Suzuki Harunobu (Japanese; c. 1725-7 July 1770) was a Japanese designer of woodblock print artist in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties. Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
Though some scholars assert that Harunobu was originally from Kyoto, pointing to possible influences from Nishikawa Sukenobu, much of his work, in particular his early work, is in the Edo style. His work shows evidence of influences from many artists, including Torii Kiyomitsu, Ishikawa Toyonobu, the Kawamata School, and the KanÅ School. However, the strongest influence upon Harunobu was the painter and printmaker Nishikawa Sukenobu, who may have been Harunobu's direct teacher.
Parody of the No Play Choryo, 1766 (Meiwa 3)
It is important to note that Harunobu's most active artistic career only lasted for no more than 5 years with his sudden death in 1770. However, during this short spend of time, he created about 1,200 designs
Harunobu began his career in the style of the Torii school, creating many works, which while skillful, were not innovative and did not stand out. It was only through his involvement with a group of literati samurai, Kyosen, that Harunobu tackled new formats and styles.
Harunobu became one of the primary producers of images of bijinga (pictures of beautiful women) and kabuki actors of Edo, and of similar and related subjects for the Edo print connoisseur market. In a few special cases, notably his famous set of eight prints entitled Zashiki hakkei (Eight Parlor Views), the patron's name appears on the print along with, or in place of, Harunobu's own. The presence of a patron's name or seal, and especially the omission of that of the artist, was another novel development in ukiyo-e of this time.
Harunobu created over twenty illustrated books and over one thousand color prints, along with a number of paintings. He came to be regarded as the master of ukiyo-e during these last years of his life, and was widely imitated until, a number of years after his death, his style was eclipsed by that of new artists, including Katsukawa Shunsho and Torii Kiyonaga.
E-goyomi: Calendar Prints
In 1765, as a result of his social connections, he was chosen to aid these samurai in their amateur efforts to create e-goyomi (ja). Calendars prints of this sort from prior to that year are not unknown but are quite rare, and it is known that Harunobu was close acquaintances or friends with many of the prominent artists and scholars of the period, as well as with several friends of the shogun. Harunobu's calendars, which incorporated the calculations of the lunar calendar into their images, would be exchanged at Edo gatherings and parties.
Parody of Kawachi-goe from "Tales of Ise", 1765
Nishiki-e: Full Color Prints
These calendar prints were the nishiki-e (brocade prints). As a result of the wealth and connoisseurship of his samurai patrons, Harunobu created these prints using only the best materials he could. Harunobu experimented with better woods for the woodblocks, using cherry wood instead of catalpa, and used not only more expensive colors, but also a thicker application of the colors, in order to achieve a more opaque effect. The most important innovation in the use of nishiki-e was the ability of Harunobu, again due to the wealth of his clients, to use as many separate blocks as he wished for a single image; Just 20 years previously, the invention of benizuri-e had made it possible to print in three or four colors; Harunobu applied this new technique to ukiyo-e prints using up to ten different colors on a single sheet of paper. The new technique depended on using notches and wedges to hold the paper in place and keep the successive color printings in register. Harunobu was the first ukiyo-e artist to consistently use more than three colors in each print. Nishiki-e, unlike their predecessors, was full-color images. As the technique was first used in a calendar, the year of their origin can be traced precisely to 1765.
Returning Sails of the Towel Rack
from The Eight Parlor Views (Zashiki Hakkei), 1766
In addition to the revolutionary innovations that came with the introduction of nishiki-e and e-goyomi, Harunobu's personal style was unique in a number of other respects.
Figures:
His figures are all very thin and light; some critics say that all his figures look like children. However, it is these same young girls who epitomize Harunobu's personal style. Richard Lane describes this as "Harunobu's special province, one in which he surpassed all other Japanese artists - eternal girlhood in unusual and poetic settings".
Composition:
Though his compositions, like most ukiyo-e prints, may be said to be fairly simple overall, it is the overall composition that concerned Harunobu. Unlike many of his predecessors, he did not seek to have the girls' kimono dominate the viewer's attention. Also use of new Chuban size paper instead of Hosoban size used by his predecessors, Harunobu changed his picture frame from rectangle to more square in format. With new paper size, he favored portrait composition rather than landscape.
Subject Matter:
Harunobu is also acclaimed as being one of the greatest artists of this period in depicting ordinary urban life in Edo. His subjects are not restricted to courtesans, kabuki actors, and sumo wrestlers, but include street vendors, errand boys, and others who help to fill in the gaps in describing the culture of this time. His work is rich in literary allusion, and he often quotes Japanese classical poetry, but the accompanying illustrations often gently poke fun at the subject.
Technique:
Many of his prints have a solid, single-color background, created by a technique called tsubushi. Though many other artists used the same technique, Harunobu is generally regarded as having used it to the strongest effect. The colored background sets a mood and tone for the entire image. With a new thicker and better quality paper, Hosho, Harunobu frequently used embossing technique (karazuri or kimedashi) to give rich texture to his prints
