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.
Kiyohiro.
Torii Kiyohiro has been rated by some writers as more highly gifted than Kiyomitsu. This praise appears absurdly extravagant; yet in disputing such a claim, one must admit the great charm of Kiyohiro's work. He is said to have been a pupil of Kiyonobu II; his career runs parallel with that of Kiyomitsu, and he seems frequently to imitate that artist. The period of his greatest prominence was between 1745 and 1758; his work is all in two or three colours. A delicate draughtsman, his figures have marked grace of poise and firmness of design. His mannerism is less stereotyped than Kiyomitsu's; some of his prints have great beauty, but he never reaches certain heights which Kiyomitsu attained. Prints by him are uncommon.
TORII KIYOHIRO.
Kiyotsune.
Torii Kiyotsune produced delicate and distinguished prints in two or three colours, much like those of Kiyomitsu. Most of his figures are characterized by a curious slenderness and exquisiteness; but they are somewhat lacking in vigour. After 1764 he fell under the influence of Harunobu and adopted full-colour printing, still retaining, however, that very individual type of face—a little scornful, a little fastidious in expression—which marks his designs. His work is rare.
Pupils of Kiyomitsu and Toyonobu.
Among the pupils of Kiyomitsu may be noted Torii Kiyosato, Torii Kiyoharu, Morotada, Kiyotoshi, Torii Kiyomoto, and Torii Kiyohide. Their work was almost contemporaneous with that of the master.