of the slave auction, near the Liberty Tree, was deplored by the 19th century abolition movement. In the 1780s slaves in Massachusetts successfully sued for freedom which led to a general abolition, but it is unknown if Scipio was ever freed, as his buyer was unrecorded and no record of his whereabouts after 1775 has been located.

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Scipio Moorhead (active c. 1773) was an enslaved African-American artist who lived in Boston, Massachusetts. Moorhead is known through the contemporary African-American poet Phillis Wheatley's poem, dedicated "To S. M. a young African Painter, on seeing his Works", published in Poems on Various Subjects, Religious and Moral , 1773.

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Aleksander Orłowski (9 March 1777 - 13 March 1832) was a Polish painter and sketch artist, and a pioneer of lithography in the Russian Empire.

Orłowski was born in 1777 in Warsaw into an impoverished noble family, his father was a tavern-keeper. In early childhood he became known as a prodigy, and soon Izabela Czartoryska financed his first painting classes with the artist Jan Piotr Norblin. In 1793 Orłowski joined the Polish Army and fought in the Kościuszko Uprising against Imperial Russia and Prussia; he was wounded and returned to Warsaw for further studies, financed by Prince Józef Poniatowski. He studied with many notable painters of the age, including Norblin, Marcello Bacciarelli and Wincenty Lesserowicz.

In 1802, after the Partitions of Poland, he moved to Russia, where he became a pioneer of lithography.

His works include countless sketches of everyday life in Poland and Russia, and scenes from the Kościuszko Uprising and other Polish wars.

Aleksander Orłowski is mentioned in Pan Tadeusz, a poem written by Adam Mickiewicz in 1834, as well as in Alexander Pushkin's works.

Media related to Aleksander Orłowski at Wikimedia Commons

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Aleksander Orłowski (9 March 1777 - 13 March 1832) was a Polish painter and sketch artist, and a pioneer of lithography in the Russian Empire. Orłowski was born in 1777 in Warsaw into an impoverished noble family, his father was a tavern-keeper.

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Mina Lukich Kolokolnikov ( Russian: Мина Лукич Колокольников; 1708?-1775?) was a Russian painter and teacher.

Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.

He is known to have assisted in the decoration of the palace at Tsarskoye Selo, and to have lived for a time in St. Petersburg, where one of his pupils was Trifon Anisimov. One of his portraits is in the Tver Regional Picture Gallery. He worked in the studio of Alexei Antropov; consequently, it is often difficult to tell Kolokolnikov's works from Antropov's, as both have very similar technique.

Kolokolnikov's brothers Ivan and Fedot were also painters.

Yamshchikov, S.V. (1976). Русский портрет XVIII-XIX веков в музеях РСФСР (Russkii portret XVIII-XIX vekov v muzeiah RSFSR) [Russian portrait of the 18th-19th centuries in the RSFSR museums] (in Russian). Moscow: Izobrazitel'noe iskusstvo (Изобразительное искусство). pp. 1-248.

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Mina Lukich Kolokolnikov ( Russian: Мина Лукич Колокольников; 1708?-1775?) was a Russian painter and teacher. Kolokolnikov was born in the village of Kravotyn in Tver gubernia. He was a serf of the Pafnutievo-Borovsky Monastery, and learnt the art of portrait painting from Ivan Nikitich Nikitin and Louis Caravaque; he also studied icon painting with Vasily Vasilevsky.

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Fydor Alekseyev
1753 - 1824

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Fyodor Yakovlevich Alekseyev (Russian: Фёдор Яковлевич Алексеев; c.1753-1755, Saint Petersburg - 23 November 1824, Saint Petersburg) was a Russian painter. His contemporaries often called him the Russian Canaletto, in recognition of his masterful vedute.

He was the son of the caretaker at the Imperial Academy of Arts, where he was admitted in 1764 upon a petition by his father, after studying for several years at the garrison school. In 1767, he took a class in ornamental sculpture and later studied scenic painting with Antonio Peresinotti. From 1773 to 1777, he lived in Venice on a fellowship, where he studied to be a theater artist. This did not appeal to him, however, and he spent much of his time painting landscapes and copying the old masters.

Having incurred the displeasure of the authorities at the Academy, when he returned he was put to work as a decorator for the Imperial Theatres until 1786 and was not allowed to continue his academic studies. Undaunted, he continued to paint what he pleased and slowly won some recognition. In 1794, his "View of the Palace Embankment from the Fortress" earned him the title of Academician.

In 1800, Tsar Paul I assigned him to create vedute of the streets and architecture in Moscow. From 1803, he taught at the Academy, but also travelled extensively, visiting Kherson, Mykolaiv, Bakhchysarai, Oryol and other locations in the south which had been visited by Catherine the Great, where he produced plein air sketches and watercolors of the surrounding areas. In 1810, he produced a series of works depicting Saint Petersburg.

In his later years, his fame steadily declined and he died in poverty, leaving a large family behind. The Academy paid his funeral expenses.

N. Sobko, Словарь русских художников с древнейших времён до наших дней (XI-XIX вв) (Dictionary of Russian Artists from Ancient Times to the Present Day), 1893

Alexei Fyodorov-Davidov, Фёдор Яковлевич Алексеев, Moscow, Искусство, 1955

Maris Ivanovna Androsova, Фёдор Алексеев, 1753-1824, Saint Petersburg, Художник РСФСР, 1979

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Fyodor Yakovlevich Alekseyev (Russian: Фёдор Яковлевич Алексеев; c.1753-1755, Saint Petersburg - 23 November 1824, Saint Petersburg) was a Russian painter. His contemporaries often called him the Russian Canaletto, in recognition of his masterful vedute.

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https://barakatgallery.eu/artworks/60928-110-late-mughal-empire-erotic-manuscript/

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Confined to barracks - Lady Anne wouldn't have had a problem with lockdown, especially in her later years when she lived like a recluse. She arrived in Cape Town 1797 and initially lived in the Castle of Good Hope where the barracks were (and still are).

Lady Anne set herself the challenge of painting the phenomenal view of Cape Town from the Castle (pictured). Unsurprisingly it took her three years to finish. Halfway through she wrote: "I wish I had not undertaken this panorama; I am really very bad at it and yet having undertaken it I do not like to give up."

Thankfully she didn't give up - it gives a fabulous and unique view of what Cape Town looked like just after the Dutch's long occupation (nearly 150 years) and the very beginning of the British rule. Its emptiness has an extra resonance now with the Government's COVID-19 measures.

Lady Anne's picture is so wide it is in seven sections and hard to photograph, especially as it is now hanging in a passage of her family's ancestral home in remote Fife, Scotland.

There is still Lady Anne's presence at the Castle. There is a room named after her which she made into a ball room. A few people claim one of the ghosts there is her! Such a story will be part of Jeanne Bonnema's new family tour of the Castle for Culture Connect.

Greg Clingham, (pictured below) Professor of English emeritus at Bucknell University, Pennsylvania, will be giving an illustrated talk about Lady Anne and her watercolours for Culture Connect when he is next in town (he was due to give it on 16 April 2020). As this will be a long way off Tracey Randle, "Cape Herstorian", be giving an illustrated talk about Lady Anne's sitters, "it has been one of the most astonishing and exciting lines of research I have ever conducted."

Both early evening events will be at the Vineyard, where there is display (image below) about Lady Anne and her husband, Andrew Barnard who was the colony's secretary; the house they built is now part of the hotel. Dates will be announced post pandemic.

Stephen Taylor, has also agreed to give a talk on Lady Anne for Culture Connect when he is next in Cape Town (he is based in England). Stephen's very readable, yet thorough biography, Defiance: the Life and Choices of Lady Anne Barnard, is published by Faber & Faber (2016 and 2017).

Rosalind Spears' talk, Lady Anne Barnard, Balcarres and the Cape with fabulous music recordings as interludes, is planned for U3A Atlantic Seaboard 12 November 2020. Perhaps she should do it for Culture Connect too? In the meantime, do read Jeanne Bonnema's short biography on Lady Anne below, with images from Rosalind Spears.

Early life
Lady Anne Lindsay was born on the family estate of Balcarres (pictured below) in a remote part of Fife, Scotland, on 8 December 1750. She was the eldest of the 11 children of James Lindsay, the impoverished 5th Earl of Balcarres, and his wife, Anne Dalrymple, who was 40 years his junior. They had a governess at home. Anne subsequently developed her conversational skills in the Edinburgh salons of her grandmother Lady Dalrymple, amongst the best minds in Scotland including the philosopher David Hume.

Lady Anne had numerous admirers, many of whom would have been happy to lay their worldly goods at her feet. But she was unconvinced that she liked any of them well enough to marry them. Eventually she was persuaded to accept one of her suitors, a wealthy merchant Henry Swinton. But her family put a stop to it when they heard rumours he was not as rich as they had thought. Lady Anne got the blame and thought a coquette - a label that stuck with her for years.

In 1793 Lady Anne married Andrew Barnard; at the age of 43 years, considered very old at the time to become a wife. He was the son of the Bishop of Limerick. She had refused his proposals two years earlier, but now, to everyone's amazement, she accepted him. She continued to use her title as she was the daughter of an earl and was known as Lady Anne Barnard for the rest of her life.

The couple retreated to Ireland where they attempted to live within their limited means. Anne was determined to get him a job so asked Henry Dundas (he was one of her previous suitors, a Scottish advocate and Tory politician and became Viscount Melville). Eventually Dundas offered him the position of secretary to the governor at the Cape of Good Hope. This was not quite what Anne had hoped for, but no other offers were likely.

Life at the Cape
In February 1797, the Barnards sailed for the Cape of Good Hope. They arrived three months later and lived in the Castle of Good Hope with the governor, Lord Macartney. Macartney's wife had not travelled out with him and so Lady Anne acted as his hostess. They entertained the army officers and the Dutch colonists as well as visitors who were passing through, such as Richard Wellesley, Lord Mornington, elder brother of the Duke of Wellington.

A few weeks after arriving, Lady Anne climbed Table Mountain, highly unusual for women of her background. She went on several trips into the interior. She recorded what she saw both with words and drawings, including reflections on issues, such as the massive slave population in the Cape and the appalling treatment of local farm labourers.

The Barnards renovated a run-down cottage, Paradise, in Newlands Forest, part the way up Table Mountain and for a while they lived there (its ruins still exist and below is what it might have looked like, Wiki). In 1798 they built a house in Newlands, now part of the Vineyard hotel.

Lady Anne called these years the happiest of her life, marred only by her inability to have children. Andrew Barnard thrived under Macartney's laid back leadership style, but when the governor returned to England because of ill health, the colony was temporarily put under the control of General Dundas, a nephew of Lady Anne's old suitor. His authoritarian approach and contempt for Andrew Barnard made life difficult. Soon he was secretary in name only as General Dundas bypassed his approval.

Things were not easier with the new governor, Sir George Yonge. Lady Anne reported to Dundas that Yonge had accepted a huge bribe from an infamous slave trader to land lots of slaves. Yonge was removed from office. In 1801, before another governor could be appointed, Britain made peace with France. The colony was handed back to the Dutch, and so there was no need for a colonial secretary. Lady Anne was worried about a new position for her husband as Dundas was no longer in power. In January 1802, Anne travelled back to England to try and get him work, while he stayed until the official handover to the Dutch; neither realised it was going to take a year.

A disastrous posting
Three years after Barnard's return, he was still without a job. Finally, in 1806 Henry James Fox, a prominent British Whig statesman, recommended that Andrew Barnard should get his old job back, as secretary to the new governor at the Cape. Windham, Secretary for War and the Colonies (one of Lady Anne's former suitors) reluctantly agreed. But Lady Anne then panicked that her husband's health would not stand up the Cape; she pleaded with Windham to give him something else, but he didn't change his mind. Andrew Barnard said he would take the post or he would not get any more offers. Anne stayed in England to lobby for him.

The new governor, Lord Caledon, was young and inexperienced so relied heavily on Andrew Barnard. The governor was concerned about his secretary's nausea and vomiting, especially as it got worse. On 27 October 1807, he died. Lady Anne was devastated and blamed Windham.

Surrogate/step-mother
Lady Anne received a letter from Lord Caledon about a mixed-race girl, about six years old. She was the daughter of her husband and a slave woman, conceived after she had left for England in 1802. Anne's reaction was unconventional for the time; she excused her husband's infidelity, blaming herself for leaving him like a widower in South Africa. In 1809, she welcomed Christina Douglas, into her home at 21 Berkeley Square. (Cape Town based photographer Ed Suter, (picture below), found out last year, he is related to Christina; an exhibition of his work is currently touring Vineyard hotels).

Christina was not the only child that Lady Anne cared for. Barnard had fathered two illegitimate sons before his marriage and each of these placed a daughter in Lady Anne's care - Margaret and Anne Hervey.

Final years
Lady Anne increasingly lived as a recluse, devoting her time to writing and drawing. She wrote a memoir of her life with Christina Douglas's, help. Some relatives worried about it bringing the family into disgrace and she was adamant that her work was never to be published and her memoirs remain so today.

In 1822, Sir Walter Scott quoted a verse from Auld Robin Grey in The Pirate, specifically referring to it as Lady Anne Lindsay's beautiful ballad. After maintaining her anonymity as the author through most of her life, she was finally given public credit for her poem.
Lady Anne died on 6 May 1825 at her home in Berkeley Square (her funeral was nearby at St George's, Hanover Square, pictured). She left legacies to all three of the girls who lived with her, and, skipping over her brothers, left the rest of her property to her nephews, James and Lindsay.

Sources
MainlyThe unconventional Lady Anne Barnard (1750-1825) by Rachel Knowles
Supplemented byDefiance: the Life and Choices of Lady Anne Barnard by Stephen Taylor 2016 (and Wiki)

For the Castle ghost stories: http://www.vanhunks.com/cape1/castle1.html and https://www.travelground.com/blog/things-go-bump-in-the- .
For Lady Anne's writings https://digital.library.upenn.edu/women/barnard/letters/letters.html
For a docu-drama, made in 1990 for SABC by Roberta Durrant on Lady Anne's time at the Cape: https://www.penguinfilms.co.za/portfolio-item/lady-ann-barnhard/

For Balcarres and the Regency info by Jeanne Bonnama, email me (and with any comments and questions): kate@cultureconnectsa.com

Finally, a picture of Rosalind Spears with the current Earl of Balcarres, in situ, 2019.

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Lady Anne Barnard "locked-in" Cape Town - Culture Connect

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Confined to barracks - Lady Anne wouldn't have had a problem with lockdown, especially in her later years when she lived like a recluse. She arrived in Cape Town 1797 and initially lived in the Castle of Good Hope where the barracks were (and still are).

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Ivan Vishnyakov

1699, in Moscow – 1761, in Saint Petersburg

https://en.wikipedia.org/wiki/Ivan_Vishnyakov

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Ben Franklin

Join, or Die

https://en.wikipedia.org/wiki/Join,_or_Die

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The Death of Socrates

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TAROT DE MARSEILLE 1840

https://www.tarot-de-marseille-heritage.com/english/catalogue_gassmann1840.html

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Around the mid-1840s Daumier started publishing his famous caricatures depicting members of the legal profession, known as 'Les Gens de Justice', a scathing satire about judges, defendants, attorneys and corrupt, greedy lawyers in general. A number of extremely rare albums appeared on white paper, covering 39 different legal themes, of which 37 had previously been published in the Charivari.

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1835 - 1845
https://www.researchgate.net/figure/Manco-Capac-Cuzco-ca-1835-1840-Oleo-sobre-lienzo-Museo-Inka-Universidad-Nacional-de_fig1_319324170

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https://www.brooklynmuseum.org/opencollection/objects/2307

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Cusco school

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The Art of Asia

INDIAN COURT PAINTING (16th-19th century)

FOUR CENTURIES OF INDIAN PAINTINQ

The younger Nainsukh became established in the 1740s at Jasrota, where, for his patron, Raja Balwant Singh, he painted and drew extraordinarily refined and psychologically poignant pictures that demonstrate a close observation of nature. Many are studies of the maharaja from life, some are fantastic allegorical pictures of him, and others treat individual Hindu subjects (see below).
Coloristically his miniatures show some similarities with works done at the Mughal court of Muhammad Shah, particularly the prominence of white and the sparing use of hot colors. The facial types Nainsukh employed in representing deities also resemble ones in the imperial style.

Raja Balwant Singh of Jasrota Does Homage to Krishna and Radha
1750

The plunder of Delhi by Nader Shah in 1739 left the Mughal court impoverished and consigned it to political and cultural decline.The Rajastham courts, which had responded to successive waves of Mughal influence over the last century and a half, now evolved on their own. Mughal subject matter was not entirely abandoned, but, with varying degrees of completeness, artists subtly reintroduced a more Rajput pictorial sensibility. In many cases the color became bolder and less literal. The picture plane grew shallower, and linear, decorative qualities became more pronounced. The expression of these tendencies varied not only from court to court but also within an atelier, from artist to artist. A wide range of quite distinctive styles was the result (see below).

Melancholic Courtesan
1750

Head of Krishna
1800

The developments in the Punjab Hills were more conservative. At the courts of Basohli, Chamba. Guler, |ammu. and Kangra a great flowering of painting took place that was very largely a continuation of the work of Man-aku and Nainsukh by their children. The brothers had molded their children's artistic personalities, schooling them in an idealized and romantic naturalism whose deep space, cool palette, observed nature, and idealized faces hark back to Mughal models. Curiously, the most salient characteristic of the style- the pervasive use of a naturalistic landscape to mirror and serve as background for both mythic and everyday events - had received only cursory treatment from the elder generation. Unlike most of Nainsukh's paintings but like those of his elder brother, these late pictures are predominantly illustrations of manuscripts with religious or poetic themes. They reach their pinnacle with a group of lyrical manuscripts produced for the Kangra court of Sansar Chand (r. 1775-1823) (see below).

In the late eighteenth and early nineteenth centuries, Mughal painting traditions enjoyed a kind of resurgence under the patronage of the Muslim potentates who established independent kingdoms in North India and the Deccan. Some of the best paintings depict grandees seated on terraces with vast panoramas of buildings and gardens stretching into the distance behind them. Although such images derive from earlier models, this time the landscape, rather than the sitter, commands the viewer's eye.
At the same time, the British officers and grandees who had incorporated a large part of the former Mughal empire into Britain's also employed artists who had been trained in Mughal court traditions. Their depictions of flora, fauna, and everyday Indian life represent a marvelous confluence of literal documentation and pictorial imagination. Inspired design and bold patterning raise the best of these works, made as album illustrations, into the realm of art. Unlike their Jahangiri ancestors, they are silhouetted against the white of the page rather than set within a fully realized space.

The Village Beauty
1780

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History of Art:The Art of Asia - INDIAN COURT PAINTING

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The Art of Asia INDIAN COURT PAINTING (16th-19th century) FOUR CENTURIES OF INDIAN PAINTINQ The younger Nainsukh became established in the 1740s at Jasrota, where, for his patron, Raja Balwant Singh, he painted and drew extraordinarily refined and psychologically poignant pictures that demonstrate a close observation of nature.

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Catherine Haussard - F

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Katsushika Hokusai, known simply as Hokusai, was a Japanese ukiyo-e artist of the Edo period, active as a painter and printmaker. He is best known for the woodblock print series Thirty-Six Views of Mount Fuji, which includes the iconic print The Great Wave off Kanagawa. Hokusai was instrumental in developing ukiyo-e from a style of portraiture largely focused on courtesans and actors into a much broader style of art that focused on landscapes, plants, and animals. His works are thought to have had a significant influence on Vincent van Gogh and Claude Monet during the wave of Japonisme that spread across Europe in the late 19th century.

Hokusai created the monumental Thirty-Six Views of Mount Fuji as a response to a domestic travel boom in Japan and as part of a personal interest in Mount Fuji. It was this series, specifically, The Great Wave off Kanagawa and Fine Wind, Clear Morning, that secured his fame both in Japan and overseas.

Hokusai was best known for his woodblock ukiyo-e prints, but he worked in a variety of mediums including painting and book illustration. Starting as a young child, he continued working and improving his style until his death, aged 88. In a long and successful career, Hokusai produced over 30,000 paintings, sketches, woodblock prints, and images for picture books in total. Innovative in his compositions and exceptional in his drawing technique, Hokusai is considered one of the greatest masters in the history of art.

Courtesan Asleep, a bijin-ga surimono print, c. late 18th to early 19th century

Fireworks in the Cool of Evening at Ryogoku Bridge in Edo, print, c. 1788-89

Hokusai's date of birth is unclear, but is often stated as the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, or 31 October 1760) to an artisan family, in the Katsushika district of Edo, the capital of the ruling Tokugawa shogunate (currently Katsushika-ku, Tokyo). His childhood name was Tokitarō. It is believed his father was Nakajima Ise, a mirror-maker for the shōgun. His father never made Hokusai an heir, so it is possible that his mother was a concubine. Hokusai began painting around the age of six, perhaps learning from his father, whose work included the painting of designs around mirrors.

Hokusai was known by at least thirty names during his lifetime. While the use of multiple names was a common practice of Japanese artists of the time, his number of pseudonyms exceeds that of any other major Japanese artist. His name changes are so frequent, and so often related to changes in his artistic production and style, that they are used for breaking his life up into periods.

At the age of 12, his father sent him to work in a bookshop and lending library, a popular institution in Japanese cities, where reading books made from woodcut blocks was a popular entertainment of the middle and upper classes. At 14, he worked as an apprentice to a woodcarver, until the age of 18, when he entered the studio of Katsukawa Shunshō. Shunshō was an artist of , a style of woodblock prints and paintings that Hokusai would master, and head of the so-called Katsukawa school. Ukiyo-e, as practised by artists like Shunshō, focused on images of the courtesans () and kabuki actors () who were popular in Japan's cities at the time.

After a year, Hokusai's name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints, a series of pictures of kabuki actors published in 1779. During the decade he worked in Shunshō's studio, Hokusai was married to his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time. He fathered two sons and three daughters with these two wives, and his youngest daughter Ei, also known as Ōi, eventually became an artist and his assistant. Fireworks in the Cool of Evening at Ryogoku Bridge in Edo ( c.  1788-89) dates from this period of Hokusai's life.

Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art, including European styles he was exposed to through French and Dutch copper engravings he was able to acquire. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to his studies at the rival Kanō school. This event was, in his own words, inspirational: "What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō's hands."

Hokusai also changed the subjects of his works, moving away from the images of courtesans and actors that were the traditional subjects of ukiyo-e. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This change of subject was a breakthrough in ukiyo-e and in Hokusai's career.

Image of bathers from the Hokusai Manga

Contemporary print of Hokusai painting the Great Daruma in 1817

The Great Wave off Kanagawa, Hokusai's most famous print, the first in the series Thirty-six Views of Mount Fuji, c. 1829-1832

Fine Wind, Clear Morning (or Red Fuji),
from Thirty-six Views of Mount Fuji

The next period saw Hokusai's association with the Tawaraya School and the adoption of the name "Tawaraya Sōri". He produced many privately commissioned prints for special occasions (), and illustrations for books of humorous poems ( kyōka ehon) during this time. In 1798, Hokusai passed his name on to a pupil and set out as an independent artist, free from ties to a school for the first time, adopting the name Hokusai Tomisa.

By 1800, Hokusai was further developing his use of ukiyo-e for purposes other than portraiture. He had also adopted the name he would most widely be known by, Katsushika Hokusai, the former name referring to the part of Edo where he was born, the latter meaning 'north studio', in honour of the North Star, symbol of a deity important in his religion of Nichiren Buddhism. That year, he published two collections of landscapes, Famous Sights of the Eastern Capital and Eight Views of Edo (modern Tokyo). He also began to attract students of his own, eventually teaching 50 pupils over the course of his life.

He became increasingly famous over the next decade, both due to his artwork and his talent for self-promotion. During an Edo festival in 1804, he created an enormous portrait of the Buddhist prelate Daruma, said to be 200 square meters, using a broom and buckets full of ink. Another story places him in the court of the shōgun Tokugawa Ienari, invited there to compete with another artist who practised more traditional brushstroke painting. Hokusai painted a blue curve on paper, then chased a chicken whose feet had been dipped in red paint across the image. He described the painting to the shōgun as a landscape showing the Tatsuta River with red maple leaves floating in it, winning the competition.

Between 1804 and 1815 saw Hokusai collaborate with the popular novelist Takizawa Bakin on a series of illustrated books. Especially popular was the fantasy novel Chinsetsu Yumiharizuki ( Strange Tales of the Crescent Moon, 1807-1811) with Minamoto no Tametomo as the main character, and Hokusai gained fame with his creative and powerful illustrations, but the collaboration ended after thirteen works. There are various theories as to why they dissolved their cooperation, such as discordant personalities and conflicting opinions on how to draw illustrations. Hokusai also created several albums of erotic art (). His most famous image in this genre is The Dream of the Fisherman's Wife, which depicts a young woman entwined sexually with a pair of octopuses, from Kinoe no Komatsu, a three-volume book of shunga from 1814.

Hokusai paid close attention to the production of his work. In letters during his involvement with Toshisen Ehon, a Japanese edition of an anthology of Chinese poetry, Hokusai wrote to the publisher that the blockcutter Egawa Tomekichi, with whom Hokusai had previously worked and whom he respected, had strayed from Hokusai's style in the cutting of certain heads. He also wrote directly to another blockcutter involved in the project, Sugita Kinsuke, stating that he disliked the Utagawa school style in which Kinsuke had cut the figure's eyes and noses and that amendments were needed for the final prints to be true to his style. In his letter, Hokusai included examples of both his style of illustrating eyes and noses and the Utagawa school style.

In 1811, at the age of 51, Hokusai changed his name to Taito and entered the period in which he created the Hokusai Manga and various etehon, or art manuals. These manuals beginning in 1812 with Quick Lessons in Simplified Drawing, were intended as a convenient way to make money and attract more students. The first volume of Manga (meaning random drawings) was published in 1814 and was an immediate success. By 1820, he had produced twelve volumes (with three more published posthumously) which include thousands of drawings of objects, plants, animals, religious figures, and everyday people, often with humorous overtones.

On 5 October 1817, he painted the Great Daruma outside the Hongan-ji Nagoya Betsuin in Nagoya. This portrait in ink on paper measured 18 × 10.8 metres, and the event drew huge crowds. The feat was recounted in a popular song and he received the name " Darusen" or "Daruma Master" Although the original was destroyed in 1945, Hokusai's promotional handbills from that time survived and are preserved at the Nagoya City Museum.

In 1820, Hokusai changed his name yet again, this time to "Iitsu," a change which marked the start of a period in which he secured fame as an artist throughout Japan. His most celebrated work, Thirty-six Views of Mount Fuji, including the famous The Great Wave off Kanagawa and was produced in the early 1830s. The results of Hokusai's perspectival studies in Manga can be seen here in The Great Wave where he uses what would have been seen as a western perspective to represent depth and volume. It proved so popular that ten more prints were later added to the series. Among the other popular series of prints he made during this time are A Tour of the Waterfalls of the Provinces, Oceans of Wisdom and Unusual Views of Celebrated Bridges in the Provinces. He also began producing a number of detailed individual images of flowers and birds (), including the extraordinarily detailed Poppies and Flock of Chickens.

Portrait of Hokusai by disciple Keisai Eisen

The next period, beginning in 1834, saw Hokusai working under the name "Gakyō Rōjin" (; "The Old Man Mad About Art"). It was at this time that he produced One Hundred Views of Mount Fuji, another significant series, generally considered "the masterpiece among his landscape picture books".

In the colophon to this work, Hokusai writes:

From the age of six, I had a passion for copying the form of things and since the age of fifty I have published many drawings, yet of all I drew by my seventieth year there is nothing worth taking into account. At seventy-three years I partly understood the structure of animals, birds, insects and fishes, and the life of grasses and plants. And so, at eighty-six I shall progress further; at ninety I shall even further penetrate their secret meaning, and by one hundred I shall perhaps truly have reached the level of the marvellous and divine. When I am one hundred and ten, each dot, each line will possess a life of its own.

A True Mirror of Chinese and Japanese Poetry ( Shika shashin kyo), produced in about 1833 to 1834, was printed in extra-long vertical formats resembling the form of Chinese hand scrolls. Prints in this series include poems by Chinese and Japanese poets combined with scenes in those countries, and scenes from Noh plays (a form of dance theater predating kabuki). Ten designs in this series survive.

Hokusai's final print series, produced around 1835 to 1836, was called One Hundred Poems Explained by a Nurse (Hyakunin isshu tuba ga etoki). The series was never published in full, perhaps due to financial hardships faced by Hokusai's publishers during Japan's economic downturn in the mid-1830's. These prints featured scenes with the poems inscribed in a square. Each print also contains the series title listed in its own vertical rectangle.

In 1839, a fire destroyed Hokusai's studio and much of his work. By this time, his career was beginning to fade as younger artists such as Andō Hiroshige became increasingly popular. At the age of 83, Hokusai traveled to Obuse in Shinano Province (now Nagano Prefecture) at the invitation of a wealthy farmer, Takai Kozan where he stayed for several years. During his time in Obuse, he created several masterpieces, including the Masculine Wave and the Feminine Wave. Between 1842 and 1843, in what he described as "daily exorcisms" ( nisshin joma), Hokusai painted Chinese lions () every morning in ink on paper as a talisman against misfortune. Hokusai continued working almost until the end, painting The Dragon of Smoke Escaping from Mt Fuji and Tiger in the Snow in early 1849.

Constantly seeking to produce better work, he apparently exclaimed on his deathbed, "If only Heaven will give me just another ten years ... Just another five more years, then I could become a real painter." He died on 10 May 1849 and was buried at the Seikyō-ji in Tokyo (Taito Ward). A haiku he composed shortly before his death reads: "Though as a ghost, I shall lightly tread, the summer fields."

The Dream of the Fisherman's Wife (1814), included in Kinoe no Komatsu, a three-volume book of shunga erotica

Cuckoo and Azaleas, 1834
from the Small Flower series

Egrets from Quick Lessons in Simplified Drawing

Carp Leaping up a Cascade

Tenma Bridge in Setsu Province,
from Rare Views of Famous Japanese Bridges

Dragon on the Higashimachi Festival Float, Obuse, 1844

The Dragon of Smoke Escaping From Mount Fuji, painting, 1849

Cover of Debussy's La Mer, 1905

Hokusai had achievements in various fields as an artist. He made designs for book illustrations and woodblock prints, sketches, and painting for over 70 years. Hokusai was an early experimenter with western linear perspective among Japanese artists. Hokusai himself was influenced by Sesshū Tōyō and other styles of Chinese painting. His influences stretched across the globe to his western contemporaries in nineteenth-century Europe with Japonism, which started with a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples were to be seen in Paris, when in about 1856, the French printmaker, designer and colleague of many Impressionsist artists such as Édouard Manet, Félix Bracquemond first came across a copy of a Hokusai sketchbook at the workshop of August Dalatre, his printer.

With the sketchbook as his influence Bracquemond designed the "Rousseau Service," an elegant set of dinnerware, on behalf of Francois-Eugene Rousseau, the owner of a glass and ceramics shop. Exhibited at the Universal Exposition in Paris in 1867, the Rousseau Service was a success both critically and commercially and was reissued in several editions over the years. The Rousseau Service featured images of birds and fish copied from the Japanese book illustrations and placed asymmetrically against a white background for a look that would have been very modern at that time.

Hokusai also influenced the Impressionism movement, with themes echoing his work appearing in the work of Claude Monet and Pierre-Auguste Renoir, as well as Art Nouveau, or Jugendstil in Germany. His woodcuts were collected by many European artists, including Degas, Gauguin, Klimt, Franz Marc, August Macke, Édouard Manet, and van Gogh. Degas said of him, "Hokusai is not just one artist among others in the Floating World. He is an island, a continent, a whole world in himself." Hermann Obrist's whiplash motif, or Peitschenhieb, which came to exemplify the new movement, is visibly influenced by Hokusai's work.

The French composer Claude Debussy's tone poem La Mer, which debuted in 1905, is believed to have been inspired by Hokusai's print The Great Wave. The composer had an impression of it hanging in his living room and specifically requested that it be used on the cover of the published score, which was widely distributed, and the music itself incorporated Japanese-inflected harmonies.

Even after his death, exhibitions of his artworks continue to grow. In 2005, Tokyo National Museum held a Hokusai exhibition which had the largest number of visitors of any exhibit there that year. Several paintings from the Tokyo exhibition were also exhibited in the United Kingdom. The British Museum held the first exhibition of Hokusai's later year artworks including 'The Great Wave' in 2017.

Hokusai inspired the Hugo Award-winning short story by science fiction author Roger Zelazny, " 24 Views of Mt. Fuji, by Hokusai", in which the protagonist tours the area surrounding Mount Fuji, stopping at locations painted by Hokusai. A 2011 book on mindfulness closes with the poem "Hokusai Says" by Roger Keyes, preceded with the explanation that "[s]ometimes poetry captures the soul of an idea better than anything else."

In the 1985 Encyclopædia Britannica, Richard Lane characterizes Hokusai as "since the later 19th century [having] impressed Western artists, critics and art lovers alike, more, possibly, than any other single Asian artist".

'Store Selling Picture Books and Ukiyo-e' by Hokusai shows how ukiyo-e during the time was actually sold; it shows how these prints were sold at local shops, and ordinary people could buy ukiyo-e. Unusually in this image, Hokusai used a hand-colored approach instead of using several separated woodblocks.

His youngest daughter Ei has her own manga and film called Miss Hokusai.

A biographical film about the painter was released in Japan on May 28, 2021. It was premiered at the 33rd Tokyo International Film Festival.

Bowie, Theodore (1964). The Drawings of Hokusai. Indiana University Press, Bloomington.

Hillier, Jack (1955). Hokusai: Paintings, Drawings and Woodcuts. Phaidon, London.

Lane, Richard (1989). Hokusai: Life and Work. E.P. Dutton. ISBN 978-0-525-24455-4.

van Rappard-Boon, Charlotte (1982). Hokusai and his School: Japanese Prints c. 1800-1840 (Catalogue of the Collection of Japanese Prints, Rijksmuseum, Part III). Rijksmuseum, Amsterdam.

For readers who want more information on specific works of art by Hokusai, these particular works are recommended.

Hillier, Jack, and Dickens, F.W. (1960). Fugaku Hiyaku-kei (One Hundred Views of Fuji by Hokusai). Frederick, New York.

Kondo, Ichitaro (1966). Trans. Terry, Charles S. The Thirty-six Views of Mount Fuji by Hokusai. East-West Center, Honolulu.

Michener, James A. (1958). The Hokusai Sketch-Books: Selections from the 'Manga' . Charles E. Tuttle, Rutland.

Narazaki, Muneshige (1968). Trans. Bester, John. Masterworks of Ukiyo-E: Hokusai - The Thirty-Six Views of Mt. Fuji. Kodansha, Tokyo.

Balcou, Amelie (2019). "Hokusai: Thirty-Six Views of Mount Fuji". Prestel. ISBN 978-3791386072.

Marks, Andreas (2021). "Thirty-six Views of Mount Fuji". Taschen, New York. ISBN 978-3836575720.

Price, Jonathan Reeve (2020). "Viewing Hokusai Viewing Mount Fuji". Communication Circle, Albuquerque, New Mexico. ISBN 978-0-9719954-7-5.

Thompson, Sarah (2019). "Hokusai's Landscapes: The Complete Series". MFA Publications, Boston. ISBN 978-0878468669.

Zelazny, Roger (2000). "24 Views of Mount Fuji". In "Cthulu 2000: Stories" (1999). Arkham House, Sauk City, WI. ISBN 978-0345422033

Monographs dedicated to Hokusai art works:

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Katsushika Hokusai, known simply as Hokusai, was a Japanese ukiyo-e artist of the Edo period, active as a painter and printmaker. He is best known for the woodblock print series Thirty-Six Views of Mount Fuji , which includes the iconic print The Great Wave off Kanagawa .

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Krishna, as is popularly believed, was born in the prison of Kamsa, the ruler of Mathura. Krishna was the eighth child of Devaki and Vasudeva. At the time of the marriage of Devaki, Kamsa's sister, it was predicted that her eighth child would slay Kamsa and free the earth form his tyrannous rule. The panicky ruler imprisoned Devaki and Vasudeva soon after their marriage.

When Krishna, Devaki's eighth child, was born, some divine miracle worked. The prison guard fell asleep in deep slumber and the prison gates fell open. Taking it as a Divine direction Vasudeva decided to shift the child across Yamuna, to Gokula to his friend Nanda's house. Surprisingly, Nanda's wife Yashoda too had given birth to a girl child. Vasudeva exchanged the children and brought back to prison Yashoda's daughter.

In the morning the news of Yashoda bearing a son had spread all around in Braja.Nanda's clansmen and people of Braja, the trumpets blowers and the drummers, and seasoned old nurses gathered at Nanda's residence. Nanda, like a Mughal noble in Mughalia costume, is shown receiving all and accepting the auspicious grass, dhruv, as their good wishes distributing sweets to all. In the entire vegetation dhruva alone is such specie which never dies, never dries and never rises so high as it has ever to fall. Hence, dhruva symbolizes humble long life presented on the occasion of a child's birth.

The painting has four compartments. Inside the house, Yashoda, with a scarf tied traditionally on her forehead and the new born Krishna in her lap, is receiving advice of the old nurse and dhruva from young ladies. In a corner a band of musicians is playing on musical instruments. It is a fine, colourful, balanced painting full of action and activity.

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eurocles.com - connaitre pour mieux comprendre - la culture en quelques clics

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Krishna, as is popularly believed, was born in the prison of Kamsa, the ruler of Mathura. Krishna was the eighth child of Devaki and Vasudeva. At the time of the marriage of Devaki, Kamsa's sister, it was predicted that her eighth child would slay Kamsa and free the earth form his tyrannous rule.

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Jean-Pierre Houël - M

28 June 1735 – 14 November 1813

https://en.wikipedia.org/wiki/Jean-Pierre_Hou%C3%ABl

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Attributed to Khushala | Shiva and Parvati Descend from Mount Kailash: Folio from a Shiva Purana Series | India (Guler, Himachal Pradesh) | The Metropolitan Museum of Art

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About the Artist First Generation after Manaku and Nainsukh: Fattu, Khushala, Kama, Gaudhu, Nikka, and Ranjha Active at a number of Pahari region courts, mainly in the Kangra Valley, ca. 1740-1830; sons of Manaku (Fattu and Khushala) and Nainsukh (Kama, Gaudhu, Nikka, and Ranjha) The four sons of Nainsukh and two sons of Manaku are known collectively as the first generation after Nainsukh and Manaku.

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Indian Court Illustration
Late Mughal Illustration

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Théodore Géricault - M
1791 – 26 January 1824
https://en.wikipedia.org/wiki/Th%C3%A9odore_G%C3%A9ricault

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1835

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Thangka

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Utagawa Kunisada ( Japanese: 歌川 国貞; 1786 - 12 January 1865), also known as Utagawa Toyokuni III (三代 歌川 豊国 Sandai Utagawa Toyokuni), was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.

At the end of the Edo period (1603-1867), Hiroshige, Kuniyoshi and Kunisada were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to their works as "decadent".

Beginning in the 1930s and 1970s, respectively, the works of Hiroshige and Kuniyoshi were submitted to a re-evaluation, and these two are now counted among the masters of their art. Thus, from Kunisada alone was withheld, for a long time, the acknowledgment which is due to him. With a few exceptions, such as actor portraits () and portraits of beautiful women (), at the beginning of his career, and some series of large-size actor head-portraits near the end, it was thought that he had produced only inferior works. It was not until the early 1990s, with the appearance of Jan van Doesburg's overview of the artistic development of Kunisada, and Sebastian Izzard's extensive study of his work, that this picture began to change, with Kunisada more clearly revealed as one of the "giants" of the Japanese print that he was.

Although not much is known of the details of Kunisada's life, there are some well-established records of particular events. He was born in 1786 in Honjo, an eastern district of Edo. His given name was Sumida Shōgorō IX (角田庄五朗), and he was also called Sumida Shōzō (角田庄蔵). A small licensed and hereditary ferry-boat service belonged to his family, and the income derived from this business provided a certain basic financial security. His father, who was an amateur poet of some renown, died in the year after his birth. While growing up, he developed an early talent for painting and drawing. His early sketches at that time impressed Toyokuni, the great master of the Utagawa school and prominent designer of kabuki and actor-portrait prints. In the year 1800 or shortly thereafter Kunisada was accepted by Toyokuni I as an apprentice in his workshop. In keeping with a tradition of Japanese master-apprentice relations, he was then given the official artist name of "KUNI-sada", the first character of which was derived from the second part of the name "Toyo-KUNI".

His first known print dates to the year 1807; however this seems to have been an exceptional design, and further full-sized prints appear starting only in 1809-1810. As of 1808 he had already begun work as an illustrator of (woodblock print illustrated books) and his popularity rapidly increased. In 1809 he was referred to in contemporary sources as the "star attraction" of the Utagawa school, and soon thereafter was considered as at least equal to his teacher Toyokuni in the area of book illustration. Kunisada's first actor portraits appeared in either 1808 or 1809. It is known that his first bijin-ga series and a series of pentaptychs of urban scenes of Edo, appear simultaneously in 1809. By 1813 he had risen as a "star" in the constellation of Edo's artistic world; a contemporary list of the most important ukiyo-e artists places him in second place behind Toyokuni I. Kunisada remained one of the "trendsetters" of the Japanese woodblock print until his death in early 1865.

Beginning around 1810 Kunisada used the studio name "Gototei", which refers cryptically to his father's ferry-boat business. Until 1842 this signature appeared on nearly all of his kabuki designs. Around 1825 the studio name "Kochoro" appeared, and was often used on prints not related to kabuki. This name was derived from a combination of the pseudonyms of master painter Hanabusa Itcho, and that of his successor Hanabusa Ikkei, with whom Kunisada had studied a new style of painting around 1824-1825. In 1844, he finally adopted the name of his master Toyokuni I, and for a brief time used the signature "Kunisada becoming Toyokuni II". Starting in 1844-1845, all of his prints are signed "Toyokuni", partially with the addition of other studio names as prefixes, such as "Kochoro" and "Ichiyosai". Although Kunisada referred to himself as "Toyokuni II", he must be regarded, however, as "Toyokuni III". The question is unsettled as to why he intentionally ignored Toyoshige, a pupil and son-in-law of Toyokuni I and who had borne the name "Toyokuni", as legitimate head of the Utagawa school, from 1825 until his own death in 1835.

The date of Kunisada's death was the 15th day of the 12th month of the First Year of Genji. Most sources erroneously report this as having been in the year 1864, though this date in the Japanese calendar corresponds to the date January 12, 1865, in the Gregorian calendar. Kunisada died in the same neighborhood in which he had been born.

Almost from the first day of his activity, and even at the time of his death in 1865, Kunisada was a trendsetter in the art of the Japanese woodblock print. Always at the vanguard of his time, and in tune with the tastes of the public, he continuously developed his style, which was sometimes radically changed, and did not adhere to stylistic constraints set by any of his contemporaries. His productivity was extraordinary. About 14,500 individual designs have been catalogued ( polyptych sets counted as a single design) corresponding to more than 22,500 individual sheets. It seems probable based on these figures that Kunisada actually produced between 20,000 and 25,000 designs for woodblock prints during his lifetime (i.e. 35,000 to 40,000 individual sheets).

Following the traditional pattern of the Utagawa school, Kunisada's main occupation was kabuki and actor prints, and about 60% of his designs fall in this category. However he was also highly active in the area of bijin-ga prints (comprising about 15% of his complete works), and their total number was far higher than any other artist of his time. From 1820 to 1860 he likewise dominated the market for portraits of sumo wrestlers. For a long time (1835-1850) he had an almost complete monopoly on the genre of prints related to The Tale of Genji; it was only after 1850 that other artists began to produce similar designs. Noteworthy also are the number of his , and although they were designed almost exclusively prior to 1844, few artists were better-known in this area.

Kunisada's paintings, which were privately commissioned, are little-known, but can be compared to those of other masters of ukiyoe painting. His activity as a book illustrator is also largely unexplored. He was no less productive in the area of ehon than he was in full-sized prints, and notable among his book prints are pictures, which appeared in numerous books. Due to censorship, they are signed only on the title page with his alias "Matahei". Landscape prints and musha-e (samurai warrior prints) by Kunisada are rare, and only about 100 designs in each of these genres are known. He effectively left these two fields to be covered by his contemporaries Hiroshige and Kuniyoshi, respectively.

The mid-1840s and early 1850s, were a period of expansion when woodblock prints were in high demand in Japan. During this time Kunisada collaborated with one of or both Hiroshige and Kuniyoshi in three major series as well as on a number of smaller projects. This co-operation was in large part politically motivated in order to demonstrate solidarity against the intensified censorship regulations of the Tenpō Reforms. Also beginning around the mid-1850s there are series in which individual parts of designs (and sometimes complete sheets) are signed by Kunisada's students; this was done with the intention of promoting their work as individual artists. Notable students of Kunisada included Toyohara Kunichika, Utagawa Sadahide and Utagawa Kunisada II.

Kunisada had a five-decade career, during which his work was always popular and sold in the thousands. Towards the end of his life he began recording his age with his signature on his prints. Later critics have been reluctant to declare merit in his work, particular of the later period. An example of the contempt early Western critics subjected Kusisada's work to:

This very undistinguished artist was one of the most prolific of the ukiyo-e school. All that meaningless complexity of design, coarseness of colour, and carelessness of printing which we associate with the final ruin of the art of colour-prints finds full expression with him.

The majority of Kunisada's work was of actors portrayed in current popular plays; most of the rest was of women in the latest fashions. The works dated with quickly-changing fashions, and there was a constant demand for new prints to replace the outdated ones.

Recent Exhibits:

A Third Gender, Royal Ontario Museum & Japan Society, 2017

Showdown!, MFA Boston, 2016

Utagawa, Brooklyn Museum of Art, 2008

Living for the Moment: Japanese Prints from the Collection of Barbara S. Bowman, LACMA, 2006

Featured in Major Collections:

Works cited

Tinios, Ellis (December 1991). "Kunisada and the Last Flowering of "Ukiyo-e" Prints". Print Quarterly. Print Quarterly Publications. 8 (4): 342-362. JSTOR 41824668.

Sebastian Izzard, Kunisada's World (Japan Society, New York, 1993)

Lars Berglund, Recapturing Utagawa Kunisada: 24 Prints from the Anders Rikardson Collection (p. 59ff, Vol 25, Issue 1, January-February 1995, Arts of Asia, Hong Kong)

Jan van Doesburg, What about Kunisada? (Huys den Esch, Dodewaard, 1990)

Shigeru Shindo, (translated Yoko Moizumi, E. M. Carmichael), Kunisada: The Kabuki Actor Portraits (Graphic-Sha, Tokyo, 1993)

Ellis Tinios, Mirror of the Stage: The Actor Prints of Kunisada (University Gallery, Leeds, 1996)

Willibald Netto, Kunisada (1786-1865) Ausstellung im Kupferstich-Kabinett des Wallraf-Richartz-Museums [Katalog]" (Wallraf-Richartz-Museums, Köln, 1966)

Robert Schaap, (introduction by Sebastian Izzard), Kunisada: imaging drama and beauty, 2016

The Utagawa Kunisada Project Overview of Kunisada's work with thousands of pictures, series titles, lists of actors and kabuki dramas portrayed by Kunisada, and detailed study of his artistic names and signatures. During his lifetime, he produced a staggering number of prints, so that even a partial list includes nearly 1,000 series.

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Utagawa Kunisada ( Japanese: 歌川 国貞; 1786 - 12 January 1865), also known as Utagawa Toyokuni III (三代 歌川 豊国 Sandai Utagawa Toyokuni), was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.

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Hogarth
https://en.wikipedia.org/wiki/William_Hogarth

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https://en.wikipedia.org/wiki/Utamaro

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(M) https://en.wikipedia.org/wiki/Hokusai

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(M) https://en.wikipedia.org/wiki/Hiroshige

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Hawk, woodblock print

Utagawa Kuniyoshi ( Japanese: 歌川 国芳, [ɯtaɡawakɯɲiꜜjoɕi]; 1 January 1798 - 14 April 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school.

The range of Kuniyoshi's subjects included many genres: landscapes, women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of legendary samurai heroes. His artwork incorporated aspects of Western representation in landscape painting and caricature.

Kuniyoshi was born on 1 January 1798, the son of a silk-dyer, Yanagiya Kichiyemon, originally named Yoshisaburō. Apparently he assisted his father's business as a pattern designer, and some have suggested that this experience influenced his rich use of color and textile patterns in prints. It is said that Kuniyoshi was impressed, at an early age of seven or eight, by ukiyo-e warrior prints, and by pictures of artisans and commoners (as depicted in craftsmen manuals), and it is possible these influenced his own later prints.

Painting of the arhat Handaka (British Museum)

Yoshisaburō proved his drawing talents at age 12, quickly attracting the attention of the famous ukiyo-e print master Utagawa Toyokuni. He was officially admitted to Toyokuni's studio in 1811, and became one of his chief pupils. He remained an apprentice until 1814, at which time he was given the name "Kuniyoshi" and set out as an independent artist. During this year he produced his first published work, the illustrations for the kusazōshi gōkan Gobuji Chūshingura, a parody of the original Chūshingura story. Between 1815 and 1817 he created a number of book illustrations for , , gōkan and hanashibon, and printed his stand-alone full color prints of warriors and kabuki actors.

Despite his promising debut, the young Kuniyoshi failed to produce many works between 1818 and 1827, probably due to a lack of commissions from publishers, and the competition of other artists within the Utagawa school (Utagawa- ryū). However, during this time he did produce pictures of beautiful women (' bijin-ga') and experimented with large textile patterns and light-and-shadow effects found in Western art, although his attempts showed more imitation than real understanding of these principles.

His economic situation turned desperate at one point when he was forced to sell used tatami mats. A chance encounter with his prosperous fellow pupil Kunisada, to whom he felt that he was superior in artistic talent, led him to redouble his efforts (but did not create any lingering ill-feeling between the two, who later collaborated on a number of series).

During the 1820s, Kuniyoshi produced a number of heroic triptychs that show the first signs of an individual style. In 1827 he received his first major commission for the series, One hundred and eight heroes of the popular Suikoden all told ( Tsūzoku Suikoden gōketsu hyakuhachinin no hitori), based on the incredibly popular Chinese tale, the Shuihu Zhuan. In this series Kuniyoshi illustrated individual heroes on single-sheets, drawing tattoos on his heroes, a novelty which soon influenced Edo fashion. The Suikoden series became extremely popular in Edo, and the demand for Kuniyoshi's warrior prints increased, gaining him entrance into the major ukiyo-e and literary circles.

Tiger, woodblock print

He continued to produce warrior prints, drawing much of his subjects from war tales such as Tale of the Heike (Heike monogatari) and The rise and fall of the Minamoto and the Taira (Genpei Seisuiki). His warrior prints were unique in that they depicted legendary popular figures with an added stress on dreams, ghostly apparitions, omens, and superhuman feats. This subject matter is instilled in his works The ghost of Taira no Tomomori at Daimotsu bay ( Taira Tomomori borei no zu) and the 1839 triptych The Gōjō bridge ( Gōjō no bashi no zu), where he manages to invoke an effective sense of action intensity in his depiction of the combat between Yoshitsune and Benkei. These new thematic styles satisfied the public's interest in the ghastly, exciting, and bizarre that was growing during the time.

The Tenpō Reforms of 1841-1843 aimed to alleviate economic crisis by controlling public displays of luxury and wealth, and the illustration of courtesans and actors in ukiyō-e was officially banned at that time. This may have had some influence on Kuniyoshi's production of caricature prints or comic pictures ( giga), which were used to disguise actual actors and courtesans. Many of these symbolically and humorously criticized the shogunate (such as the 1843 design showing Minamoto no Yorimitsu asleep, haunted by the Earth Spider and his demons) and became popular among the politically dissatisfied public. Timothy Clark, curator of Japanese art at the British Museum, asserts that the repressive conventions of the day produced unintended consequences. The government-created limitations became a kind of artistic challenge which actually encouraged Kuniyoshi's creative resourcefulness by forcing him to find ways to veil criticism of the shogunate allegorically.

Kanama Goro Imakuni, woodblock print (National Museum, Warsaw)

During the decade leading up to the reforms, Kuniyoshi also produced landscape prints ( fūkeiga), which were outside the bounds of censorship and catered to the rising popularity of personal travel in late Edo Japan. Notable among these were Famous products of the provinces ( Sankai meisan zukushi, c. 1828-30)-where he incorporated Western shading and perspective and pigments-and Famous views of the Eastern capital in the early 1830s, which was certainly influenced by Hokusai's early-1830s Thirty-six Views of Mount Fuji ( Fugaku sanjūrokkei). Kuniyoshi also produced during this time works of purely natural subject matter, notably of animals, birds and fish that mimicked traditional Japanese and Chinese painting.

In the late 1840s, Kuniyoshi began again to illustrate actor prints, this time evading censorship (or simply evoking creativity) through childish, cartoon-like portraits of famous kabuki actors, the most notable being "Scribbling on the storehouse wall" ( Nitakaragurakabe no mudagaki). Here he creatively used elementary, childlike script sloppily written in kana under the actor faces. Reflecting his love for felines, Kuniyoshi also began to use cats in the place of humans in kabuki and satirical prints. He is also known during this time to have experimented with wide composition, magnifying visual elements in the image for a dramatic, exaggerated effect (ex. Masakado's daughter the princess Takiyasha, at the old Soma palace). In 1856 Kuniyoshi suffered from palsy, which caused him much difficulty in moving his limbs. It is said that his works from this point onward were noticeably weaker in the use of line and overall vitality. Before his death in 1861, Kuniyoshi was able to witness the opening of the port city of Yokohama to foreigners, and in 1860 produced two works depicting Westerners in the city ( Yokohama-e, ex. View of Honchō and The pleasure quarters, Yokohama). He died at the age of 63 in April 1861 in his home in Genyadana.

Kuniyoshi was an excellent teacher and had numerous pupils who continued his branch of the Utagawa school. Among the most notable were Yoshitoshi, Yoshitora, Yoshiiku, Yoshikazu, Yoshitsuya, and Yoshifuji. Typically his students began an apprenticeship in which they worked primarily on musha-e in a style similar to that of their master. As they became established as independent artists, many went on to develop highly innovative styles of their own. His most important student was Yoshitoshi, who is now regarded as the "last master" of the Japanese woodblock print.

Among those influenced by Kuniyoshi was Toyohara Chikanobu. Takashi Murakami credits the pioneering influence of Kuniyoshi affecting his work.

Utagawa Kuniyoshi variation on the theme of The Mouse Turned into a Maid

Here is a partial list of his print series, with dates:

See The Kuniyoshi Project for a more extensive list.

Multi-sheet impressions, triptychs

Yoko-e, a print in horizontal or "landscape" format

Single sheet format

Kuniyoshi's work may be parsed thematically, as in this group of images which feature cats.

Caricatures were among Kuniyoshi's themes.

The Monster's Chūshingura (Bakemono Chūshingura), ca. 1836, Princeton University Art Museum

Acts 9-11 of the Kanadehon Chūshingura with act nine at top right, act ten at bottom right, act eleven, scene 1, at top left, act eleven, scene 2 at bottom left

Kuniyoshi's work is held in the permanent collections of many museums worldwide, including the Metropolitan Museum of Art, the Princeton University Art Museum, the Nasher Museum of Art, the University of Michigan Museum of Art, the Walters Art Museum, the Portland Art Museum, the Seattle Art Museum, the Birmingham Museum of Art, the Fine Arts Museums of San Francisco, the Indianapolis Museum of Art, the Brooklyn Museum, and the Van Gogh Museum.

Forbes, Andrew ; Henley, David (2012). Forty-Seven Ronin: Utagawa Kuniyoshi Edition. Chiang Mai: Cognoscenti Books. ASIN: B00ADQM8II

Merlin C. Dailey, David Stansbury, Utagawa Kuniyoshi: An Exhibition of the Work of Utagawa Kuniyoshi Based on the Raymond A. Bidwell Collection of Japanese Prints at the Springfield Museum of Fine Arts (Museum of Fine Arts, Springfield, 1980)

Merlin C. Dailey, The Raymond A. Bidwell Collections of Prints by Utagawa Kuniyoshi (Museum of Fine Arts, Springfield, 1968) Note: completely different volume from the preceding

Klompmakers, Inge, "Kuniyoshi's Tattooed Heroes of the Suikoden", Andon, No. 87, 2009, pp. 18-26.

B. W. Robinson, Kuniyoshi (Victoria and Albert, London, 1961)

B. W. Robinson, Kuniyoshi: The Warrior Prints (Cornell University, Ithaca, 1982) contains the definitive listing of his prints

Robert Schaap, Timothy T. Clark, Matthi Forrer, Inagaki Shin'ichi, Heroes and Ghosts: Japanese Prints By Kuniyoshi 1797-1861 (Hotei, Leiden, 1998) is now the definitive work on him

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Utagawa Kuniyoshi ( Japanese: 歌川 国芳, [ɯtaɡawakɯɲiꜜjoɕi]; 1 January 1798 - 14 April 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He was a member of the Utagawa school. The range of Kuniyoshi's subjects included many genres: landscapes, women, Kabuki actors, cats, and mythical animals.

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James Gilray
https://en.wikipedia.org/wiki/James_Gillray

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Woodcut
Watercolour
Ink Wash Painting