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Direitos de autor Esta obra está em domínio público. Suzuki Kiitsu faleceu em 1858; os direitos autorais duram 70 anos após a morte do artista, portanto, expiraram em 1928.
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Irises — Suzuki Kiitsu
As dimensões originais são 93 × 33 cm (altura × largura), representadas aqui ao lado de um adulto de altura média.
Linha acima: os anos. Linha abaixo: a idade do artista no início e no fim de cada período — 0 ao nascer, 62 ao falecer.
Pintado quando o artista tinha 54. O artista viveu até aos 62. 5 das 9 obras datadas deste artista em nosso catálogo são anteriores.
Sombreado: a trajetória de Suzuki Kiitsu (1796–1858) ▲ esta obra, 1850 cada pintura datada, década por década
Primeiras obras: até 1832 Principais anos de atividade: 1832–1850 Obras tardias: a partir de 1850
Essas três faixas dividem as obras datadas neste catálogo em um primeiro quarto, uma metade central e um último quarto. Elas não representam a produção completa do artista: um período de escassez pode ser uma lacuna no registro, em vez de um intervalo de baixa atividade. Os mesmos anos com a trajetória do artista neles traçada
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Medido a partir da imagem
Cor principal
Putty #d2bf91
Paleta catalogada
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Sobre esta obra
Irises — Suzuki Kiitsu
In a marsh of brilliant blue irises in full bloom in summer, a pair of swallows frolic on the verdant bank in the right scroll, while a kingfisher sits perched on a stump on the left (Fig. 1). This brilliantly colored diptych on silk was created by the celebrated Edo-based painter Suzuki Kiitsu at the end of his career, when the artist was experimenting with a new modern style that combined the traditional graphic—almost decorative—expression of Rinpa painting with a turn toward Western realism. The effect is somewhat surreal and mesmerizing, similar to the visual impact of Irises and Moth from the Mary Griggs Burke Collection, which was created around the same time (Fig. 2, 2015.300.95). For viewers accustomed to the artist’s earlier works created with thickly applied mineral pigments, the first impression may be disconcerting, but it is a reminder that Kiitsu was active right up until the end of the Edo period, and he can be seen as pioneer of a hybrid style of painting that will later be associated with Nihonga, or modern “Japanese-style painting.”Kiitsu, son of a cloth dyer, was the principal pupil of the Rinpa revivalist Sakai Hoitsu (1761–1828), and worked closely with his master from the mid-1810s. Kiitsu assisted the master in the compilation of the Kōrin hyakuzu (One-Hundred Paintings by Kōrin), which served as textbook of the Rinpa idiom of painting and graphic design. Kiitsu left behind a large corpus of paintings, most of which are in style close to Hōitsu, keeping in mind that they probably collaborated on works at the end of the master’s life, and that he sometimes created works on Hōitsu’s behalf.. Kiitsu’s later works, as here, have a distinctive modern flavor.
Artista e museu
Nascido em Tokyo, Japan
Suzuki Kiitsu (1796-1858) stands as a compelling figure within the Japanese art world, a painter whose legacy has undergone a remarkable resurgence in recent decades. Born in Tokyo during the late Edo period, his life’s work is inextricably linked to the Rinpa school of painting – a movement renowned for its emphasis on meticulous detail, illusionistic space, and a refined aesthetic rooted in Chinese landscape traditions. Initially considered a somewhat peripheral member of this influential group, Kiitsu's talent has been increasingly recognized, culminating in significant exhibitions in Tokyo, Hyogo, and Kyoto between 2016 and 2017, firmly establishing his place as a master of the Edo Rinpa style. His most celebrated achievements lie in his breathtaking folding screens – byōbu – which he often reimagined from the works of his predecessors, demonstrating both deep respect for tradition and a distinctive creative voice.
Kiitsu’s artistic journey began under the tutelage of Sakai Hoitsu (1761–1828), a pivotal figure in the Rinpa school and considered by many to be its most important successor. This formative period instilled within Kiitsu a profound understanding of Rinpa's core principles: the meticulous rendering of textures, the use of layered colors to create depth and luminosity, and an appreciation for the beauty of nature. However, unlike Hoitsu, who was known for his grand, sweeping landscapes, Kiitsu’s style leaned towards a more intimate and refined approach. He absorbed the techniques of other masters within the school, including Tawaraya Sōtatsu (c. 1570 – c. 1640), renowned for his dynamic compositions, and Ogata Kōrin (1658–1716), celebrated for his vibrant depictions of flowers and birds. Notably, Kiitsu’s training wasn't solely through formal instruction; he actively sought to learn from and emulate the works of these established artists, developing a distinctive style that blended their influences while retaining his own artistic identity. This dedication to studying and interpreting the work of others is a hallmark of the Rinpa school and profoundly shaped Kiitsu’s creative process.
Kiitsu's true mastery lies in his creation of byōbu folding screens – elaborate, multi-panel artworks designed to be displayed in aristocratic interiors. These screens were not merely decorative objects; they represented a sophisticated form of art that combined painting, lacquerwork, and gold leaf. Kiitsu’s byōbu are particularly renowned for their illusionistic depth and the subtle interplay of color and texture. His “Morning Glories” (1801) and “Mountain Stream in Summer and Autumn” (circa 1832-1836) stand as prime examples, showcasing his ability to create a sense of three-dimensional space on a two-dimensional surface. The "Mountain Stream" pair, measuring an impressive 165.8 by 363.2 centimeters, depicts a serene landscape with flowing streams, cypress groves, lilies, and a cherry tree laden with autumn leaves. The screens are described as possessing “somehow strangely unreal” qualities, evoking a feeling of hyperrealism through the meticulous rendering of details and the masterful use of color. The rhythmic feel of the motifs and the brilliance of the blues and greens against the gold ground, particularly evident in works inspired by Ogata Kōrin’s *Irises*, further demonstrate Kiitsu's technical skill and his ability to capture the essence of nature with remarkable precision.
Despite not being formally recognized as Hoitsu’s direct successor, Suzuki Kiitsu exerted considerable influence on subsequent generations of Edo Rinpa artists. He acted as a mentor, training many young painters who went on to establish their own distinct styles within the school. This informal apprenticeship system led to the development of what is sometimes referred to as the “Kiitsu School of Edo Rinpa,” characterized by its refined aesthetic and meticulous attention to detail. Kiitsu’s emphasis on studying and reinterpreting the works of his predecessors, combined with his own creative vision, created a unique artistic lineage that continued long after his death in 1858. His work continues to be studied and admired for its technical brilliance, its evocative depiction of nature, and its enduring contribution to Japanese art history.
Among Kiitsu’s most celebrated works are the “Wind God and Thunder God” (紙本金地著色風神雷神図), a pair of silk sliding doors depicting the deities Raijin and Fujin, and his stunning “Morning Glories.” The "Wind God and Thunder God" stands out due to its innovative use of eight sliding doors, departing from the traditional two-screen format. These works are now housed in prestigious collections such as the Nezu Museum in Tokyo, where they are occasionally exhibited, offering visitors a rare opportunity to appreciate the artistry of this often-overlooked master. Suzuki Kiitsu’s legacy extends beyond his individual creations; he represents a pivotal moment in the evolution of the Rinpa school, demonstrating its capacity for innovation and artistic growth while upholding its core principles of beauty, precision, and reverence for nature.
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Irises — Suzuki Kiitsu
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A intensidade de cor de "Irises" é Balanced. A intensidade descreve o quão vibrantes as cores parecem ser.
Em "Irises", um Statement contraste une-se a uma Strong Color Unity harmonia.
A cor que mais se destaca em "Irises" é Putty (#d2bf91). A cor dominante é útil ao combinar uma obra de arte com um ambiente interno.