Yamamoto Baiitsu (Japanese, 1783-1856)-Scrolls
Yamamoto Baiitsu (Japanese, 1783-1856)
Prunus in the moonlight -ink on silk (1846)
Detroit Institute of Arts
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Blossoming Plum Tree-Hanging scroll; ink on silk
Japanese, Edo period, 1834
Museum of Fine Arts, Boston
Iris and Insect; Dragonfly and Pinks with Waterfall
Hanging scroll; ink and color on paper
Los Angeles County Museum of Art
Pine, bamboo and plum
Baiitsu was an itinerant artist who came into contact with diverse artistic influences, including the work of the Chinese painter *Shen Nanpin (Shen Quan, 1682-1758), who worked in Japan from 1731 to 1733, as well as that of other Chinese painters known in Japan. Baiitsu transformed these influences into an original style of his own, which was characterized by a sensuous surface quality and serene clarity. Distinctive to his technique was his inclination to use black ink in the same manner in which colors were customarily applied-that is, not only for linear brushwork but also for soft washes. Skillfully combining these ink washes with washes of color and well-defined, sinuous contours, he contributed a lyrical, intimate vision of nature to Japanese Nanga painting.
*Shen Nanpin-пост в ЖЖ
The Metropolitan Museum of Art
Insects and Grasses
Yamamoto Baiitsu (also known as Yamamoto Shinryo; Baiitsu; Baika; Gyokuzen)
(b Nagoya, 1783; d Nagoya, 1856). Japanese painter.
He was the son of a sculptor, who worked for the Owari clan.
He probably first studied with Yamamoto Ranei, a minor Kano school artist, who later switched to painting ukiyoe (‘pictures of the floating world’). It is said that another early teacher when Baiitsu was a child was Yamada Kyujo (1747-93), a prominent exponent of literati (Jap. Nanga or Bunjinga) painting in Nagoya, who died when Baiitsu was only ten years old. However, it is more likely that Baiitsu studied under Cho Gessho (1770-1832), a Shijo school painter and haikupoet who was a pupil of Kyujo. Baiitsu also claimed to have been influenced by the Nagoya artist Tanaka Totsugen (1767-1823), founder of the Yamatoe revival (Fukko Yamatoe) movement. The most formative influence on Baiitsu’s approach to painting was that of his mentor, the merchant and collector Kamiya Ten’yu (1710-1801), who also patronized other literati painters, including Nakabayashi Chikuto (1776-1853). Baiitsu studied and copied Ten’yu’s collection of Chinese paintings of the Yuan (1279-1368) to Qing (1644-1911) periods, a practice he continued throughout his career and it is that influence that has given this scroll a slightly Chinese similarity. He was also instructed by Ten'yu in Chinese painting methodology and, under his guidance, developed an interest in a variety of literati pursuits, including the collecting and connoisseurship of Chinese painting, the preparing of tea in Chinese style (sencha) and the writing of Japanese classical verse (waka) and Chinese-style poetry.
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