Ishikawa Toyonobu

Ishikawa Toyonobu is said to be the "nom de plume" of the artist Nishimura (Magosaburö) Shigenobu, chief pupil of the distinguished artist, Nishimura Shigenaga. Toyonobu died at the age of seventy-five in 1785 and was buried at the Shökaku-ji (temple) in Asakusa, Edo. He became a member of his wife’s family around 1747 and, as a proprietor of the family’s inn at Kodenma-chö, was known as Nuka-ya Shichiröbei.

Theory has it that around this time, he changed his art name from Nishimura Shigenobu to Ishikawa Toyonobu (cf. "Kono hana," 14). This name change is by no means certain, however, and stylistic differences between prints signed Shigenobu and those signed Toyonobu make it difficult to reach a firm conclusion. The artist signing himself Shigenobu produced many fine designs in the style of his mentor, Shigenaga, while prints signed Toyonobu follow the basic style of Okumura Masanobu, often presaging the gentle mood of Shigemasa and Harunobu. The Michener Collection is represented by a few choice "urushi-e" datable to the mid-1740s, and a large number of fine "benizuri-e," including some fine mitate designs, ranging in date from the mid-1740s to the early 1760s.

BIOGRAPHY: Toyonobu was a pupil of Shigenaga and was famous as a poet as well. Some critics regard his work as being one of the more important highs in the whole ukiyo-e movement. We would agree with Noguchi's opinion when he called him the "lyric poet of ukiyo-e." Tradition has it that he was also a prosperous inn-keeper in Edo.

Some critics believe that he used the name Nishimura Shigenobu in his earlier years since Shigenobu is somewhat of an enigma. This opinion has not found general support and for the moment it would seem best to leave the question open. Toyonobu's art names include "Tanjödö" (or "Meijödö") and "Shüha." According to the "Ukiyo-e Ruiko" compilation of Nakada made in 1941 from sources going all the way back to the original manuscript, he spent "his whole life enjoying himself in wine taverns." In any event, his output was quite large and includes the hand-colored prints, the two-colored prints, and even some full-color prints done in the manner of Harunobu; the nishiki-e occurred in the 1760s at the close of his career. We can see some of the inventive possibilities of three-color printing, the technical forerunner of full-color printing. The judicious blending of the happy colors, pink and apple-green, together with the key-block black sometimes produces the astounding effect of full-color printing despite the limited spectrum.

Research by: Howard A. Link.