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{{Short description|Japanese ukiyo-e artist (1752-1815)}}
[[File:'Snowball Fight', by Torii Kiyonaga, 1787, Honolulu Museum of Art, 15966.JPG|thumb|Snowball Fight, by Torii Kiyonaga, from the series Children at Play in Twelve Months, 1787, woodblock print, Honolulu Museum of Art, accession 15966]]▼
{{redirect|Kiyonaga|other people with the name|Kiyonaga (disambiguation)}}
{{family name hatnote|Torii|lang=Japanese}}
[[File:Kiyonaga bathhouse women-2.jpg|thumb|300px|right|Bathhouse Women]]
'''Torii Kiyonaga''' ({{lang-ja|鳥居 清長}}; 1752 – June 28, 1815) was a Japanese [[ukiyo-e]] artist of the [[Torii school]]. Originally '''Sekiguchi Shinsuke''', the son of an [[Edo]] bookseller,<ref name=":0">{{Cite book|title=Japanese Woodblock Prints: Artists, Publishers and Masterworks: 1680 - 1900|last=Marks|first=Andreas|publisher=Tuttle Publishing|year=2012|isbn=9781462905997}}</ref> from Motozaimokuchō Itchōme in Edo, he took on Torii Kiyonaga as an [[art name]]. Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher [[Torii Kiyomitsu]].▼
▲'''Torii Kiyonaga''' ({{lang-ja|鳥居 清長}}; 1752 – June 28, 1815) was a Japanese [[ukiyo-e]] artist of the [[Torii school]]. Originally '''Sekiguchi Shinsuke''', the son of an [[Edo]] bookseller, he took on Torii Kiyonaga as an [[art name]]. Although not biologically related to the Torii family, he became head of the group after the death of his adoptive father and teacher [[Torii Kiyomitsu]].
The master Kiyomitsu died in 1785; since his son died young, and [[Torii Kiyotsune|Kiyotsune]], Kiyonaga's senior, was a less promising artist, Kiyonaga was the obvious choice to succeed Kiyomitsu to leadership of the Torii school. However, he delayed this for two years, likely devoting time to his ''[[bijin-ga]]'' and realizing the immense responsibility that would fall on his shoulders once he took over the school. Thus, in 1787, he began organizing the production of [[kabuki]] signboards and the like, which the school held a near monopoly on. He also began to train Kiyomitsu's grandson, [[Torii Kiyomine]], who was to succeed him.
==Artistic career==
[[File:Eleventh month (Jūichi gatsu) (CBL J 2421).jpg|thumb|Eleventh month (Jūichi gatsu), from the series 'Twelve months of the southern quarter' (Minami jūni ko), c. 1783. [[Chester Beatty Library]]]]
[[Image:Kiyonaga Riverside01.JPG|thumb|200px|right|Cooling on Riverside]]▼
Torii Kiyonaga began his training under [[Torii Kiyomitsu]] in 1765 at the age of 14 years old. It is suspected that prior to entering the Torii school he may have trained under [[Isoda Koryūsai]], [[Suzuki Harunobu]], and [[Kitao Shigemasa]], as much of Kiyonaga's work shows influence from these other ukiyo-e masters. Many of his early works were billboards and [[actor prints|depictions of actors]] based on his visits to nearby kabuki theatres. The highlight of his career is when he began to produce pieces of beautiful women. In addition Torii Kiyonaga created illustrations for books and picture programs called banzuke.<ref name=":0" />
Kiyonaga is considered one of the great masters of the full-color ''[[nishiki-e]]'' print and of ''[[bijin-ga]]'', images of courtesans and other beautiful women. Like most ''ukiyo-e'' artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of ''[[shunga]]'', or erotic images.▼
▲Kiyonaga is considered one of the great masters of the full-color ''[[nishiki-e]]'' print and of ''[[bijin-ga]]'', images of courtesans and other beautiful women. Like most ''ukiyo-e'' artists, however, he also produced a number of prints and paintings depicting Kabuki actors and related subjects, many of them promotional materials for the theaters. He also produced a number of ''[[Shunga (art)|shunga]]'', or erotic images, including two adaptations of Harunobo's ''[[Zashiki Hakkei]]''.<ref>{{cite journal
In the field of ''bijin-ga'', only the works of [[Suzuki Harunobu]] and a handful of others are generally regarded comparable with those of Kiyonaga. Kiyonaga produced a great many ''bijin-ga'' prints in the 1780s, and this is generally regarded as his high point; this is particularly true because he nearly stopped doing art entirely in the early 1790s. Some scholars point out the beauty of his paintings as being particularly exceptional given his commoner heritage and upbringing. Adopted into the Torii family, Kiyonaga's biological father was the owner of a number of tenements near a fish market; though his family may not have been particularly poor, he was certainly not brought up in an environment of high culture. Meanwhile, contemporary artists of the samurai class, who would be expected to have a better innate sense of the aesthetics and details of aristocratic culture, produced images quite arguably inferior to those of Kiyonaga.▼
|last = Ishigami
|first = Aki
|title = Suzuki Harunobu-ga ''Fūryū zashiki hakkei'' kō: Gachū kyōka no riyū to zugara no tenky0
|script-title = ja:鈴木春信画『風流座敷八景』考―画中狂歌の利用と図柄の典拠―
|trans-title = A Study of ''Fūryū Zashiki Hakkei'' by Suzuki Harunobu: The Use of Kyōka Poems in Pictorial Composition and Design Sources
|pages = 69–87
|journal = Ukiyo-e Geijutsu
|issue = 156
|year = 2008
|language = ja
|issn = 0041-5979}}</ref>
▲In the field of ''bijin-ga'', only the works of
The women in Kiyonaga's prints are often described as seeming fuller and more mature than those of his predecessor Harunobu, whose prints often depict women who seem younger and thinner. Though a difference of personal styles accounts for this primarily, it also comes in part from Kiyonaga's use of larger sheets of paper (''ōban'', rather than ''chūban'' or ''hosoban''<ref>''Kenkyusha's New Japanese-English Dictionary'', Kenkyusha Limited, ISBN 4-7674-2015-6</ref>). Also, a great proportion of Kiyonaga's work is in [[polyptych|diptych]] or triptych form, making the work seem larger and more impressive overall.▼
▲The women in Kiyonaga's prints are often described as exceptionally tall, seeming fuller, and more mature than those of his predecessor Harunobu, whose prints often depict women who seem younger and thinner. Though a difference of personal styles accounts for this primarily, it also comes in part from Kiyonaga's use of larger sheets of paper (''ōban'', rather than ''chūban'' or ''[[hosoban]]''<ref>''Kenkyusha's New Japanese-English Dictionary'', Kenkyusha Limited, {{ISBN
Just as Kiyonaga can be said to have replaced the earlier Harunobu as the most popular ''bijinga'' artist of his time, so Kiyonaga can be said to have been replaced by [[Utamaro]], whose women are even fuller and mature than those of the former.▼
Kiyonaga's works broke the mold of many previous artists. A great proportion of Kiyonaga's work is in [[polyptych|diptych]] or triptych form, making the work seem larger and more impressive overall. Due to the large size of his prints many of his works with beautiful women also feature a scenic background illustrated with the Western concept of perspective.<ref name=":0" /> His prints are also well known for the variance and richness in colors.<ref>{{Cite book|title=Japanese Colour-Prints and Their Designers|last=Gookin|first=Frederick|publisher=Archive Classics}}</ref>
Kiyonaga's Kabuki prints, depicting scenes on stage and the like, show a great attention to detail, and seek to depict real Kabuki scenes, rather than idealized versions. There is something very plain about much of his depictions, showing that those depicted are in fact actors and not the true idealized characters they represent; however, he did not make the leap to portraying the individual features and personalities of the actors as some other artists (including the [[Katsukawa school]]) did. Some scholars label his style as an important intermediary step leading to the bombastic, yet realistic, style of [[Sharaku]].▼
▲Just as Kiyonaga can be said to have replaced the earlier Harunobu as the most popular ''bijinga'' artist of his time, so Kiyonaga can be said to have been replaced by [[Utamaro]], whose women are even fuller and more mature than those of the former.
▲Kiyonaga's
In 1794, when Utamaro became the lead bijin-ga artist, Torii Kiyonaga shifted his artistic focus to surimono, illustrations, and paintings. His last known print dates from 1813, two years before he died.<ref name=":0" />
==In Philately==
Kiyonaga’s works have been featured several times in [[commemorative postage stamp]]s issued by the Japanese post office:
* 1958 Philatelic Week
* 1982 Philatelic Week ([[Se-tenant (philately)|se-tenant]] pair)
* 2003 Commemorative issue of the 250th anniversary of Kiyonaga’s birth
== Collections ==
His work is held in the permanent collections of many museums, including the [[Fine Arts Museums of San Francisco|Fine Arts Museum of San Francisco]],<ref>{{Cite web|date=2021-01-13|title=Kiyonaga (Museum of Fine Arts, Boston:n.d.) - Torii Kiyonaga|url=https://art.famsf.org/torii-kiyonaga/kiyonaga-museum-fine-arts-bostonnd|access-date=2021-02-12|website=FAMSF Search the Collections|language=en}}</ref> the [[Brooklyn Museum]],<ref>{{Cite web|title=Brooklyn Museum|url=https://www.brooklynmuseum.org/opencollection/objects/9812|access-date=2021-02-12|website=www.brooklynmuseum.org}}</ref> the [[Princeton University Art Museum]],<ref>{{Cite web|title=Torii Kiyonaga 鳥居清長 {{!}} Princeton University Art Museum|url=https://artmuseum.princeton.edu/es/collections/maker/2801|access-date=2021-02-12|website=artmuseum.princeton.edu}}</ref> the [[Fairfield University|Fairfield University Museum]],<ref>{{Cite web|title=Fairfield University Art Museum - Torii Kiyonaga|url=https://embark.fairfield.edu/artist-maker/info/990?sort=3|access-date=2021-02-12|website=embark.fairfield.edu}}</ref> the [[Smart Museum of Art]],<ref>{{Cite web|title=Enjoying the Evening Cool on the Riverbed at Shijo Gawara (四条河原夕涼体, Shijo-gawara yusuzumi no tei)|url=https://smartcollection.uchicago.edu/objects/5500/enjoying-the-evening-cool-on-the-riverbed-at-shijo-gawara-|access-date=2021-02-12|website=smartcollection.uchicago.edu|language=en}}</ref> the [[Metropolitan Museum of Art]],<ref>{{cite web |title=Torii Kiyonaga {{!}} Cherry Blosson Viewing at Gotenyama {{!}} Japan {{!}} Edo period (1615{{ndash}}1868) |url=https://www.metmuseum.org/art/collection/search/36608?searchField=All&sortBy=Relevance&ft=Torii+Kiyonaga&offset=0&rpp=20&pos=1 |website=www.metmuseum.org |publisher=[[Metropolitan Museum of Art]] |access-date=24 May 2023 |language=en}}</ref> the [[Philadelphia Museum of Art]],<ref>{{Cite web|title=Philadelphia Museum of Art - Collections Object : Seven-Year-Old Child Prodigy Minamoto no Shigeyuki Executing Calligraphy|url=https://www.philamuseum.org/collections/permanent/202196.html?mulR=1331312064%7C13|access-date=2021-02-12|website=www.philamuseum.org}}</ref> the [[Walters Art Museum]],<ref>{{Cite web|title=Torii Kiyonaga {{!}}|url=https://art.thewalters.org/browse/creator/torii-kiyonaga/|access-date=2021-02-12|website=The Walters Art Museum|language=en}}</ref> the [[Harvard Art Museums]],<ref>{{Cite web|last=Harvard|title=From the Harvard Art Museums' collections Lady with Two Servants, from the series Fuzoku azuma no nishiki|url=https://harvardartmuseums.org/art/206617|access-date=2021-02-12|website=harvardartmuseums.org|language=en}}</ref> the [[Portland Art Museum]],<ref>{{Cite web|title=Torii Kiyonaga|url=http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=10404;type=701|access-date=2021-02-12|website=portlandartmuseum.us}}</ref> the [[British Museum]],<ref>{{Cite web|title=diptych print {{!}} British Museum|url=https://www.britishmuseum.org/collection/object/A_1906-1220-0-215|access-date=2021-02-12|website=The British Museum|language=en}}</ref> the [[University of Michigan Museum of Art]],<ref>{{Cite web|title=Exchange: Haifû yanagi-daru: Maid and Young Girl in a Doorway|url=https://exchange.umma.umich.edu/resources/21102/view|access-date=2021-02-12|website=exchange.umma.umich.edu}}</ref> and the [[Nelson-Atkins Museum of Art]].<ref>{{Cite web|title=The Actor, Iwai Hanshiro IV, With His Manservant|url=https://art.nelson-atkins.org/objects/1332/the-actor-iwai-hanshiro-iv-with-his-manservant;jsessionid=87C80B6A6D250B437675107B04BCB31F|access-date=2021-02-12|website=art.nelson-atkins.org|language=en}}</ref>
<gallery mode="packed" heights="230" caption="Prints by Torii Kiyonaga">
Le sixième mois Kiyonaga.JPG|Sixth month, from the series 'Twelve months of the southern quarter', c. 1784.
Kiyonaga Le neuvième mois (Minami juni ko).JPG|Ninth month, from the series 'Twelve months of the southern quarter', c. 1784. [[Chiba City Museum of Art]]
▲
</gallery>
==References==
{{Reflist}}
* Hickman, Money (1993). "Enduring Alliance: The Torii Line of Ukiyo-e Artists and Their Work for the Kabuki Theatre
* [[Richard Douglas Lane|Lane, Richard]]. (1978). ''Images from the Floating World, The Japanese Print
==External links==
{{Commons category|Torii Kiyonaga}}
*Color [https://web.archive.org/web/20040928145555/http://wwar.com/masters/k/kiyonaga-torii.html Worldwide art resources]
*[https://web.archive.org/web/20060211072254/http://www.adachi-hanga.com/hp_english/en_artists-profiles_kiyonaga.htm Ukiyo-e gallery]
*[https://web.archive.org/web/20040511101044/http://www.tnm.jp/jp/servlet/Con?pageId=E08&processId=00&ref=2&start=1&Q4=114_____4423_ Tokyo National Museum on-line collection]
{{Ukiyo-e artists}}
{{Authority control}}
{{DEFAULTSORT:Torii, Kiyonaga}}
[[Category:1752 births]]
[[Category:1815 deaths]]
[[Category:
[[Category:
[[Category:Color engravers]]
[[Category:18th-century engravers]]
[[Category:19th-century engravers]]
[[Category:Japanese engravers]]
[[Category:18th-century Japanese artists]]
[[Category:19th-century Japanese artists]]
[[Category:Artists from Tokyo Metropolis]]
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