The Janet Turner
Print Museum at
California State
University, Chico

Collection: Turner Collection

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Image	Last Name	First Name	Title	Technique	Date
T810868	(Shoson) Koson	Ohara	[Two Monkeys with a Butterfly]	Woodcut/color	after 1926
T810869	(Shoson) Koson	Ohara	[The Owl and Cherry Blossoms in Full Moon]	Woodcut/color	1926
T810030	Amano	Kunihiro	[Morning Moon 6]	Woodcut/color
T810205	Amano	Kunihiro	[Castle Gate II]	Woodcut/color	1966
T810230	Dumas	Jorge	Lavanderas	Woodcut/color
T900015	Eizan	Kikukawa	[Strolling Woman]	Woodcut/color
T900016	Eizan	Kikukawa	[Standing Courtesan]	Woodcut/color
T900017	Eizan	Kikukawa	"[Woman climbing stairs] The woman climbing the stairs is a courtesan as indicated by her bare feet, elaborately coiffed hair with multiple pins and her impressively designed kimonos. On her outer kimono is a diaper pattern of overlapping circles with flowers in the center called ""shippo"". She is also depicted in the new exaggerated posture, which shows her hunched over with her kimono jutting up and away from her neck. She is raising her kimono in order to facilitate her step upward, yet her body is facing frontally which enhanes the awkwardness of her pose. Courtesans were known for arranging their clothing so that their undergarmets, especially the red crepe de chine, would open and reveal their ankle while walking. By depicting her leg and ankle, which was considered quite risque at the time, Eizan has portrayed a courtesan who is fully aware of her allure. Kikugawa Eizan was considered to be one of the most prolific ukiyo-e (floating world pictures) artists of his time as well as the principal designer of prints of women from the death of Utamaro in 1806. He was not an actual pupil of Utamaro, but studied originally with his father, Kikugawa Eiji, a Kano style painter and fan maker. His early works show the influence of Utamaro, but his more mature style differed significantly. He was particularly fond of the ""furyu"" (elegant or stylish) for his bijin-ga (beautiful women) print series. Eizan was one of the first to use the kakemono-e format which provided a cheaper printed equivalent to the one-of-a-kind hanging scroll painting and is made up of two vertically upright oban sheets to form a single oblong image. The majority of figure studies created around Eizan's time were usually portraits of the women of the Yoshiwara (Flower District) licensed quarter. The gorgeous apparel and elaborate coiffures adopted by these women made them especially appealing as subjects. Although there were varying degrees of cortesans, as a rule, only those of the highest class, called oirans, were represented in prints. Courtesans were highly educated and known for their intellectual refinement. They were usually distinguished by wearing the obi-sash tied in front of their kimono, whereas other women, including geisha (dancing and singing girls) tied them with the bow behind. In general, the courtesans were known for wearing more elaborate hairstyles with multiple hairpins as well as more ornate kimonos. In addition, they were usually depicted with bare feet, which were regarded as suggestive and sexually appealing, unlike geisha who wore socks and clogs."	Woodcut/color	1840s (?)
T810274	Fiohita			Woodcut/color	1969
T810287	Frasconi	Antonio	Cows	Woodcut/color	1955

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