Page:A history of Japanese colour-prints by Woldemar von Seidlitz.djvu/287

 Burty (Catalogue, No. 181) attributes to him, doubtless quite correctly, a charming book, the Yehon monomigaoka, excursions according to the season (Yedo, 1785) 2 vols., small, with illustrations in black and white, signed Seki Kiyonaga.

The three pupils of Shunsho named in the preceding chapter who wholly adopted Kiyonaga’s style, are the following:—

Kubo Summan (Shunman) was originally a pupil of Shigemasa and then went over to Shunsho, but when Kiyonaga came into full supremacy he took from him his method of composition and form, without however subjecting himself blindly to his influence. The time of his activity began with the close of the eighties and lasted until about 1820. According to the Hayashi Catalogue (No. 510) his name in art was Yasubei. A peculiar personal magic which attaches to his nature preserved him from slavish imitation. Though his sheets closely approach those of Kiyonaga in general appearance he yet stamps each detail with his own individuality. His work was very unequal; even during his best period, in the beginning of the tenth decade, it was alternately refined in expression and delicate in drawing and then again full of arbitrary mannerisms. To him must be referred the attempts to ground the large tripartite sheets on a principal tone of grey, with a sparing but intelligent addition of other colours. Books illustrated by him appeared in Yedo, 1795-1815. A very fine polychrome book, called Goju nirishu, the Fifty-one Poets, 1801, is also his work (Gillot). He is also supposed to have occupied himself with the illustration of humorous verse. A New Year's visit in the snow, in the environs of Yedo, is reproduced by Gonse, Art Japonais, i. p. 218.

Of his triptychs, one with a woman in landscape is highly praised (Fenollosa No. 281), as also the sea-water carriers; of his