Page 398 - Edo: Art in Japan, 1615–1868

21 Translated in Pincus 1996,124. 26 For a recent discussion of var-
ious issues related to Sharaku,
22 This print is discussed in see the essays by Roger Keyes,
greater detail in Timothy Nishiyama Matsunosuke, and
Clark, "Utamaro's Portraiture," Suwa Haruo in Dai Sharaku ten
The Proceedings of the Japan (Tokyo, 1995).
Society [London], no. 130
(winter 1997), 2-30. 27 See Sebastian Izzard,
Kunisada's World (New York,
23 A subsequent series, Ten Cat- 1993), 26.
egories of Female Physiog-
nomy (Fujô ninsô juppon), took 28 An observation made in
up the same theme but did Izzard 1993, 80.
not give specific titles to the
personality types. See Shügó 29 The cover of the magazine
Asano and Timothy Clark, The and Van Gogh's grid sketch 397
Passionate Art o/Kitagaiua Uta- are reproduced in Tsukasa
maro (London, 1995), nos. Kôdera, "Van Gogh's Utopian
61-64. Japonisme," in Charlotte van
Rappard-Boon et al., Catalogue
24 The characteristics of the of the Van Gogh Museum's Col-
"fancy-free" type are found in lection of Japanese Prints (Ams-
a print from another series by terdam, 1991), 16, figs. 8 and 9.
Utamaro, entitled A Parent's
Moralizing Spectacles, of 30 For a discussion of Van Gogh's
about 1802. There the artist paintings based on these
includes an inscription prints, see Kodera 1991,13-19.
describing this personality
type from the viewpoint of 31 For a fascinating history of
disapproving parents: "She composite portraits in various
loses her head to each pass- cultures, see Pontus Hulten
ing fancy. Her feelings are so et al., The Arcimboldo Effect:
shallow that she regards her Trans/ormations of the Face from
own shadow as if looking in a the i6th to the 2Oth Century
mirror; and then only with a (New York, 1987).
sideways glance. So there is
no reason she would put up 32 See Melinda Takeuchi, "Kuni-
for long with any arrange- yoshi's Minamoto Raikô and
ment that did not suit her." the Earth Spider: Demons and
Translation by Timothy Clark, Protest in Late Tokugawa
in Asano and Clark 1995, i: no. Japan," Ars Orientalis 17 (1987),
395; 2: 229. 5-40.

25 A near contemporary record
by one Sasaya Hokyó stated
that Sharaku "drew portraits
of actors but exaggerated the
truth and his pictures lacked
form. Therefore he was not
well received and after a year
or so he ceased to work."
Quoted in Harold G. Henderson
and Louis V. Ledoux, Sharaku's
Japanese Theater Prints: An Illus-
trated Guide to His Complete
Work (New York, 1984), 13; see
also pp. 15-16.