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Tsukioka Yoshitoshi by washufeng Tsukioka Yoshitoshi by washufeng
Tsukioka Yoshitoshi (1839 - June 9, 1892) (Japanese: 月岡 芳年; also named Taiso Yoshitoshi 大蘇 芳年;) was a Japanese artist.

He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration. Like many Japanese, Yoshitoshi was interested in new things from the rest of the world, but over time he became increasingly concerned with the loss of many outstanding aspects of traditional Japanese culture, among them traditional woodblock printing.

By the end of his career, Yoshitoshi was in an almost single-handed struggle against time and technology. As he worked on in the old manner, Japan was adopting Western mass reproduction methods like photography and lithography. Nonetheless, in a Japan that was turning away from its own past, he almost singlehandedly managed to push the traditional Japanese woodblock print to a new level, before it effectively died with him.


His life is perhaps best summed up by John Stevenson:

Yoshitoshi's courage, vision and force of character gave ukiyo-e another generation of life, and illuminated it with one last burst of glory.
—John Stevenson, Yoshitoshi's One Hundred Aspects of the Moon, 1992

His reputation has only continued to grow, both in the West, and among younger Japanese, and he is now almost universally recognized as the greatest Japanese artist of his era.

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Tsukioka Yoshitoshi (月岡 芳年, Tsukioka Yoshitoshi?) aussi connu sous le nom de Taiso Yoshitoshi (大蘇 芳年, Taiso Yoshitoshi?) est né à Edo le 30 avril 1839 et mort le 9 juin 1892, il était le dernier grand maître – et l’un des plus grands génies innovateurs et créatifs – des estampes japonaises Ukiyo-e.

Sa carrière est composée de deux périodes : les dernières années du système féodal japonais, et les premières années du nouveau Japon moderne. Comme beaucoup de Japonais, alors qu’il était intéressé par toutes les nouvelles choses venant du reste du monde, avec le temps il devient de plus en plus préoccupé par la perte de nombreuses choses remarquables provenant du Japon traditionnel, telles que les estampes traditionnelles.

À la fin de son œuvre, Yoshitoshi était en lutte permanente contre le temps et la technologie. Alors qu’il travaillait d’une manière ancestrale, le Japon adoptait les méthodes de reproduction de masse venant de l’Occident, telles que la photographie et la lithographie. Néanmoins, dans un Japon qui tournait le dos à son propre passé, il était presque, tout seul, parvenu à pousser la peinture traditionnelle japonaise à un meilleur rang, avant qu’elle ne mourût définitivement avec lui.

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