Migi: Kaku no Osan (Right: The Courtesan Osan), Nishimura Shigenobu

Artwork Overview

Nishimura Shigenobu, Migi: Kaku no Osan (Right: The Courtesan Osan)
Nishimura Shigenobu, Migi: Kaku no Osan (Right: The Courtesan Osan)
Nishimura Shigenobu
Migi: Kaku no Osan (Right: The Courtesan Osan)
early 1730s, Edo period (1600–1868)
Migi: Kaku no Osan (Right: The Courtesan Osan), early 1730s, Edo period (1600–1868)
Portfolio/Series title: Oyama sanpuku tsui (Set of 3 Courtesans)
Where object was made: Japan
Material/technique: lacquer; color woodcut
Dimensions:
Image Dimensions Height/Width (Height x Width): 300 x 135 mm
Image Dimensions Height/Width (Height x Width): 11 13/16 x 5 5/16 in
Sheet/Paper Dimensions (Height x Width): 300 x 135 mm
Sheet/Paper Dimensions (Height x Width): 11 13/16 x 5 5/16 in
Mat Dimensions (Height x Width): 19 x 14 in
Credit line: William Bridges Thayer Memorial
Accession number: 1928.7567
Not on display
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Label texts

Archive Label 1999: Kaigetsud_ Ando (1671-1743), an ukiyo-e painter, portrayed individual courtesans in a bold and dramatic style that had an important influence on the development of courtesan prints. At their best, Shigenobu's prints are minor masterpieces of this genre. The inscription Nishimura Shigenobu specialized in small lacquer at the top of the print gives the courtesan's name and the name of the series. The inscription at the bottom lists the publishing house. Archive Label date unknown: This was the right-side image in a triptych of three courtesan prints. Each of the beautiful women was shown barefoot in a variety of elaborate robes. The title term gaku is a polite word for prostitute. The view of Osan tying her obi sash in front rather than neatly in the back was considered risqué. The bare toes and sumptuous fabrics in these prints would have had a titillating effect on the print collector. A lacquer-like glue addition to the black ink contributes to the effect of luxury, as does the hand-coloring that was applied to the printed design.