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Onde está a obra-prima, e a que horas se abre a porta.

Coleções: Art Institute of Chicago, Galeria Nacional de Arte, Galeria Tretiakov, Getty Villa, Harvard Art Museums, Hermitage, Hirshhorn Museum and Sculpture Garden, Instituto de Artes de Minneapolis, Museu de Arte de Cleveland, Museu de Arte Moderna, Museu do Louvre, Museu Estatal de Amesterdão, Museu J. Paul Getty, Museu Metropolitano de Arte, Museu Nacional de Arte da Dinamarca, Museu Pushkin, Museu Russo, Museu Smithsoniano de Arte Americana, Museu Vitória e Alberto, Museu Whitney de Arte Americana, National Museum of Asian Art, National Portrait Gallery, Catálogo Estatal do Fundo Museológico da Rússia (274 museus), Europeana (19 museus), Wikidata (6 museus), Paris Musées (12 museus) e Joconde, a base de museus do Ministério da Cultura de França (495 museus). As imagens pertencem aos titulares dos direitos.

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  1. Coleção/
  2. Harvard Art Museums/
  3. Two Girls Spooling Thread
Two Girls Spooling Thread, Suzuki Harunobu 鈴木春信, Edo period, circa 1765-1770
SSuzuki HarunobuJapão, 1724–1770

Two Girls Spooling Thread

Edo period, circa 1765-1770 · Print

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Harvard Art Museums

Cambridge, Estados Unidos

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Verificado
há 3 dias
Neste estado desde
27 de set. de 2026
Fonte
O museu
No mapaPágina do museu

Pormenores

Edo period, circa 1765-1770
17241770
Número de inventário
1933.4.2624

No catálogo

GravurasXilogravuraGravuras japonesasRococóNeoclassicismoSéculo XVIIIJapão

Fontes

  • Harvard Art Museums
  • Imagem: Harvard Art Museums — © President and Fellows of Harvard College

Entretanto, na vida de Suzuki Harunobu

A vida inteira
  1. 1764

    E-goyomi calendar prints for a circle of samurai

    Trained in painting at the Kanō school, Harunobu began in the manner of the Torii school — skilful but undistinguished — and found his own style fairly late, only after becoming involved with a circle of literati samurai. In 1764, thanks to his social connections (he was close to many of the period’s prominent artists and scholars and to friends of the shōgun), he was chosen to help these amateurs create e-goyomi — calendar prints that worked the calculations of the lunar calendar into their images and were exchanged at gatherings in Edo.

  2. 1765

    The first full-colour nishiki-e prints

    The calendar prints became the first nishiki-e (“brocade prints”), and their origin is traced to 1765: Harunobu printed a single image from several separate blocks, up to ten colours on a sheet, and was the first ukiyo-e artist to use more than three colours consistently; notches and wedges held the paper in place so that the successive printings stayed in register. Paid for by wealthy patrons, he used the best materials — cherry wood instead of catalpa and more expensive colours applied more thickly for a more opaque effect.

  3. 1765–1770

    Five years at his peak: 20 books and a thousand prints

    Between 1765 and 1770 Harunobu created over twenty illustrated books, over one thousand colour prints (other accounts give more than eight hundred works) and a number of paintings.

  4. 1765–1770

    Recognised as the master of ukiyo-e and widely imitated

    In the last years of his life Harunobu came to be regarded as the master of ukiyo-e and was widely imitated: many artists copied his style during his lifetime.

  5. late 1760s

    Master of bijin-ga and scenes of Edo life

    Harunobu became one of the primary producers of pictures of beautiful women (bijin-ga) and scenes of urban life for the Edo print connoisseur market: his prints include not only geisha, courtesans and sumo wrestlers but also street vendors and errand boys. Accounts differ on portraits of kabuki actors: by some he was among the first to paint them, by others he scornfully refused the subject.

  6. 8 July 1770

    Death

    He died on 8 July 1770; he is said to have been 46.

Mais obras de Suzuki Harunobu

Todas as obras
Een paar met vogelkooi, Suzuki Harunobu

Een paar met vogelkooi

Museu Estatal de Amesterdão

Zwei Mädchen vor einem Spiegelapparat, Suzuki Harunobu

Zwei Mädchen vor einem Spiegelapparat

Albertina

Liefdespaar op tatamimatten., Suzuki Harunobu, c. 1740 - c. 1750

Liefdespaar op tatamimatten.

c. 1740 - c. 1750 · Museu Estatal de Amesterdão

De dichter Yamabe no Akahito kijkend naar de berg Fuji, Suzuki Harunobu, 1761 - 1765

De dichter Yamabe no Akahito kijkend naar de berg Fuji

1761 - 1765 · Museu Estatal de Amesterdão

Chinese dichter uitkijkend over waterlandschap, Suzuki Harunobu, 1761 - 1765

Chinese dichter uitkijkend over waterlandschap

1761 - 1765 · Museu Estatal de Amesterdão

Rijstplanters, Suzuki Harunobu, 1763 - 1767

Rijstplanters

1763 - 1767 · Museu Estatal de Amesterdão

Jonge vrouw en twee meisjes bij een grote sneeuwbal, Suzuki Harunobu, 1763 - 1767

Jonge vrouw en twee meisjes bij een grote sneeuwbal

1763 - 1767 · Museu Estatal de Amesterdão

Meisje en sneeuwbal, Suzuki Harunobu, 1763 - 1767

Meisje en sneeuwbal

1763 - 1767 · Museu Estatal de Amesterdão

Vizinhas de sala: Harvard Art Museums

Página do museu
Glück auf in Deutschland (N:4), Pınar Öğrenci, 2024

Pınar Öğrenci

Glück auf in Deutschland (N:4), 2024

Glück auf in Deutschland (N:10), Pınar Öğrenci, 2024

Pınar Öğrenci

Glück auf in Deutschland (N:10), 2024

Glück auf in Deutschland (N:7b), Pınar Öğrenci, 2024

Pınar Öğrenci

Glück auf in Deutschland (N:7b), 2024

Glück auf in Deutschland (N:6), Pınar Öğrenci, 2024

Pınar Öğrenci

Glück auf in Deutschland (N:6), 2024

Glück auf in Deutschland (N:11), Pınar Öğrenci, 2024

Pınar Öğrenci

Glück auf in Deutschland (N:11), 2024

Dwarpalika (Temple Guardian), Sneha Shrestha, 2023

Sneha Shrestha

Dwarpalika (Temple Guardian), 2023

The Eternal Pond of the Universe, Bingyi 冰逸, 2022-2024

Bingyi 冰逸

The Eternal Pond of the Universe, 2022-2024

Head from a Statue of Ur-Ningirsu, Ruler of Lagash, c. 2113 BCE-2017 BCE

Head from a Statue of Ur-Ningirsu, Ruler of Lagash, c. 2113 BCE-2017 BCE