Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/209

Rh likely have become a dangerous rival of Harunobu's. Ishikawa Toyonobu was born in 1711 and was therefore only about ten years younger than his teacher Shigenaga; he lived, however, much longer than the latter, namely, until 1785, and remained vigorously active even in old age. He also called himself Ishikawa Shuha. He began his career with black and white work, and then, like Shigenaga, continued Masanobu's manner in two-colour prints, producing numerous continuous triptychs, which are noted for the grace of their female figures. The earliest attempt to produce new tones by printing red over green originated with him. He was also one of the first to practise full polychrome printing; thus, for example, his large horizontal sheet in four colours, the parody on the seven sages in the bamboo grove, who are here represented by singing-women, is dated 1765. He also produced book-illustrations; the Hayashi Catalogue (No. 1488 seqq) mentions some published at Yedo in 1763 and 1779. Contemporaneously with Kiyomitsu and Shigenaga he practised three-colour printing by using first yellow, then blue, as a third colour. The Tokio Catalogue (p. 40) calls him the chief rival of Kiyomitsu (see below), but seems wrong in assigning him to Sukenobu's group. His pupils are mentioned below in connection with Shunsho. Harunobu and Shigemasa also, who already belong to a younger generation, and Yoshinobu and Toyoharu, the pupils of Shigenaga, will be dealt with later.

The Hayashi Catalogue further mentions, as pupils of Shigenaga, Hirose Shigenobu (No. 324); Yamamoto Shigeharu (No. 348); Yamamoto Fujinobu (No. 349), whom Fenollosa calls a pupil of Harunobu; Tomikawa Fusanobu, who worked from 1741 to 1763 and then called himself Ginsetsu (No. 353).