Keisai Eisen , born in 1790 and passing away in 1848, stands as one of the most distinctive and prolific ukiyo-e artists of the late Edo period in Japan. His life and work offer a vivid window into the cultural currents of his time, particularly the burgeoning urban culture of Edo (present-day Tokyo). Eisen was a multifaceted talent, known not only for his iconic prints of beauties (bijin-ga) and landscapes but also for his contributions to book illustration, erotic art (shunga), and even literature. His art, often characterized by a unique blend of sensuality, realism, and a touch of decadence, captured the spirit of a society on the cusp of significant change.
Early Life and Artistic Formation
Born in Edo's Hoshigaoka district (now part of Chiyoda-ku, Tokyo) into a lower-ranking samurai family with the surname Matsumoto, Eisen's early life was marked by shifts. He would later adopt the surname Ikeda before settling on Eisen as his art name (gō). His initial artistic training was under Kanō Hakkai I , a painter of the esteemed Kanō school, which traditionally served the shogunate and aristocracy. This classical grounding provided him with a solid foundation in painting techniques.
However, familial circumstances, including economic hardship and the death of his father, steered him away from the path of a samurai or a Kanō painter. The vibrant, popular art form of ukiyo-e, literally "pictures of the floating world," held a greater allure and perhaps offered more immediate prospects. This led him to become a pupil of Kikukawa Eizan , a prominent ukiyo-e artist known for his elegant depictions of beautiful women. Under Eizan's tutelage, Eisen honed his skills in woodblock print design, particularly in the bijin-ga genre that would become a cornerstone of his fame. It's said that Eisen initially harbored ambitions of becoming a kabuki playwright, a testament to his interest in the popular entertainment of the era, but the practicalities of life guided his hand towards the visual arts.
The Rise of a Ukiyo-e Master
Eisen's career flourished during the Bunsei (1818-1830) and Tenpō (1830-1844) eras, a period of rich cultural activity despite underlying socio-economic tensions in late feudal Japan. He quickly developed a distinctive style that set him apart from his contemporaries. While influenced by his teacher Eizan, Eisen's beauties often possessed a more worldly, overtly sensual, and sometimes melancholic or jaded allure, reflecting the changing tastes and perhaps the more complex realities of life in the pleasure quarters.
He was a keen observer of human nature and the fashions of his time. His figures, while stylized, often conveyed a sense of individuality and psychological depth. Eisen was also known to be in the artistic circle of, and deeply respected, the colossal figure of Katsushika Hokusai . It is documented that they engaged in discussions, particularly concerning the nuanced art of shunga. This interaction with Hokusai, a master of diverse subjects and innovative compositions, likely broadened Eisen's artistic horizons.
Artistic Style and Thematic Concerns
Keisai Eisen's artistic style is most readily identified by its "alluring and decadent" qualities, particularly in his portrayals of women. He did not shy away from depicting the less idealized aspects of beauty, sometimes featuring women with a slightly stooped posture or a full, rounded neck and face , which lent a certain realism and earthiness to his subjects, contrasting with the more ethereal beauties of earlier masters like Kitagawa Utamaro .
His women were often courtesans, geishas, or ordinary townswomen, imbued with a palpable sensuality and a directness of emotional expression that could be both provocative and poignant. This style resonated with the hedonistic and somewhat weary spirit of the late Edo period. Eisen was a master of line and color, employing fine, calligraphic lines to delineate forms and rich, often bold, color palettes. He was among the artists who enthusiastically adopted the newly imported Prussian blue pigment (known in Japan as bero-ai or "Berlin blue"), which allowed for a vibrant range of blues previously unattainable.
A significant aspect of Eisen's innovation was his incorporation of Western artistic conventions. He experimented with perspective and chiaroscuro to create a greater sense of depth and volume in his compositions. This fusion of Japanese tradition and Western techniques added a dynamic, modern feel to his work.
His thematic range was remarkably broad. Beyond bijin-ga, he excelled in landscape prints (fūkei-ga), often depicting scenes with a lyrical or atmospheric quality. He was also a prolific illustrator for popular novels (gesaku) and books of legendary tales, demonstrating his narrative skill. Furthermore, Eisen was a highly accomplished and sought-after master of shunga (erotic art), a genre that, while often explicit, was considered a legitimate part of ukiyo-e and was appreciated for its artistic merit and humor.
Masterpieces and Notable Works
Several works stand out in Keisai Eisen's extensive oeuvre, showcasing his diverse talents.
In the realm of bijin-ga, one of his most celebrated prints is "Courtesan with Cloud Dragon Robe" . This work exemplifies his mature style, depicting a high-ranking courtesan in an opulent, intricately patterned robe. Her pose, the directness of her gaze, and the sumptuous details of her attire and surroundings convey both her status and a certain world-weary elegance. The dynamic rendering of the dragon motif on her robe is particularly striking.
Eisen also made significant contributions to landscape art. His most famous landscape series is "The Sixty-nine Stations of the Kiso Kaidō" . This ambitious project, which depicted the post stations along the inland Kiso Kaidō route connecting Edo and Kyoto, was a collaborative effort with Utagawa Hiroshige . Eisen designed the initial twenty-four prints in the series, with Hiroshige completing the remainder. Eisen's contributions often feature dramatic compositions and a keen observation of local customs and the natural environment. He also contributed designs to other landscape series, including some depicting the Tōkaidō road, though Hiroshige is more famously associated with the primary Fifty-three Stations of the Tōkaidō.
His prowess in shunga is perhaps best represented by works like "Records of the Boudoir: The Pillow Library" . Such works were highly popular and, despite periodic censorship, circulated widely. Eisen's shunga are noted for their artistic quality, psychological insight into human relationships, and often, a playful or humorous tone, alongside their explicit content. These works were influential and are considered classics of the genre.
Interactions with Contemporaries
Keisai Eisen's artistic journey was shaped by interactions with numerous other artists. His initial training under Kanō Hakkai provided a classical foundation, while his apprenticeship with Kikukawa Eizan immersed him in the world of ukiyo-e and the depiction of contemporary beauties.
His relationship with Katsushika Hokusai was significant, suggesting a mutual respect and exchange of ideas. Hokusai, older and already a towering figure, was known for his constant innovation and exploration of new subjects and techniques, including the use of Prussian blue and an interest in Western perspective, elements also prominent in Eisen's work.
Eisen was a contemporary of other major Utagawa school artists, such as Utagawa Kuniyoshi and Utagawa Kunisada , also known as Toyokuni III. Kuniyoshi, known for his dynamic warrior prints and imaginative designs, was, like Eisen, sometimes associated with a "decadent school" of ukiyo-e, characterized by intense emotional expression, intricate detail, and sometimes unsettling or unconventional subject matter. The influence of earlier ukiyo-e masters like Toriyama Sekien , known for his supernatural imagery, can also be discerned in the broader ukiyo-e milieu in which Eisen worked. The legacy of Hishikawa Moronobu , often considered the founder of ukiyo-e, and Suzuki Harunobu , an innovator of full-color prints (nishiki-e) and delicate bijin-ga, formed the historical backdrop for Eisen's generation. The towering figure of Utagawa Toyokuni I also headed the Utagawa school, which became the dominant force in ukiyo-e during the 19th century, providing both a competitive and collaborative environment for artists like Eisen.
His collaboration with Utagawa Hiroshige on the Kiso Kaidō series is a prime example of artistic partnership, bringing together two distinct talents to create a landmark work. Such collaborations were not uncommon and highlight the workshop-like nature of ukiyo-e production.
Later Life, Controversy, and Persona
Eisen's later life was reportedly marked by a certain dissoluteness. Sources suggest he was fond of alcohol and women, and his lifestyle became increasingly unconventional. There are accounts that he even ran a brothel in Nezu to supplement his income, a venture that, while perhaps shocking by some standards, was not entirely out of keeping with the often-bohemian lives of artists connected to the "floating world."
His writings, including essays on ukiyo-e and the pleasure quarters, provide valuable insights into his thoughts and the culture of his time. He authored the Zoku Ukiyo-e Ruikō (Continuation of "Thoughts on Ukiyo-e"), a supplement to an earlier compendium of ukiyo-e artist biographies. He also penned works like Keisai Sōga (Sketches by Keisai) and the somewhat notorious Mukōdōjin Kōmō Zatsuwa (Idle Chats of a Man Who Gazes at His Own Crotch), which contained musings and anecdotes, some of them quite risqué. His Records of the Boudoir: The Pillow Library was considered by some a kind of sex manual and generated social commentary.
Eisen was known to associate with literary figures of his day, such as the popular novelist Kyokutei Bakin and Tamenaga Shunsui , whose romantic and sentimental novels were widely read. He reportedly described himself as an artist of both the "surface world" and the "hidden" or "inner world" , acknowledging the duality of his public art and his more private or controversial creations, particularly shunga. His personality was described as somewhat erratic, fitting the image of a bohemian artist deeply immersed in the pleasures and complexities of Edo life.
Legacy and Historical Evaluation
Keisai Eisen died in 1848, leaving behind a vast body of work that continues to be studied and admired. He is recognized as a pivotal figure in late Edo ukiyo-e, particularly for his distinctive bijin-ga that captured a specific type of worldly, sensual beauty. His willingness to explore the darker, more decadent aspects of the "floating world" gave his art a particular edge and psychological depth.
His influence extended beyond Japan. Like Hokusai and Hiroshige, Eisen's prints were among those that reached Europe and America in the late 19th century, contributing to the Japonisme movement. Notably, Vincent van Gogh was an admirer of Japanese prints and made a famous oil painting copy of one of Eisen's courtesan prints (specifically, a print titled "Courtesan" from the series Keisai Eisen E-sugata Hyakunin Isshu, which appeared on the cover of the May 1886 issue of Paris Illustré). This demonstrates the international impact of his striking designs.
Historically, Eisen is often grouped with artists who represented the "decadent" or "late" phase of ukiyo-e, a period where some critics perceived a decline from the perceived classicism of earlier masters. However, this view has been largely revised, and artists like Eisen and Kuniyoshi are now appreciated for their innovation, their responsiveness to the changing social and cultural landscape, and their powerful, often unconventional, imagery. Eisen's technical skill, his bold use of color (including Prussian blue), his incorporation of Western techniques, and his sheer productivity mark him as a major talent.
He successfully navigated the demands of the commercial print market while maintaining a distinct artistic voice. His work provides an invaluable visual record of the fashions, customs, and underlying mood of early 19th-century Edo. While his lifestyle and some of his subject matter were controversial, his artistic contributions are undeniable.
Conclusion
Keisai Eisen was more than just a prolific print designer; he was a keen observer and chronicler of his era. His art, ranging from elegant beauties and evocative landscapes to explicit shunga and lively book illustrations, reflects the multifaceted nature of Edo's "floating world." With his unique blend of sensuality, realism, and a touch of melancholy decadence, Eisen captured the spirit of a society reveling in transient pleasures while perhaps sensing the profound changes on the horizon. His bold compositions, innovative use of color and technique, and the sheer vitality of his figures ensure his enduring importance in the history of Japanese art and his continued appeal to audiences worldwide. He remains a testament to the dynamism and artistic richness of ukiyo-e in its later stages.
