COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1985.275
amicoid
CMA_.1985.275
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Tamura, Suio
crn
Tamura, Suio
Creator Name
false
Creator Nationality:
Asian; Far East Asian; Japanese
crc
Asian; Far East Asian; Japanese
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1793 - 1841
cdt
1793 - 1841
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Suio Tamura
crt
Suio Tamura
Creator Name-CRT
false
Title:
Lover's Visit
otn
Lover's Visit
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1680-1730
oct
1680-1730
Creation Date
false
Creation Start Date:
1680
ocs
1680
Creation Start Date
false
Creation End Date:
1730
oce
1730
Creation End Date
false
Materials and Techniques:
hanging scroll; ink and color on silk
omd
hanging scroll; ink and color on silk
Materials and Techniques
false
Dimensions:
Image: 50.5cm x 82.3cm, Overall: 155cm x 104cm
met
Image: 50.5cm x 82.3cm, Overall: 155cm x 104cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1985.275
ooa
1985.275
ID Number
false
Credit Line:
The Kelvin Smith Collection, given by Mrs. Kelvin Smith
ooc
The Kelvin Smith Collection, given by Mrs. Kelvin Smith
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Toward the end of the sixteenth century Japanese artists and their patrons became increasingly interested in depicting scenes of life in their own country rather than imagined vignettes of traditional China and Korea. With the consolidation of politicalauthority in the land and the resultant expectation of peace came economic prosperity. The arts also began a period of sustained growth and enrichment, supported not by the court or feudal lords so much as by the emerging merchant class. Although they occupied a low position in Japan's rigid social order, merchants enjoyed the new prestige of affluence and naturally found ways to indulge their interests at their leisure. They actively participated in and were oftentimes the principal benefactors of literary groups, tea ceremony parties, and the celebrated entertainment districts of Osaka, Kyoto, and Tokyo. In these precincts men from all classes were granted admission provided they had the financial means to pay or some creative talent that could be supported by a wealthy benefactor. The women of these pleasure quarters were the most beautiful and among the most educated in all society, and their company cost dearly in seventeenth- and eighteenth-century Japan. Artists flocked to the Yoshiwara district inTokyo (then called Edo) too. They participated in its diversions and creative gatherings, recording many of its activities, personalities, and sights. Popular culture, in particular the entertainment worlds of the theater and the Yoshiwara, became a legitimate, vibrant subject in the established vocabulary of Japanese painting and literature. This charming portrayal of four young women enjoying an autumn afternoon together shows the camaraderie of the Yoshiwara beauties. Their conversations and reading has been interrupted by the arrival of a young man, the suitor of one of the women. The elegant robes and fine furnishings indicate the sophisticated taste of contemporary urban society in eighteenth-century Japan. And the idyllic, breezy outdoor setting depicted in the painting lends to the air of youth and optimism so characteristic of the time. M.R.C.
cxd
Toward the end of the sixteenth century Japanese artists and their patrons became increasingly interested in depicting scenes of life in their own country rather than imagined vignettes of traditional China and Korea. With the consolidation of politicalauthority in the land and the resultant expectation of peace came economic prosperity. The arts also began a period of sustained growth and enrichment, supported not by the court or feudal lords so much as by the emerging merchant class. Although they occupied a low position in Japan's rigid social order, merchants enjoyed the new prestige of affluence and naturally found ways to indulge their interests at their leisure. They actively participated in and were oftentimes the principal benefactors of literary groups, tea ceremony parties, and the celebrated entertainment districts of Osaka, Kyoto, and Tokyo. In these precincts men from all classes were granted admission provided they had the financial means to pay or some creative talent that could be supported by a wealthy benefactor. The women of these pleasure quarters were the most beautiful and among the most educated in all society, and their company cost dearly in seventeenth- and eighteenth-century Japan. Artists flocked to the Yoshiwara district inTokyo (then called Edo) too. They participated in its diversions and creative gatherings, recording many of its activities, personalities, and sights. Popular culture, in particular the entertainment worlds of the theater and the Yoshiwara, became a legitimate, vibrant subject in the established vocabulary of Japanese painting and literature. This charming portrayal of four young women enjoying an autumn afternoon together shows the camaraderie of the Yoshiwara beauties. Their conversations and reading has been interrupted by the arrival of a young man, the suitor of one of the women. The elegant robes and fine furnishings indicate the sophisticated taste of contemporary urban society in eighteenth-century Japan. And the idyllic, breezy outdoor setting depicted in the painting lends to the air of youth and optimism so characteristic of the time. M.R.C.
Context
false
Related Image Identifier Link:
CMA_.1985.275.tif
ril
CMA_.1985.275.tif
Related Image Identifier Link
false