The Japanese artist Totoya Hokkei was born in 1780 in Edo (today Tokyo). Hokkei originally earned his living as a simple fishmonger. Later he could realize his dream to be a so-called ukiyo-e artist. He studied painting with the famous Japanese artist Kano Yosen. Afterwards the talented Hokkei had the honor to be a student of the renowned draftsman and ukiyo-e master Katsushika Hokusai because of his good progress and his great talent. Art critics then as now praise Hokkei as one of the best and most successful students of Hokusai.
Hokkei's paintings live from the strongly reduced backgrounds and the empty space that was a tradition in Japanese art. It was also common practice to integrate texts into the picture, which were graphically integrated into the work and carefully placed as part of the composition. Hokkai's motifs are everyday situations from ancient Japan. Besides dancers, travellers and geishas, he also carved gods, each time surrounded by plants, objects, ornaments or a suggested horizon. Works with Japanese landscapes like the snow-covered Mount Fuji were also popular commissions. Hokkei's pictures had the imaginative dimension typical of Japan, which even reminds one of today's mangas. Mount Fuji hovers above a cloud or the face of the geisha got a minimized, almost comic-like expression.
The gifted Hokkei himself had specialized in surimono. These are woodblock prints which were privately commissioned by mostly wealthy patrons. Hokkei's clients came from the rich and educated class of his home town Edo (Tokyo). Hokkeis woodblock prints were reproduced in large numbers at the end of the 19th century long after the death of the famous artist. These copies were sold individually or as sets to foreign tourists, who at that time finally had the opportunity to travel to the once "forbidden country". The precisely recut wood blocks often have all the graceful characteristics of the originals. All embossing and metal pigments have been reproduced almost identically. Today these copies are called Meiji A, B, C or D copies: The letter indicates the quality rating. A the highest quality grade. Since the dealers decide on the level of their prints, they unfortunately do not mean much. However, surimono meiji copies are hardly distinguishable from the originals. One difference is the paper, which is much stiffer in the copies. The second difference is the freshness of the colours, which however were mostly given an antique look in brownish shades and therefore are hardly distinguishable for laymen as well as experienced dealers. Nevertheless, the Meiji Surimono copies have become recognized collector's items due to their good quality and also because the originals of Hokkei usually no longer exist.
In addition to the surimono single sheets, Hokkei also created book illustrations. This was an obvious choice, since in ancient Japan books were produced with the same woodblock technique as the artistic single sheets.
The Japanese artist Totoya Hokkei was born in 1780 in Edo (today Tokyo). Hokkei originally earned his living as a simple fishmonger. Later he could realize his dream to be a so-called ukiyo-e artist. He studied painting with the famous Japanese artist Kano Yosen. Afterwards the talented Hokkei had the honor to be a student of the renowned draftsman and ukiyo-e master Katsushika Hokusai because of his good progress and his great talent. Art critics then as now praise Hokkei as one of the best and most successful students of Hokusai.
Hokkei's paintings live from the strongly reduced backgrounds and the empty space that was a tradition in Japanese art. It was also common practice to integrate texts into the picture, which were graphically integrated into the work and carefully placed as part of the composition. Hokkai's motifs are everyday situations from ancient Japan. Besides dancers, travellers and geishas, he also carved gods, each time surrounded by plants, objects, ornaments or a suggested horizon. Works with Japanese landscapes like the snow-covered Mount Fuji were also popular commissions. Hokkei's pictures had the imaginative dimension typical of Japan, which even reminds one of today's mangas. Mount Fuji hovers above a cloud or the face of the geisha got a minimized, almost comic-like expression.
The gifted Hokkei himself had specialized in surimono. These are woodblock prints which were privately commissioned by mostly wealthy patrons. Hokkei's clients came from the rich and educated class of his home town Edo (Tokyo). Hokkeis woodblock prints were reproduced in large numbers at the end of the 19th century long after the death of the famous artist. These copies were sold individually or as sets to foreign tourists, who at that time finally had the opportunity to travel to the once "forbidden country". The precisely recut wood blocks often have all the graceful characteristics of the originals. All embossing and metal pigments have been reproduced almost identically. Today these copies are called Meiji A, B, C or D copies: The letter indicates the quality rating. A the highest quality grade. Since the dealers decide on the level of their prints, they unfortunately do not mean much. However, surimono meiji copies are hardly distinguishable from the originals. One difference is the paper, which is much stiffer in the copies. The second difference is the freshness of the colours, which however were mostly given an antique look in brownish shades and therefore are hardly distinguishable for laymen as well as experienced dealers. Nevertheless, the Meiji Surimono copies have become recognized collector's items due to their good quality and also because the originals of Hokkei usually no longer exist.
In addition to the surimono single sheets, Hokkei also created book illustrations. This was an obvious choice, since in ancient Japan books were produced with the same woodblock technique as the artistic single sheets.
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