Kiyomitsu.
Pillar Print of a Woman.
A place for giant heads to take their rest
Seems her pale breast.
Her sweeping robe trails like the cloud and wind
Storms leave behind.
The ice of the year, and its Aprilian part,
Sleep in her heart.
Therefore small marvel that her footsteps be
Like strides of Destiny!
KIYOMITSU: THE ACTOR SEGAWA KIKUNOJO AS A WOMAN SMOKING.
Printed in black and three colours. Size 11½ × 5½.
Signed Torii Kiyomitsu ga.
Plate 9.
Pillar Print of a Man.
Out of spaces hazed with greyness, out of years whose veils are grey,
With the slow majestic footsteps of a lord of far-away,
Comes a form that out of glooming
Rises from some old entombing
To confront once more the day.
And with splendid gesture dwarfing the confusion of our hands,
With his ancient calm rebuking the unrest of vain demands,
He with solemn footsteps slowly
Passes: and his garments holy
Leave the scent of holy lands.
TORII KIYOMITSU.
Kiyomitsu took his place as the third great head of the Torii line, succeeding his father Kiyomasu. In subject and in manner, it is the Torii tradition that he carries on. We know nothing of his life, save that he was born in 1735 and died in 1785. His work falls almost entirely within the class of two- and three-colour prints. I know of only one hand-coloured print by him; but as his dates denote, he lived far into the period of polychrome printing, and was a partaker in Harunobu's experiments in colour. Von Seidlitz is wrong in saying that no polychrome prints by Kiyomitsu are known; a few exist and are very beautiful. He did little work after 1765, and is to be regarded as most characteristically an artist of the Primitive Period—in fact one of the greatest. Certainly between 1755 and 1764, no one but Toyonobu could rival him; and these two may be ranked the supreme designers of the three-colour epoch.
The outstanding feature of Kiyomitsu's work is its formalism. Whatever he touches is compressed to a pattern, and rendered into bold hieroglyphics of sweeping curves. His line is simple, powerfully dominated by a circular movement that is singularly and inexplicably delightful. His colours, even while they remain only two or three in number, never lack variety and strong decorative effect. The slightness of the use which he makes of black is noteworthy; he compensates for its absence by choosing heavy opaque colours of rich tone. Some authorities regard him as the first to employ a third colour-block.
Kiyomitsu's work is markedly stylistic—even dominated by a certain mannerism; one comes to recognize almost infallibly the formula he uses, and to regard as an old friend that peculiar swirl of drapery, swing of body, and artificial poise of head which appear, as in [Plate 9], like an accepted convention throughout the larger number of his designs. The convention is an agreeable and highly æsthetic one, based on fundamental curves of great beauty. But the invariability with which he employs this formula gives Dr. Kurth some excuse for regarding him as a monotonous and over-estimated artist. Had we only Kiyomitsu's hoso-ye prints, it might be possible to agree with Dr. Kurth; for these figures, enchanting and full of elegance as they are, certainly are dominated by a sameness of manner such as one finds in no other series of hoso-ye. But the truth of Dr. Kurth's depreciations must be questioned if one turns to the pillar-prints, which constitute the real glory of Kiyomitsu's career. The two reproduced in [Plate 10] exhibit his power. Kiyomitsu may be regarded as one of the half-dozen greatest masters of the pillar-print shape of composition. Much of his finest work is in this form. Here his somewhat tight curves lengthen out into flowing beauty; and the dignity always inherent in his drawing appears at its best.
KIYOMITSU: WOMAN WITH BASKET HAT.
Black and three colours.
Size 28 × 4.
Signed Torii Kiyomitsu ga.
KIYOMITSU: WOMAN COMING FROM BATH.
Black and three colours.
Size 27 × 4.
Signed Torii Kiyomitsu ga.
Plate 10.
Kiyomitsu's rare nudes take a place close beside those of Toyonobu. They have a keen poetic charm; and though their vigour is less marked than that of Toyonobu's, their grace and elegance of movement is at least as striking.
The collector may find it useful to remember that long after Kiyomitsu's death, Kiyomine and Kiyofusa sometimes used the great name of Kiyomitsu as a signature to their own works. Only an inexperienced observer could mistake these late and decadent productions for the work of the original master.