Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/166

 Hanegawa Chincho, of whom we have a few large pictures of women, coloured by hand, and in whose work brick-red strongly predominates. His designs are broad and distinguished in style. A book illustrated by him and published at Yedo dates from about 1700. This youthful period, however, which connects itself with Moronobu's activity, was followed in the subsequent decades by the artist's most important period, which marks him as a pupil of Kiyonobu. He lived from 1679-1754 and signed Hanegawa Okinobu. An important sheet by him is in the possession of Frau Straus-Negbaur in Frankfort-on-the-Main.

As a painter of the popular school, Moronobu's pupil Choshun, called in Japanese Miyagawa Nagaharu, attained wide-reaching influence. A better colourist than his master, he favoured a similar range of subjects, but did not work for wood-engraving. He was chiefly active during the second decade of the eighteenth century. He kept more closely to the style of Tsunenobu than Moronobu to that of Tanyu. To the colours of the Kano school, red, yellow, blue, and green, he added the subdued shades, brown, olive-green, purple, and grey. He principally represented Yedo street scenes, and his activity and that of his school extended to about 1725. One of his pictures is reproduced in Fenellosa's Outline, pl. iii. According to the same authority the school of Moronobu, which after 1710 fell more and more into decay, was followed, on the one hand, by Kiyonobu's freer school of wood-engraving, on the other, by the more conservative school of painting inaugurated by Choshun, to which the nobles, then beginning to separate more sharply from the people, were attached. His son, Miyagawa Choki, worked in the twenties. Another follower of Choshun, Tsuneyuki, who was perhaps trained in the Kano