Katsukawa Shunkō
Katsukawa Shunkö was another pupil of Shunshö, generally ranked above Shun-ei in artistic gift. Some would argue this point, the present cataloguer included. In Shunkö’s finest figural prints, he is quite equal to his master, Shunshö. Shunkö’s working period extends from the early 1770s until his final years in the early 1800s. In the late 1780s, his right arm became paralyzed, but this great master, taught himself to draw with his left hand. Under this handicap, he produced all of his okubi-e portraits, simplifying his line, but introducing a greater expressiveness that is uniquely his. Ironically, it is these portraits that are regarded as Shunkö’s main contribution to the history of ukiyo-e. Lane lists the alternative names Denjirö, Sahitsuan, and Sahitsusai for Shunkö. (HAL)
- - - - - - -
Shunkö was Shunshö's most important pupil. His finest work equals that of his illustrious teacher. He pioneered in the "large head" actor prints which were afterwards made famous by Sharaku.
- - - - - - -
Katsukawa Shunshö was a revolutionary artist often overlooked in ukiyo-e histories. His contributions did not hit the Edo scene as powerfully as some later artists of the Kabuki portrait, but he set the groundwork for all future developments. He was probably the greatest teacher in all of ukiyo-e, and he had a number of talented pupils; among them were Shunkö, Shun'ei, Shunchö, Shunzan, Shunsen, Shunjö, and Shunrö. Shunkö was the senior pupil of Shunshö and many regard him as equal to his master in the depiction of the Kabuki subject. He sometimes used the same 'tsubo' jar seal used by Shunshö, perhaps to indicate that his work carried on the spirit of his master. Because of his use of the seal, he was often affectionately referred to as Ko-Tsubo (little jar). His earliest work begins in the 1770s and extends into the 1780s at which time he was afflicted with a paralysis which forced him into semi-retirement. He recovered use of his left hand, however, and went on to produce some of the finest 'ökubi-e' (bust portrait) of actors in all of ukiyo-e. The simplicity and boldness of the drawing, in contrast to his tighter, more detailed studies of an earlier time, is perhaps partly due to the fact that most of the 'ökubi-e' were done with the left hand. Some of the late works of his are signed Sahitsusai Shunkö (left-handed Shunkö).
Research by: Howard A. Link.
