Of American collections, that of Mr. William Spalding, in Boston, is particularly good, including, as it does, some beautiful rare figures in black and white by Matabei, the father of the Ukioye school of painting, from which the art of colour printing is derived. Mr. Spalding has hand-coloured prints by Moronobu, some of which are in orange-red and old rose. In some cases the paper of the old prints takes on a beautiful yellow autumn glow with age, which adds to their beauty. The colours yellow, black, orange and green were introduced about 1765. For the orange-red and old rose red-lead (_tan_) was used, hence the prints of this kind were called _tan-ye_, and are of great value to-day. Moronobu was a wonderful draughtsman, and his figures in black and white are greatly prized.
Masanobu and Kiyonobu were prominent among the early artists, but the perfection of technique in prints was reached under Kiyonaga.
Utamaro, who became the leading print designer of his day, lived in the latter part of the eighteenth century, when the art of making these wood cuts was at its best. Unfortunately his whole life was a career of dissipation; his father disowned him, and he was finally put in prison for libelling the Shogun. Soon after that, his health gave way, and he died at the age of fifty-three. Toward the end of his life, however, he was so popular and so overwhelmed with commissions that in his endeavour to fulfill orders his later work degenerated. Utamaro's style was copied by his pupils, and his signature was so often forged that it is difficult to pick out his prints. His chief works were pictures of _geishas_, in which the long lines of the kimonos are much admired. His were the first colour prints to reach Europe through the Dutch.
Toyokuni was another master of the same period, whose favourite subjects were actors in character. In this sort of print and in his technique he was unsurpassed.
Hiroshige--two of whose pupils took his name--lived at the beginning of the downfall of Japanese colour printing. He was a prolific worker, and his wood cuts are delicate and seldom show strong contrasts. He is especially noted for landscapes, and did views of the Inland Sea, of snow scenes, and of mists and rains, in very delicate pastel colours. Eight famous views of Lake Biwa, as well as several sets of the Tokaido, were done by this artist. Heads by Sharaku with a silver background are very striking, and have lately become the rage in Paris. They certainly have strength and individuality, but they are hideous beyond words. He was especially fond of doing actors, and the faces are full of expression.