Prints in Collection
Shibaura from the series Twelve Views of Tokyo, c. 1914-1917
IHL Cat. #1229
Sketches of Five Actors, 1915
IHL Cat. #848
Ennosuke in the role of the exiled king and Tōzō in the role of warrior priest Kōku, 1915
IHL Cat. #256 and #1483
Kiyoko as Akagashi Mitsue, 1915
IHL Cat. #1373
Ishii Hakutei (undated photo)
|Ishii Hakutei, painter and print artist, was one of the fathers of the sosaku hanga (creative print) movement. Born in the Shitaya area of Tokyo in 1882
with the given name Mankichi, he was the son of the traditional-style
painter and lithographer Ishii Teiko (1848-97), with whom he studied
early in his life. After his father's death, Hakutei became interested
in Western-style art and soon became very competent in both oils and
watercolor, specializing in Japanese landscape. During 1898-1899 he studied under Asai Chū (1856-1907), a leading Western-style (yoga) painter and a
founding member of the Meiji Bijutsukai (Meiji Fine Arts Society), and after Asai's leaving for Europe with Nakamura Fusetsu (1866-1943).1 In 1904 he won entry to the Tokyo School of Fine Arts, where he studied with
Kuroda Seiki (1886-1924) and Fujishima Takeji (1867-1943) both
prominent Western-style painters.
Ishii was an activist in groups of Western-style artists and was the editor of the art and literary magazine Myojo (Morning Star) and a co-founder of the magazine Heitan (1905-6). In July 1904, Ishii published Yamamoto Kanae's (1882-1946) print Fisherman (shown below). Fisherman was called a "revolutionary step" by Ishii because Kanae had personally done all the work in producing
From 1907 to 1910 Hakutei co-founded and was chief editor of the magazine Hosun, where many of his paintings were published in reproduction and where his ideas on the development of Japanese art were put forward. He also took part in the literary group Pan no kai, formed in 1909, which "tried to emulate the atmosphere of artists gathering in Parisian cafes."6 He went to Europe in 1910 and lived in Paris from 1911 to 1912.7 On his return in 1912 he continued his prints series Twelve Views of Tokyo (see below), begun in 1910. Ishii wrote extensively on the European art scene and his experiences, reporting on the Fauve, Futurist, and Cubist exhibits he viewed overseas, as well as on Kandinsky and the Blauer Reiter group.8
In 1915, Hakutei contributed a number of portraits of kabuki actors to Shin Nigao Magazine . (See prints IHL Cat. #243 and #256.)
The fact that Hakutei did not participate in the founding of the Japanese Creative Print Association in 1918 suggests his interest had returned firmly to painting, where it remained. He went again to Europe in 1923-25.
The Print Series "Twelve Views of Tokyo"
In 1910, Hakutei began designing a series of prints called Twelve Views of Tokyo (Tokyo jūnikei 東京十二景), which have become the woodblock prints he is best known for, even though they drew little interest when first published. Their lack of sales resulted in only nine of the twelve planned designs being created.
Each print featured a traditionally dressed woman in front of a picture of a modern Tokyo scene with a cartouche containing the title of the series, in a style popular in later ukiyo-e prints. Hakutei's friend, Igami Bonkotsu, carved the blocks and they were printed by Nishimura Kumakichi. Two prints, Yoshicho (pictured below) and Yanagibashi, were completed in 1910, before his sojourn to Paris, and the last seven prints were made after his return to Japan in 1914. At least the first two prints were published by the artist Takamura Kōtarō (1882-1956) who opened Japan's first picture gallery in April 1910 after returning from studying in the U.S. and Europe.
from Twelve Views of Tokyo
8 In Pursuit of Universalism: Yorozu Tetsugoro and Japanese Modern Art, Alicia Volk, University of California Press, 2009, p. 35.