All the other theories lack convincing corroborating evidence (these include claims that Sharaku was, among others, the artist Hokusai, Toyokuni, Kiyomasa, or Utamaro; the publisher Tsutaya Jûzaburô; the haiku poet Sharaku residing in Nara and appearing in manuscripts from 1776 and 1794; and a certain Katayama Sharaku, the husband of a disciple named Nami at the Shintô headquarters at the Konkô-kyô, who was said to have resided at Tenma Itabashi-chô, Osaka). He still remains as a big mystery in Japanese art world. Tôshûsai Sharaku (東洲齋写楽). Son œuvre représente de façon particulièrement vivante et audacieuse les acteurs de Kabuki les plus célèbres de son temps. (Even Sharaku's full-length portraits, generally less admired than his magnificent ôkubi-e, offer interesting and often successful explorations into theatrical characters and their relationships as portrayed on the stage.). The historian Saitô Gesshin wrote in his 1844 update to the Zôho ukiyo-e ruikô ("Enlarged History of Floating World Prints") that Sharaku's original name was Saitô Jûrôbei and that he lived in Hachôbori, Edo while he was a visiting Nô actor in the troupe of the Lord of Awa. Japanese Art, Toshusai Sharaku Reprint 20th Century, Prints, Kabuki, Gifts for Actors. Otani Oniji II, par Toshusai Sharaku (estampe japonaise de 1794). Consequently, so the theory goes, by producing too many portraits that did not satisfy theater fans, his prints failed to sell. See more ideas about Portrait art, Art, Ukiyoe. MFA impressions: 11.14678, 21.7251 Play: Katakiuchi Noriaibanashi Theater: Kiri 敵討乗合話（かたきうちのりあいばなし） 桐. Sharaku's artistic style was one in which truthfulness was manifested by simultaneous portrayals of both the stage persona and the actor himself. During his only ten-month-long career, he produced around 100 known designs, mostly portraits of kabuki actors marked by an air of satire and wit. active c. 1794-95, was one of art history’s most fascinating figures. Photo (C) RMN-Grand Palais (MNAAG, Paris) / Harry Bréjat, Portrait d'acteur de kabuki (okubi-e) : l'acteur Arashi Ryûzô, Pièce : Fleurs d'iris ; les frères Soga à l'ère Bunroku Perhaps Sharaku intended to concentrate on or even exaggerate the expressive possibilities of the eyes and mouth, key aspects of physiognomy used to great effect by kabuki actors in their mie ("displays" or static poses at climactic moments in the plays). It is extraordinary that a somewhat overweight, middle-aged man could bring such female characters to life in such a convincing manner. Selon cette théorie, le nom Sharaku viendrait de sharakusai (sornettes), et serait une plaisanterie cachée des artistes, qui savaient qu'il n'existait aucun Sharaku. There are also 18 known drawings attributed to or by Sharaku: 10 double portraits of sumo wrestlers (9 lost in the 1923 Kantô earthquake, 1 surviving in the former Henri Vever collection), and 8 drawings of actors in the 8th month, 1794 (these were mitate of unstaged performances). MFA impressions: 11.14669, 11.14670, 21.7243 Play: Koi Nyôbô Somewake Tazuna Theater: Kawarazaki 恋女房染分手綱（こいにょうぼうそめわけたづな） 河原崎, 東京国立博物館-トーハク-の公式サイトです。展示・催し物の情報や来館案内、名品ギャラリーなどをご覧いただけます。. Une vie artistique aussi brève et fulgurante a bien sûr donné lieu à toutes sortes d'hypothèses explicatives, rendues nécessaires par l'apparition brutale de ce talent dans toute sa maturité. Voici quelques œuvres de Tôshûsai des collections du musée Guimet. Tôshûsai Sharaku, Portrait d'acteur de kabuki (okubi-e) : l'acteur Arashi Ryûzô , Paris, musée Guimet - musée national des Arts asiatiques. In such works we are witness to both a feminized sensibility (onnagata means "woman's manner") and an undeniable corporeal reality of an older male. Please call 1-800-555-5555 to order a print catalog for this sale. The illustration on the immediate right is a portrait of the supreme onnagata Segawa Kikunojô III (1751-1810) as Oshizu, the wife of a minor character named Tanabe Bunzô in the same play discussed above. Tōshūsai Sharaku, original name Saitō Jūrōbei, pseudonym Sharaku, (flourished 1794–95, Japan), one of the most original Japanese artists of the Ukiyo-e movement (paintings and prints of the “floating world”). MFA impressions: 11.14669, 11.14670, 21.7243 Play: Koi Nyôbô Somewake Tazuna Theater: Kawarazaki 恋女房染分手綱（こいにょうぼうそめわけたづな） 河原崎, 東京国立博物館-トーハク-の公式サイトです。展示・催し物の情報や来館案内、名品ギャラリーなどをご覧いただけます。. to help give you the best experience we can. Il produit d'étonnants portraits en particulier ceux d'onnagatas dans lesquels l'ambivalence du modèle masculin et du rôle féminin qu'il incarne est particulièrement sensible. Online Registration to Bid is Closed for this Sale. But there is another layer to this act: the character portrayed, Kewaizaka no Shosho, is here pretending to be another character in the play, Shinobu. Sharaku's OnnagataArguably the most extraordinary portraits by Sharaku are those of fleshy, middle-aged actors performing the roles of young women. The designs reflected not only what was seen on the surface but also empathized with what was being felt by both the actor as a real person and by the stage character he was performing. Tōshūsai Sharaku (東洲斎 写楽, active 1794 - 1795) is widely considered to be one of the great masters of the woodblock printing in Japan. MFA impressions: 11.14678, 21.7251 Play: Katakiuchi Noriaibanashi Theater: Kiri 敵討乗合話（かたきうちのりあいばなし） 桐. Selon une théorie, Sharaku n'était pas une personne, mais un projet lancé par un groupe d'artistes dans le but d'aider un éditeur d'estampes qui les avait aidés. This was a popular vendetta play in which the Soga brothers attempted to avenge their father's murder of 20 years earlier. On dit que Sharaku aurait été un acteur de Nô de la province d'Awa (aujourd'hui la préfecture de Tokushima). ». Also, some of his portraits were of Osaka actors performing in Edo, perhaps an indication of his special interest in these particular entertainers. Yet Kikunojô did indeed do this, specializing in ingenues and courtesans. On peut considérer que sa carrière n'a été aussi brève que du fait de la nature radicale de son travail, qui ne manqua pas de soulever l'hostilité du monde artistique d'Edo. SAKAKIYAMA SANGORÔ II AS MICHINAGA'S DAUGHTER PRINCESS OTAE. Kinkichi was a mean-spirited money lender (in one scene he kicks and beats up a character named Bunzô — see below), and his crude demeanor and grimacing mouth seem to suggest something of his venal character. Sharaku designed eleven prints for this performance, and the portrait of Oshizu is one of the best. To participate in this sale please call the Bids Department. Kikunojô's nickname included the title of a Shintô deity (Daimyôjin), and there was even a makeup named after him. Artista: Sharaku, Tôshûsai Portrait de l'onnagata Iwai Hanshirô IV dans le rôle de Shigenoi Sharaku, Tôshûsai Portrait de l'acteur de kabuki Onoe Matsusuke Sharaku, Tôshûsai The number of works was also small, although the reported count varies depending on whether one considers polyptychs as single Would you like to watch the live sale only or also participate in bidding? Tôshûsai Sharaku (東洲齋写楽). La dernière modification de cette page a été faite le 4 juin 2020 à 01:29. Little is known of him, besides his ukiyo-e prints; neither his true name nor the dates of his birth or death are known with any certainty. active c. 1794-95, was one of art history’s most fascinating figures. On sait cependant fort peu de choses de lui, en dehors de ses estampes ukiyo-e ; on ne sait même pas avec certitude quel était son nom véritable, ni la date exacte de sa mort. A Sharaku reprint, 14x9 inches (36x23cm), from about the 20th century in very good condition. Apr 26, 2015 - (unknown) (Japanese) periods: ukiyo-e art and portrait art. Un article de Wikipédia, l'encyclopédie libre. Afterwards, in 1808, he was made zagashira ("troupe head"), the highest ranking position in a theater company and very rare for an onnagata to achieve. Ver más ideas sobre Búsqueda de google, Teatro kabuki, Estampas japonesas. One theory assigning Sharaku an Osaka-based identity appears to be the most plausible. THE PROPERTY OF A GENTLEMANTOSHUSAI SHARAKU (ACTIVE 1794–1795), EDO PERIOD, 18TH CENTURYACTOR BANDÔ HIKOSABURÔ III AS SAGISAKA SANAIAwoodblock print: ink, colour, and mica on paper, signed Tôshûsai Sharaku ga, published by Tsutaya Jûzaburô (Kôshodô), censor's seal kiwame, 1794Vertical ôban:38.5 x 25.5 cm., 15¼ x 10⅛ in. We can also observe Sharaku's use of bold, thick lines for the eyes, eyebrows, and mouth, in contrast to the thin, delicate lines of the remainder of the face. Kabuki actor Sakata Hangoro III as FUJIKAWA MIZUEMON, woodcut by Sharaku ca, 1792. His active career as a woodblock artist seems to have spanned just ten months in the mid-Edo period of Japanese history, from the middle of 1794 to early 1795. It is interesting to note that Sharaku's later designs relied more and more on compositions not directly related to actual stage performances (a genre called mitate), with actors in roles they did not perform for the given plays. He produced an astonishing body of work in compositions or as separate sheets and, indeed, which sheets belong together as one design. He was still at the height of his fame when depicted in Sharaku's print. Artist Sharaku Toshusai (a.1794-95) - Actor Ichikawa Komazo in the Role of Shiga Daishichi Japanese woodblock prints, serigraphs (silkscreens), watercolors, lithographs, scrolls. Overall, the evidence for an Osaka connection is only circumstantial, but it is nevertheless consistent chronologically and plausible aesthetically. Tôshûsai Sharaku, 1794(Kansei 6) Theatre Actors Most Handsome Actors Tokushima Japanese Artists Art World Caricature Prints Cards Character. His mica-ground portraits served as reflections of a confluent physical and emotional reality to far greater degree than did the actor portraits of earlier ukiyo-e artists. Very little is known about Toshusai Sharaku, save that he lived in Edo during the “Golden Age” of Ukiyo-e—it was not until the beginning of the 20th century that his prints were rediscovered and his reputation as a printmaking master established. Kabuki actor Sakata Hangoro III as FUJIKAWA MIZUEMON, woodcut by Sharaku ca, 1792. De fait, son art ne devint réellement très apprécié des collectionneurs japonais qu'après que les artistes et les collectionneurs occidentaux l'eurent découvert, à la fin du dix-neuvième siècle. This portrait features another actor impersonating a female character, in this case an oiran, or high-ranking courtesan, in the Yoshiwara pleasure quarters of Edo. modifier - modifier le code - modifier Wikidata. On sait cependant fort peu de choses de lui, en dehors de ses estampes ukiyo-e ; on ne sait même pas avec certitude quel était son nom véritable, ni la date exacte de sa mort.