Hair Style of a Married Woman
a beauty in a sheer black kimono with black mesh fan on mica ground; signed and dated at upper right, Taisho jusannen nanagatsu Shinsui saku (Taisho 13 , 7th month, by Shinsui), with artist's seal Shinsui, publisher's seal Watanabe
dai oban tate-e 15 1/2 by 10 7/8 in., 39.5 by 27.6 cm
Although Shinsui was the leading (and most prolific) bijin-ga artist of the shin-hanga movement, he did not, like so many of his contemporaries, produce many prints with mica ground. Perhaps his early experiences with exploring the print medium and utilizing the textures achievable with the manipulation of pigments and the baren made him less inclined toward further embellishments. It may be that it was Watanabe who rarely felt mica was needed. It is doubtful that it was an issue of expense, as Watanabe's standards for print production, particularly for works by Shinsui, were very high. Regardless of the reason, there were few full mica ground Shinsui prints issued.
Published (this impression):
The Female Image, 2000, p. 58, no. 44
Kato, Junzo, comp., Kindai Nihon hanga taikei, 1975-76, Vol. III, pl. 187
Tadasu Watanabe, Ito Shinsui: All the Woodblock Prints, 1992, p. 73, no. 44
Reigle Stephens, Amy, gen. ed., The new wave: Twentieth-century Japanese prints from the Robert O. Muller Collection, 1993, pp.190-191, no. 248
Reigle Newland, Amy, and Hamanaka Shinji, The female image: 20th century prints of Japanese beauties, 2000, p. 58, pl. 44
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site last updated
November 18, 2020
Scholten Japanese Art
145 West 58th Street, suite 6D
New York, New York 10019
ph: (212) 585-0474
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