Hashiguchi Goyo

1880-1921

Woman after a Bath (mica ground)
(Yokugo no onna)

signed Goyo ga with artist's seal Goyo, privately published, dated Taisho kyunen shichigatsu (Taisho 9 [1920], July); inscribed in pencil on verso, Honke dasu (from the main house), with seal (possibly) Hashiguchi Goyo, and red 'deer' seal (of Hashiguchi family) on verso

dai oban tate-e 17 5/8 by 11 3/4 in., 44.8 by 29.8 cm

Although Goyo ultimately rejected Watanabe Shozaburo's (1885-1962) attempt to revitalize ukiyo-e by introducing stylizations which focused on adding textures (showing the hand of the printer) that ran counter to traditional methods; Goyo did bring his own interpretation of modern concepts to his printmaking. While Goyo's bijin prints with mica backgrounds harken back to the golden era of ukiyo-e in subject and printing techniques, the delicate shading of skin on this nude reveals his training in yoga painting by introducing Western-style modeling.

References:
Kato, Junzo, comp., Kindai Nihon hanga taikei, 1975-76, vol. I, pl. 92
Reigle Stephens, Amy, gen. ed., The new wave: Twentieth-century Japanese prints from the Robert O. Muller Collection, 1993, p. 130, pl. 133
D’'Hauterives, Arnaud, La nouvelle vague: L'estampe japonaise de 1868-1939 dans la Collection Robert O. Muller, Musee Marmottan, Institute de France, Academie des Beaux-Arts, 1994, p. 49, pl. 82
Kendall H. Brown & Hollis Goodall-Cristante, Shin-Hanga, New Prints in Modern Japan, 1996, p. 61, fig. 74, cat. 40
Reigle Newland, Amy, and Hamanaka Shinji, The Female Image: 20th century prints of Japanese beauties, 2000, p. 42, pl. 16
Reigle Newland, Amy, gen. ed., Printed to Perfection: Twentieth-century Japanese Prints from the Robert O. Muller Collection, Arthur M. Sackler Gallery, 2004, p. 63, no. 40
Zehnder, Amanda T., Modern Japanese Prints: The Twentieth Century, Carnegie Museum of Art, 2009, p. 35
Koyama Shuko, Beautiful Shin Hanga- Revitalization of Ukiyo-e, Tokyo Metropolitan Edo-Tokyo Museum, 2009, p. 39, p. 1-48

(inv. no. 10-4044)

price: Sold