Hirosada II
Hirosada II, also known as Sadahiro II, was a designer of ukiyo-e Japanese woodblock prints in Osaka. He was a student of Konishi Hirosada (fl. c. 1819-1863) was the most prolific Osaka-based designer of ukiyo-e woodblock prints during the late Edo period. Like most producers of —prints originating in the Osaka and Kyoto regions—he specialized in ''yakusha-e'' actor prints. Hiro ..., and assumed the name “Hirosada” in 1853, when his teacher ceased designing prints. In the summer of 1864, Hirosada I died and his student changed his name, for a second time, from “Hirosada” (廣貞) to “Sadahiro” (貞廣). Signature Whereas the signature of Hirosada I is compact, Hirosada II signed his name in a large bold hand. References * Keyes, Roger S., and Susumu Matsudaira, ''Hirosada, Ōsaka Printmaker'', Long Beach, CA, University Art Museum, California State University, Long Beach, 1984, 16–17, 129–130. * Lane, Richard. (1978). ''Images from the Floating World, ...
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Hirosada II - Actors Jitsukawa Enzaburô I (left) And Mimasu Daigorô IV (right), 1853
(floruit, fl. c. 1819-1863) was the most prolific Osaka-based designer of ukiyo-e woodblock printing in Japan, woodblock prints during the late Edo period. Like most producers of —prints originating in the Osaka and Kyoto regions—he specialized in ''yakusha-e'' actor prints. Hirosada is particularly known for his diptychs and triptychs, and for his many ''ōkubi-e'' portraits of the leading actors on the Osaka kabuki stage during his day. Biography Although Hirosada has been acknowledged as "the most important and prolific mid-nineteenth century Osaka designer," little is known about his personal life. Those biographies which refer to his life dates identify his birth year as unknown and the year of his death as 1864 or 1865. Art historians link his activity to between 1810 and 1865. He is believed to have apprenticed with prominent Osaka artist , and to have studied alongside Kunimasu in Edo in the early 1830s under . Following the relaxation of the Tempō reforms, Tempō Re ...
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