Ito Shinsui - Ito Shinsui

Japanese painter and printmaker. Born into a merchant family in Fukagawa, Tokyo, his real name was Hajime. In 1911 (Meiji 44), he became a student of Kaburaki Kiyokata, and the following year he exhibited at the Tatsumi Art Association and the Japan Art Academy Exhibition, where his works were selected for the exhibition. In 1916 (Taisho 5), he participated in the "Shinhanga" movement, which was advocated by publisher Watanabe Shozaburo and involved the division of labor between painter, carver, and printer. Apart from the creative print movement that was popular at the time, he creatively inherited the tradition of woodblock prints that had existed since ukiyo-e. In addition to prints of beautiful women such as "Taikyo" (1916) and "Shin Bijin Jyuuni Sugata no Uchi" (1922-23), he also produced masterpieces of landscape prints such as "Hakkei no Omi" (1917). In Japanese painting, he established his reputation as a painter of beautiful women with "Fingers" (1922) and "Steam" (1924), which depicted his wife Yoshiko as a model, and in the Showa period, he was active as a central painter at the Teiten and Nitten exhibitions. He always pursued paintings of beautiful women in modern manners that reflected the changing times, such as "Joushin" (Meguro Gajoen), exhibited at the 11th Teiten exhibition (1930), and "Monko" (The National Museum of Modern Art, Tokyo), exhibited at the 6th Nitten exhibition (1950), and in 1958 (Showa 33), he became a member of the Japan Art Academy.

[Tadashi Kobayashi]

"Complete Works of Ito Shinsui, supervised by Hamada Daiji and Hosono Masanobu, 6 volumes (1981-82, Shueisha)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

日本画家、版画家。東京・深川の商家に生まれ、本名は一(はじめ)。1911年（明治44）鏑木清方(かぶらききよかた)に入門、翌年から巽画会(たつみがかい)、日本美術院展に出品、入選する。16年（大正5）版元渡辺庄三郎の主唱する画家・彫師(ほりし)・摺師(すりし)三者分業の「新版画」運動に参加、当時流行の創作版画運動とは別に、浮世絵以来の木版画の伝統を創造的に継承してみせた。『対鏡』（1916）、『新美人十二姿の内』（1922～23）などの美人版画のほか、風景版画にも『近江(おうみ)八景』（1917）のような傑作を生んでいる。また、日本画においては、好子夫人をモデルに描いた『指』（1922）、『湯気』（1924）により美人画家としての声価を定着、昭和期に入って、帝展、日展の中心画家として活躍した。第11回帝展（1930）出品の『浄晨(じょうしん)』（目黒雅叙園蔵）、第6回日展（1950）出品の『聞香(もんこう)』（東京国立近代美術館）など、つねに時代の推移を反映した現代風俗の美人画を追求、58年（昭和33）日本芸術院会員となる。

［小林　忠］

『濱田台兒・細野正信監修『伊東深水全集』全6巻（1981～82・集英社）』

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