Utagawa Toyoharu

Utagawa Toyoharu was born {{circa|1735}}{{efn|Toyoharu's birthdate is calculated from an inscription in the book {{transl|ja|Saitan Kyōka Edo Murasaki}} ({{lang|ja|歳旦狂歌江戸紫}}) printed in Kansei 7 ({{circa|1795}}), in which he states he is in his sixty-first year.{{sfn|International Ukiyo-e Society|2008|p=64}} }} in Toyooka in Tajima Province. He studied in Kyoto under {{Interlanguage link multi|Tsuruzawa Tangei|ja|3=鶴澤探鯨}} of the Kanō school of painting. It may have been around 1763 that he moved to Edo (modern Tokyo), where he studied under Toriyama Sekien. The Toyo ({{lang|ja|豊}}) in the art name Toyoharu ({{No break|{{lang|ja|豊春}}}}) is said to have come from Sekien's personal name Toyofusa ({{No break|{{lang|ja|豊房}}}}).{{sfn|Marks|2012|p=68}} Some sources hold he also studied under Ishikawa Toyonobu and Nishimura Shigenaga.{{sfn|Yoshida|1974|p=279}} Other art names Toyoharu went under include Ichiryūsai ({{No break|{{lang|ja|一竜斎}} }}), Senryūsai ({{lang|ja|潜竜斎}}), and Shōjirō ({{No break|{{lang|ja|松爾楼}}}}). Tradition holds that the name Utagawa derives from Udagawa-chō, where Toyoharu lived in the Shiba district in Edo.{{sfn|Marks|2012|p=68}} His common name was Tajimaya Shōjirō ({{No break|{{lang|ja|但馬屋}}}} {{No break|{{lang|ja|庄次郎}}}}), and he also used the personal names Masaki ({{No break|{{lang|ja|昌樹}}}}) and Shin'emon ({{No break|{{lang|ja|新右衛門}}}}).{{sfn|Yoshida|1974|p=279}}

Toyoharu's work began to appear about 1768.{{sfn|Marks|2012|p=68}} His earliest work includes woodblock prints in a refined, delicate style of beauties and actors.{{sfn|Yoshida|1974|p=279}} Soon he began to produce {{transl|ja|uki-e}} "floating picture" perspective prints, a genre in which Toyoharu applied Western-style one-point perspective to create a realistic sense of depth. Most were of famous sites, including theatres, temples, and teahouses.{{sfn|Marks|2012|p=68}} Toyoharu's were not the first uki-e—Okumura Masanobu had made such works since the early 1740s, and claimed the genre's origin for himself.{{sfn|Screech|2002|pp=103–104}} Toyoharu's were the first uki-e in the full-colour {{transl|ja|nishiki-e}} genre that had developed in the 1760s.{{cite book |last1=Marks |first1=Andreas |title=Japanese woodblock prints Artists, Publishers and Masterworks 1680-1900 |date=2010 |publisher=Tuttle Publishing |isbn=978-4-8053-1055-7}}{{sfn|North|2010|p=175}} Several of his prints were based on imported prints from the West or China.{{sfn|Screech|2002|p=103}}

From the 1780s Toyoharu appears to have dedicated himself to painting, and also produced kabuki programs and billboards after 1785.{{cite book |last1=Marks |first1=Andreas |title=Japanese woodblock prints Artists, Publishers and Masterworks 1680-1900 |date=2010 |publisher=Tuttle Publishing |isbn=978-4-8053-1055-7}} He headed the painters involved in the restoration of Nikkō Tōshō-gū in 1796.{{sfn|Marks|2012|p=68}} He died in 1814 and was buried in Honkyōji Temple in Ikebukuro under the Buddhist posthumous name Utagawa-in Toyoharu Nichiyō Shinji ({{lang|ja|歌川院豊春日要居士}}).{{efn|The temple is located at 2-41-4 Minami Ikebukuro, Toyoshima Ward, Tokyo, {{Coord|35.725321|139.718633|display=inline}}{{sfn|Gotō|1976|p=75}} }}{{sfnm|1a1=Marks|1y=2012|1p=68|2a1=Yoshida|2y=1974|2p=279}}

Canaletto - Veduta del Canal Grande da Santa Croce verso gli Scalzi.jpeg|The Canal Grande from Santa Croce to the East
Canaletto, oil on canvas, 18th century

Antonio Visentini - The Canal Grande from Santa Croce to the East - WGA25134.jpg|The Canal Grande from Santa Croce to the East
Antonio Visentini, copperplate engraving, 1742

Toyoharu d'après une gravure sur cuivre de Venise.JPG|The Bell which Resounds for Ten Thousand Leagues in the Dutch Port of Frankai
Toyoharu, woodblock print, {{circa|1770s}}

File:Harunobu Guckspiegel.jpg device
Harunobu, {{circa|1760s}}]]

Toyoharu's works have a gentle, calm, and unpretentious touch,{{sfn|Yoshida|1974|p=279}} and display the influence of ukiyo-e masters such as Ishikawa Toyonobu and Suzuki Harunobu.{{sfn|Marks|2012|p=68}} Harunobu pioneered the full-colour {{transl|ja|nishiki-e}} print{{sfn|Little|1996|p=84}} and was particularly popular and influential in the 1760s, when Toyoharu first began his career.{{sfn|Neuer|Libertson|Yoshida|1990|p=259}}

Toyoharu produced a number of willowy, graceful {{transl|ja|bijin-ga}} portraits of beauties in {{transl|ja|hashira-e}} pillar prints.{{sfn|Yoshida|1974|p=279}} Only about fifteen examples of his {{transl|ja|bijin-ga}} are known, almost all from his earliest period.{{sfn|Japan Ukiyo-e Association|1980|p=38}} One of the better-known examples of Toyoharu's work in this style is a four-sheet set depicting the Chinese ideal of the four arts.{{sfn|Yoshida|1974|p=279}} Toyoharu produced a small number of {{transl|ja|yakusha-e}} actor prints that, in contrast to the works of the leading Katsukawa school, are executed in the learned style of an Ippitsusai Bunchō.{{sfn|Yoshida|1974|p=279}}

While Toyoharu trained in Kyoto he may have been exposed to the works of Maruyama Ōkyo, whose popular megane-e were pictures in one-point perspective meant to be viewed in a special box in the manner of the French vue d'optique.{{sfn|Little|1996|pp=83–84}} Toyoharu may also have seen the Chinese vue d'optique prints made in the 1750s that inspired Ōkyo's work.{{sfn|Little|1996|pp=96}}

Early in his career, Toyoharu began producing the {{transl|ja|uki-e}} for which he is best remembered. Books on geometrical perspective translated from Dutch and Chinese sources appeared in the 1730s, and soon after, ukiyo-e prints displaying these techniques appeared first in the works of {{Interlanguage link multi|Torii Kiyotada|ja|3=鳥居清忠}} and then of Okumura Masanobu. These early examples were inconsistent in their application of perspective techniques, and the results can be unconvincing; Toyoharu's were much more dextrous,{{sfn|King|2010|p=47}} though not strict—he manipulated it to allow the representation of figures and objects that otherwise would have been obscured.{{sfn|North|2010|p=177}} Toyoharu's works helped pioneer the landscape as an ukiyo-e subject, rather than merely a background for human figures{{sfnm|1a1=Stewart|1y=1922|1p=224|2a1=Neuer|2a2=Libertson|2a3=Yoshida|2y=1990|2p=259}} or events, as in Masanobu's works.{{sfn|King|2010|pp=47–48}} Toyoharu's earliest {{transl|ja|uki-e}} cannot be reliably dated, but are assumed to have appeared before 1772: early in that year{{efn|On the 29th day of the second month of Meiwa 9, or 1 April 1772{{sfn|Gotō|1976|p=75}} }} the {{illm|Great Meiwa Fire|ja|明和の大火}} in Edo destroyed the Niō-mon gate in Ueno, the subject of Toyoharu's Famous Views of Edo: Niō-mon in Ueno.{{efn|Scholars estimate Famous Views of Edo: Niō-mon in Ueno to have appeared {{circa|1770–71}} based on evidence from the figures in the image.{{sfn|Gotō|1976|p=75}} }}{{sfn|Gotō|1976|p=75}}

File:Utagawa Toyoharu (c. 1770–71) Famous Views of Edo - Niō-mon in Ueno.jpg

Several of Toyoharu's prints were imitations of imported prints of famed European locations, some of which were Western and others Chinese imitations of Western prints. The titles were often fictional: The Bell which Resounds for Ten Thousand Leagues in the Dutch Port of Frankai is an imitation of a print of the Grand Canal of Venice from 1742 by Antonio Visentini, itself based on a painting by Canaletto.{{sfn|Screech|2002|p=103}} Toyoharu titled another A Perspective View of French Churches in Holland, though he based it on a print of the Roman Forum.{{sfn|Conte-Helm|2013|p=9}} Toyoharu took licence with other details of foreign lands, such as having the Dutch swim in their canals.{{sfn|Little|1996|p=84}} Japanese and Chinese mythology were also frequent subjects in Toyoharu's {{transl|ja|uki-e}} prints, the foreign perspective technique giving such prints an exotic feel.{{sfn|Little|1996|pp=84, 87}}

In his {{transl|ja|nikuhitsu-ga}} paintings the influence of Toyonobu can seem strong, but in his seals on these paintings Toyoharu proclaims himself a pupil of Sekien.{{sfn|Yoshida|1974|p=279}}{{efn|One such seal reads {{Nihongo|"Student of Toriyama Sekien Toyofusa"|鳥山石燕豊房門人|Toriyama Sekien Toyofusa Monjin}}.}} His efforts contributed to the development of the Rinpa school.{{sfn|Marks|2012|p=68}} His paintings have joined the collections of foreign museums such as the British Museum, Museum of Fine Arts, Boston, and the Freer Gallery of Art. His paintings include {{transl|ja|byōbu}} folding screens—a genre in which ukiyo-e is said to have its origins, but was rare in ukiyo-e after the development of nishiki-e prints. A six-panel example of a spring scene in Yoshiwara{{efn|{{lang|ja|新吉原春景図屏風}} {{transl|ja|Shin Yoshiwara Harukage-zu Byōbu}}, "New scenes in the springtime Yoshiwara pleasure district"}} resides in France{{sfn|Higuchi|2009|p=68}} in a private collection.{{sfn|Higuchi|2009|p=6}}

{{clear}}

Utagawa Toyoharu - Four Arts - Shamisen.jpg|Shamisen

Utagawa Toyoharu - Four Arts - Painting.jpg|Painting

Utagawa Toyoharu - Four Arts - Caligraphy.jpg|Calligraphy

Utagawa Toyoharu - Four Arts - Playing Go.jpg|Playing Go

Utagawa Toyoharu (18th century) Uki-e Kanadehon Chūshingura - Shichidanme.jpg|From the seventh act of the Kanadehon Chūshingura, {{circa|1770s}}

Utagawa Toyoharu - Perspective View of the Theaters in Sakai-chō and Fukiya-chō on Opening Night.jpg|Perspective View of the Theatres in Sakai-chō and Fukiya-chō on Opening Night, {{circa|1770s}}

Utagawa Toyoharu - Momotarō and His Animal Friends Conquer the Demons.jpg|Momotarō and his Animal Friends Conquer the Demons, {{circa|1770s}}

File:Utagawa Toyoharu (18th century) Shinpan uki-e - Tōto Ryōgokubashi hanka no zu.jpg ]]

The popularity of Toyoharu's work peaked in the 1770s.{{sfn|Screech|2002|p=103}} By the 19th century, Western-style perspective techniques had ceased to be a novelty and had been absorbed into Japanese artistic culture, deployed by such artists as Hokusai and Hiroshige,{{sfn|Thompson|1986|p=44}} two artists best remembered for their landscapes, a genre Toyoharu pioneered.{{sfn|Bell|2004|p=15}}

The Utagawa school that Toyoharu founded was to become one of the most influential,{{sfn|Salter|2006|p=204}} and produced works in a far greater variety of genres than any other school.{{sfn|Bell|2004|p=105}} His students included Toyokuni and Toyohiro;{{sfn|Marks|2012|p=68}} Toyohiro worked in the style of his master, while Toyokuni,{{sfn|Stewart|1922|p=224}} who headed the school from 1814,{{sfn|Bell|2004|p=15}} became a prominent and prolific producer of yakusha-e prints of kabuki actors.{{sfn|Stewart|1922|p=224}} Other well-known members of the school were Utamaro, Hiroshige, Kuniyoshi, and Kunisada.{{sfn|Salter|2006|p=204}} Though Japanese art schools, such as the Katsukawa in ukiyo-e and the Kanō in painting, emphasized a uniformity of style, a general style in the Utagawa school is not easy to recognize aside from a concern with realism and facial expressiveness.{{sfn|Bell|2004|p=105}} The school dominated ukiyo-e production by the mid-19th century, and most of the artists—such as Kobayashi Kiyochika—who documented the modernization of Japan during the Meiji period during ukiyo-e's declining years belonged to the Utagawa school.{{sfn|Merritt|2000|p=18}}

The Torii school lasted longer, but the Utagawa school had more adherents. It fostered closer master–student relations and more systematized training than in other schools. Excepting a few prominent examples, such as Hiroshige or Kuniyoshi, the later generations of artists tended to lack stylistic diversity, and their work has become emblematic of ukiyo-e's decline in the 19th century.{{sfn|Neuer|Libertson|Yoshida|1990|p=259}}

Toyoharu also taught painting. His most prominent student was Sakai Hōitsu.{{sfn|Marks|2012|p=68}}

As of 2014, studies into Toyoharu's work have not been carried out in depth. Cataloguing and analyzing his work and his and his publishers' seals was still in its infancy.{{sfn|Mochimaru|2014|p=5}} However, his work is kept in a variety of museums, including the Carnegie Museum of Art,{{Cite web|title=CMOA Collection|url=https://collection.cmoa.org/objects/2e14a752-8d38-413e-ae67-4e5aac06ba24|access-date=2021-01-07|website=collection.cmoa.org|language=en}} National Museum of Asian Art,{{Cite web|title=A Winter Party|url=https://asia.si.edu/object/F1900.113|access-date=2021-01-07|website=Freer Gallery of Art & Arthur M. Sackler Gallery|language=en-US}} the Maidstone Museum,{{Cite web|date=2016-03-24|title=A Confused Japanese Print: Toyoharu's Dutch Views|url=https://museum.maidstone.gov.uk/confused-japanese-print-toyoharus-dutch-views/|access-date=2021-01-07|website=Maidstone Museum|language=en-US}} the Worcester Art Museum,{{Cite web|title=Attributed to Utagawa Toyoharu: Courtesan with Two Young Attendants {{!}} Worcester Art Museum|url=https://www.worcesterart.org/exhibitions/past/1906.117.html|access-date=2021-01-07|website=www.worcesterart.org}} the Fine Arts Museum of San Francisco,{{Cite web|date=2018-09-21|title=Utagawa Toyoharu|url=https://art.famsf.org/utagawa-toyoharu|access-date=2021-01-07|website=FAMSF Search the Collections|language=en}} the Minneapolis Institute of Art,{{Cite web|title=Shōki, the Demon Queller, Utagawa Toyoharu ^ Minneapolis Institute of Art|url=http://collections.artsmia.org/art/80536/shoki-the-demon-queller-utagawa-toyoharu|access-date=2021-01-07|website=collections.artsmia.org}} the Portland Art Museum,{{Cite web|title=Utagawa Toyoharu|url=http://portlandartmuseum.us/mwebcgi/mweb.exe?request=record;id=10469;type=701|access-date=2021-01-07|website=portlandartmuseum.us}} the Museum of Fine Arts, Boston,{{Cite web|title=View of Nihonbashi (Nihonbashi no zu)|url=https://collections.mfa.org/objects/327450/view-of-nihonbashi-nihonbashi-no-zu;jsessionid=A160BF1B3BCEA729C174D672F8F549A0|access-date=2021-01-07|website=collections.mfa.org|language=en}} the Metropolitan Museum of Art,{{cite web |title=Cock, Hen, and Chickens {{!}} Japan {{!}} Edo period (1615{{mdash}}1868) |url=https://www.metmuseum.org/art/collection/search/37188?searchField=All&sortBy=Relevance&ft=Utagawa+Toyoharu&offset=0&rpp=20&pos=4 |website=www.metmuseum.org |publisher=Metropolitan Museum of Art |access-date=12 April 2023 |archive-url=https://web.archive.org/web/20210109224239/https://www.metmuseum.org/art/collection/search/37188?searchField=All&sortBy=Relevance&ft=Utagawa+Toyoharu&offset=0&rpp=20&pos=4 |archive-date=January 9, 2021 |language=en |url-status=live}} the University of Michigan Museum of Art,{{Cite web|title=Exchange: The Rat's Wedding|url=https://exchange.umma.umich.edu/resources/36332/view|access-date=2021-01-07|website=exchange.umma.umich.edu}} the Princeton University Art Museum,{{Cite web|title=Perspective Picture of Whale Hunting in Kumano Bay (Uki-e Kumano ura kujira tsuki no zu 浮絵 熊野浦鯨突之図) (2018-103)|url=https://artmuseum.princeton.edu/collections/objects/134417|access-date=2021-01-07|website=artmuseum.princeton.edu|language=en}} and the Asian Art Museum in San Francisco.{{Cite web|title=Asian Art Museum Online Collection|url=http://searchcollection.asianart.org/view/objects/asitem/objecttype@Woodblock%20print%20$0028nishiki-e$0029/36?t:state:flow=40234ae2-4280-4e74-ac06-92bc02ca1484|access-date=2021-01-07|website=searchcollection.asianart.org}}

File:Brooklyn Museum - Portrait of the Second Ichikawa Komazo - Utagawa Toyokuni I.jpg|Ichikawa Komazo II, Toyokuni, {{circa|1797}}

File:Ase o fuku onna2.jpg|Woman Wiping Sweat, Utamaro, {{circa|1790s}}

File:Nakamura Fukusuke I as Hayano Kampei.jpg|Portrait of Nakamura Fukusuke I as Hayano Kanpei, Kunisada, 1860

File:100 views edo 063.jpg| One Hundred Famous Views of Edo: Suidō Bridge and the Surugadai Quarter, Hiroshige, 1857

File:Mitsukuni and the Skeleton Specter LACMA M.2006.136.290a-c (1 of 3).jpg|Mitsukuni and the Skeleton Specter (one of a triptych), Kuniyoshi, {{circa|1840s}}

Utagawa Toyoharu - A Winter Party - Google Art Project.jpg|A Winter Party, colour on silk, Toyoharu, {{circa|late 18th – early 19th century}}

Utagawa Toyoharu 11.jpg|Courtesans of the Tamaya House
Toyoharu, byōbu screen painting, {{circa|1770s–80s}}

Natu-aki kusa zu byoubu.jpg|Summer and Autumn Grasses
Sakai Hōitsu, byōbu screen painting, 19th century

• List of Utagawa school members

{{Portal bar|Biography|Japan|Visual arts}}

{{Notelist}}

{{Reflist|colwidth=20em}}

{{Refbegin|colwidth=40em}}

• {{cite book

|last = Bell

|first = David

|title = Ukiyo-e Explained

|year = 2004

|publisher = Global Oriental

|isbn = 978-1-901903-41-6

}}

• {{cite book

|last = Conte-Helm

|first = Marie

|title = The Japanese and Europe: Economic and Cultural Encounters

|url = https://books.google.com/books?id=DKwVAgAAQBAJ

|year = 2013

|publisher = A&C Black

|isbn = 978-1-78093-980-3

}}

• {{cite book

|editor-last = Gotō

|editor-first = Shigeki

|title = Ukiyo-e Taikei

|trans-title = Ukiyo-e Compendium

|script-title = ja:浮世絵大系

|volume = 9

|date = 1976

|publisher = Shueisha

}}

• {{cite journal

|last = Higuchi

|first = Kazutaka

|title = Shin Yoshiwara Harukage-zu Byōbu, Utagawa Toyoharu Hitsu

|script-title = ja:「新吉原春景図屏風」歌川豊春筆

|trans-title = New scenes in the springtime Yoshiwara pleasure district by Utagawa Toyoharu

|pages = 1–6, 68–69

|journal = Ukiyo-e Geijutsu

|issue = 158

|date = 2009

|publisher = International Ukiyo-e Association

|issn = 0041-5979

}}

• {{cite book

|editor = International Ukiyo-e Society

|title = Ukiyo-e Dai-Jiten

|script-title = ja:浮世絵大事典

|trans-title=Grand Dictionary of Ukiyo-e

|publisher = Tōkyō-dō Publishing

|year = 2008

|language = Japanese

|isbn = 978-4-490-10720-3

}}

• {{cite book

|author = Japan Ukiyo-e Association

|title = Genshoku Ukiyo-e Dai-Hyakka Jiten

|script-title = ja:原色 浮世絵大百科事典 第7巻

|trans-title=Original Colour Grand Ukiyo-e Encyclopaedia

|volume = 7

|year = 1980

|publisher = Taishūkan Publishing

}}

• {{cite book

|last = King

|first = James

|title = Beyond the Great Wave: The Japanese Landscape Print, 1727–1960

|url = https://books.google.com/books?id=cY0DAi1-GP4C

|year = 2010

|publisher = Peter Lang

|isbn = 978-3-0343-0317-0

}}

• {{cite journal

|last = Little

|first = Stephen

|title = The Lure of the West: European Elements in the Art of the Floating World

|journal = Art Institute of Chicago Museum Studies

|volume = 22

|issue = 1

|publisher = The Art Institute of Chicago

|year = 1996

|pages = 74–93, 95–96

|doi = 10.2307/4104359

|jstor = 4104359

}}

• {{cite book

|last = Marks

|first = Andreas

|title = Japanese Woodblock Prints: Artists, Publishers and Masterworks: 1680–1900

|year = 2012

|publisher = Tuttle Publishing

|isbn = 978-1-4629-0599-7

}}

• {{cite book

|last = Merritt

|first = Helen

|title = Woodblock Kuchi-e Prints: Reflections of Meiji Culture

|url = https://books.google.com/books?id=bsfunOb2HOIC

|year = 2000

|publisher = University of Hawaii Press

|isbn = 978-0-8248-2073-2

}}

• {{cite journal

|last = Mochimaru

|first = Mayumi

|title = Utagawa Toyoharu ni yoru uki-e no gareki in tsuite

|script-title = ja:歌川豊春による浮絵の画歴について

|trans-title = The Uki-e Oeuvre of Utagawa Toyoharu

|pages = 5–38

|journal = Ukiyo-e Geijutsu

|issue = 167

|date = 2014

|publisher = International Ukiyo-e Association

|issn = 0041-5979

}}

• {{cite book

|last1 = Neuer

|first1 = Roni

|last2 = Libertson

|first2 = Herbert

|last3 = Yoshida

|first3 = Susugu

|title = Ukiyo-e: 250 Years of Japanese Art

|url = https://books.google.com/books?id=quJXAAAACAAJ

|year = 1990

|publisher = Studio Editions

|isbn = 978-1-85170-620-4

}}

• {{cite book

|last = North

|first = Michael

|title = Artistic and Cultural Exchanges Between Europe and Asia, 1400-1900: Rethinking Markets, Workshops and Collections

|url = https://books.google.com/books?id=7JScE4Q0TU8C

|year = 2010

|publisher = Ashgate Publishing

|isbn = 978-0-7546-6937-1

}}

• {{cite book

|last = Salter

|first = Rebecca

|title = Japanese Popular Prints: From Votive Slips to Playing Cards

|url = https://books.google.com/books?id=TfXYKw3VWX8C

|year = 2006

|publisher = University of Hawaii Press

|isbn = 978-0-8248-3083-0

}}

• {{cite book

|last = Screech

|first = Timon

|author-link = Timon Screech

|title = The Lens Within the Heart: The Western Scientific Gaze and Popular Imagery in Later Edo Japan

|url = https://books.google.com/books?id=43jw2YObpmwC

|year = 2002

|publisher = University of Hawaii Press

|isbn = 978-0-8248-2594-2

}}

• {{cite book

|last = Stewart

|first = Basil

|author-link = Basil Stewart

|title = A Guide to Japanese Prints and Their Subject Matter

|url = https://books.google.com/books?id=V1GT9NI8oFcC

|year = 1922

|publisher = Courier Corporation

|isbn = 978-0-486-23809-8

}}

• {{cite journal

|title = The World of Japanese Prints

|first = Sarah

|last = Thompson

|journal = Philadelphia Museum of Art Bulletin

|volume = 82

|issue = 349/350, The World of Japanese Prints

|date = Winter–Spring 1986

|pages = 1, 3–47

|publisher = Philadelphia Museum of Art

|jstor = 3795440

}}

• {{cite book

|editor-last = Yoshida

|editor-first = Teruji

|title = Ukiyo-e Jiten

|script-title = ja:浮世絵事典

|trans-title=Ukiyo-e Encyclopaedia

|volume = 3

|year = 1974

|publisher = Gabun-dō

|isbn = 978-4-87364-003-7

}}

{{Refend}}

{{Refbegin}}

• {{cite journal

|last = Kishi

|first = Fumikazu

|title = Uki-e ni okeru enkin-hō shisutemu no keisei katei ni tsuite - shita - Utagawa Toyharu Kabuki-zu no kakushin

|script-title = ja:浮絵における遠近法システムの形成過程について-下-歌川豊春画「歌舞伎図」の革新

|trans-title =

|pages = 115–144

|journal = Bulletin of the Faculty of General Education, Kinki University

|volume = 22

|issue = 2

|date = 1990

|publisher = Kinki University General Education Department

|issn = 0286-8075}}

{{Refend}}

• {{Commons category-inline|Utagawa Toyoharu}}

{{Ukiyo-e artists}}

{{Authority control}}

{{DEFAULTSORT:Utagawa, Toyoharu}}

Category:1730s births

Category:1814 deaths

Category:Ukiyo-e artists

Toyoharu

Category:Artists from Hyōgo Prefecture

Category:18th-century Japanese artists

Category:19th-century Japanese artists