Pair of six-panel folding screens; ink, color, and gold on gilded paper, 178.2 x 379.8 cm
In this vivacious display of purple and green, Suzuki Kiitsu has concentrated on the exuberant proliferation of the blossoms and leaves through space and omitted natural settings or context. The brilliant outburst is carefully orchestrated into two movements: the blossoms on the right rise from the ground, while those on the left cascade down as if supported by an unseen trellis.
Suzuki Kiitsu, trained as a textile dyer, studied painting under Sakai Hoitsu (1761–1828), with whom he prepared an illustrated book, Korin hyakuzu (One Hundred Paintings by Korin), a compendium of classic Rinpa art. Evident in this work is the influence of both the art of textile design and of the Rinpa school in the brilliant decorative effects of thick mineral pigments on gold leaf.
Morning Glories, Edo period (1615–1868), 19th century
by Suzuki Kiitsu (Japanese, 1796–1858)
The Metropolitan Museum of Art, New York
http://www.metmuseum.org/toah/works-of-art/54.69.1,2
Pair of six-panel folding screens; ink, color, and gold on gilded paper, 178.2 x 379.8 cm
In this vivacious display of purple and green, Suzuki Kiitsu has concentrated on the exuberant proliferation of the blossoms and leaves through space and omitted natural settings or context. The brilliant outburst is carefully orchestrated into two movements: the blossoms on the right rise from the ground, while those on the left cascade down as if supported by an unseen trellis.
Suzuki Kiitsu, trained as a textile dyer, studied painting under Sakai Hoitsu (1761–1828), with whom he prepared an illustrated book, Korin hyakuzu (One Hundred Paintings by Korin), a compendium of classic Rinpa art. Evident in this work is the influence of both the art of textile design and of the Rinpa school in the brilliant decorative effects of thick mineral pigments on gold leaf.
鈴木 其一（すずき きいつ、寛政8年（1796年）4月 – 安政5年（1858年））は、江戸時代後期の絵師。江戸琳派の祖・酒井抱一の弟子で、その最も著名な事実上の後継者である。
近代に通じる都会的洗練化と理知的な装飾性が際立ち、近代日本画の先駆的な絵師だと位置づけられる。
好きな画家です。特に、この朝顔はいいですね！酒井抱一の花の絵も大好きですが。
ところで、毎年メトロポリタン美術館のengagement bookを使ってるのですが、今年は「花」。 この朝顔は、何と４月第１週。もう１枚の日本人の絵は、歌川広重の亀井戸天神で、藤の花にツバメですが、８月最終週。全然季節感がなくて残念！他にも２月にライラックとか、９月に桃の花とか、１０月にひまわりとか・・・日本人が作ったら、全然違うのに、と思います。