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All Prints Shinsui | After a Bath, First Collection of Modern Beauties
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Shinsui | After a Bath, First Collection of Modern Beauties

$0.00

伊東深水Ito Shinsui(1898-1972)

黑衿
Black Collar

1928

木版画|纵绘大大判|40cm×27cm
Woodblock-print |Large Oban tate-e|40cm×27cm

限定250枚的184枚;品相非常好
250 limited edition, number 184; very good condition

$5,250

在众多的美人画中,你都能见到一圈环绕在和服交领处的黑边——黑衿。旧时代,平民女性的和服套数并不多,清洗步骤也较为繁琐。为了尽可能避免污损,她们发挥聪明才智,在领口至衣襟这一最易粘上油渍等污垢的部位装上了一层可拆洗的黑色布料,在充分发挥实用价值的同时,也尽可能地保持了优雅得体。现代和服上的挂襟,起到的也正是与之相似的作用。

年轻的姑娘将一头乌发绾成银杏返式样,身着一袭黑衿缟纹和装,正对镜欣赏着妆容。单看如雪的颈颔,就已足够楚楚动人,更不消说镜中的凝脂点漆。朵朵粉樱绽放在肩头,黑衿碧玉小家女,亦使人见之忘俗。

Interested in purchasing?
Please contact us.

Inquiry

伊東深水Ito Shinsui(1898-1972)

黑衿
Black Collar

1928

木版画|纵绘大大判|40cm×27cm
Woodblock-print |Large Oban tate-e|40cm×27cm

限定250枚的184枚;品相非常好
250 limited edition, number 184; very good condition

$5,250

在众多的美人画中,你都能见到一圈环绕在和服交领处的黑边——黑衿。旧时代,平民女性的和服套数并不多,清洗步骤也较为繁琐。为了尽可能避免污损,她们发挥聪明才智,在领口至衣襟这一最易粘上油渍等污垢的部位装上了一层可拆洗的黑色布料,在充分发挥实用价值的同时,也尽可能地保持了优雅得体。现代和服上的挂襟,起到的也正是与之相似的作用。

年轻的姑娘将一头乌发绾成银杏返式样,身着一袭黑衿缟纹和装,正对镜欣赏着妆容。单看如雪的颈颔,就已足够楚楚动人,更不消说镜中的凝脂点漆。朵朵粉樱绽放在肩头,黑衿碧玉小家女,亦使人见之忘俗。

Interested in purchasing?
Please contact us.

伊東深水Ito Shinsui(1898-1972)

黑衿
Black Collar

1928

木版画|纵绘大大判|40cm×27cm
Woodblock-print |Large Oban tate-e|40cm×27cm

限定250枚的184枚;品相非常好
250 limited edition, number 184; very good condition

$5,250

在众多的美人画中,你都能见到一圈环绕在和服交领处的黑边——黑衿。旧时代,平民女性的和服套数并不多,清洗步骤也较为繁琐。为了尽可能避免污损,她们发挥聪明才智,在领口至衣襟这一最易粘上油渍等污垢的部位装上了一层可拆洗的黑色布料,在充分发挥实用价值的同时,也尽可能地保持了优雅得体。现代和服上的挂襟,起到的也正是与之相似的作用。

年轻的姑娘将一头乌发绾成银杏返式样,身着一袭黑衿缟纹和装,正对镜欣赏着妆容。单看如雪的颈颔,就已足够楚楚动人,更不消说镜中的凝脂点漆。朵朵粉樱绽放在肩头,黑衿碧玉小家女,亦使人见之忘俗。

Interested in purchasing?
Please contact us.

Ito Shinsui (1898-1972)

Born into poverty in 1898, Ito Shinsui was forced to take a job with the Tokyo Printing Co. when he was just 12. This bad luck turned out to be good luck for him, and for anyone who loves art and Japanese woodblock prints.

Naturally talented, but also a determined hard worker, he continued his education and studied Nihonga painting in the evenings. His talent was recognized at work, and he was moved to the company’s drawing section, where he became an illustrator – a skill he used throughout his life. But fine art exerted an irresistible pull. He became a student of the Ukiyoe painter Kaburagi Kiyokata and began winning prizes.

Like so many Shin Hanga artists, his connection with the great publisher Watanabe Shozaburo cemented his career and reputation. His first print for Watanabe was “Before the Mirror” in 1916. But here’s the twist: we know Shinsui as the great artist of beauties – bijin. But his first love actually was landscapes, and his wonderful, atmospheric and tonalist “Eight Views of Omi” remains a highpoint of early Shin Hanga landscape designs.

In fact, those early views were so well received that they prompted Hiroshi Yoshida and another Kiyotaka pupil, none other than Kawase Hasui, to pursue landscapes themselves. This, in turn, contributed to Shinsui’s switch to female portraits. Perhaps the landscape genre felt too crowded. But this became his true fame. His women were often caught at private moments, at the mirror or after the bath, gazing introspectively, deep in thought. Other times, they were out in the world, dressed elegantly, beautiful in the pouring rain or in the swirling snow. They are captured for all time in his greatest collections — the first and second, “Series of Modern Beauties" and "Twelve Images of Modern Beauties."

In the end, he and Watanabe executed 60 landscape prints and 100 portrait prints together, in addition to the occasional work Shinsui did for others. Throughout it all, he continued to paint. In his later years was acclaimed as a national treasure, his work embraced around the world. A long journey from the day that little 12-year-old boy started his first day in the noisy, dirty printing shop.

 

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