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Japanese artist Kobayakawa Kiyoshi (小早川清) depicts the famous prewar singer and geisha Ichimaru (市丸) whom Kobayakawa favored as a model. The 1933 painting’s theme of a “cool evening” is not only weather, but it’s also an atmosphere of control via elegance performed with precision, then held in suspension between song, conversation, and solitude. 

The adult Japanese woman stands on pale tatami mats in a private room of a traditional Japanese restaurant. Her face is softly powdered, with small red lips and a composed, almost inward expression. Her gaze turns to the side rather than meeting ours. Her dark hair is arranged in a smooth, formal coiffure. She wears a black kimono that falls in a long, quiet column, the hem blooming with delicate gray-white motifs that read like flowering branches against night-dark fabric. A patterned obi wraps her waist, its surface alive with gold, rust, and small floral emblems. She holds a round uchiwa fan suggesting heat and a deliberate, practiced cooling gesture. Her fan becomes a small emblem of agency, a tool that moderates heat and attention alike. 

To the left, a low red-lacquer table offers a still-life of hospitality with a decorative bowl filled with fruit and a small cup set nearby. Behind her, a artsy garden scene spreads in muted greens showing stones, shrubs, and layered foliage partly framed by a bamboo blind and the dark beams of an eave overhead. The room feels hushed and spacious, with generous empty ground around her body, as if the air itself is part of the portrait. The overall tone is restrained color, softened edges, and a calm is definitely not passivity.

This work was shown at the 14th Teiten and received a special prize, marking a turning point as Kobayakawa moved more fully into contemporary portrayals of women. Trained in Nihonga in Tokyo under Kaburagi Kiyokata, he uses the restaurant’s quiet geometry of tatami lines, blind, and eave to stage Ichimaru as both modern celebrity and timeless ideal.

Japanese artist Kobayakawa Kiyoshi (小早川清) depicts the famous prewar singer and geisha Ichimaru (市丸) whom Kobayakawa favored as a model. The 1933 painting’s theme of a “cool evening” is not only weather, but it’s also an atmosphere of control via elegance performed with precision, then held in suspension between song, conversation, and solitude. The adult Japanese woman stands on pale tatami mats in a private room of a traditional Japanese restaurant. Her face is softly powdered, with small red lips and a composed, almost inward expression. Her gaze turns to the side rather than meeting ours. Her dark hair is arranged in a smooth, formal coiffure. She wears a black kimono that falls in a long, quiet column, the hem blooming with delicate gray-white motifs that read like flowering branches against night-dark fabric. A patterned obi wraps her waist, its surface alive with gold, rust, and small floral emblems. She holds a round uchiwa fan suggesting heat and a deliberate, practiced cooling gesture. Her fan becomes a small emblem of agency, a tool that moderates heat and attention alike. To the left, a low red-lacquer table offers a still-life of hospitality with a decorative bowl filled with fruit and a small cup set nearby. Behind her, a artsy garden scene spreads in muted greens showing stones, shrubs, and layered foliage partly framed by a bamboo blind and the dark beams of an eave overhead. The room feels hushed and spacious, with generous empty ground around her body, as if the air itself is part of the portrait. The overall tone is restrained color, softened edges, and a calm is definitely not passivity. This work was shown at the 14th Teiten and received a special prize, marking a turning point as Kobayakawa moved more fully into contemporary portrayals of women. Trained in Nihonga in Tokyo under Kaburagi Kiyokata, he uses the restaurant’s quiet geometry of tatami lines, blind, and eave to stage Ichimaru as both modern celebrity and timeless ideal.

“旗亭涼宵 (Cool Evening at a Restaurant)” by 小早川清 / Kobayakawa Kiyoshi (Japanese) - Colored pigment on silk / 1933 - Fukuoka Art Museum (Japan) #WomenInArt #福岡市美術館 #FukuokaArtMuseum #KobayakawaKiyoshi #小早川清 #Kobayakawa #Nihonga #日本画 #Bijinga #美人画 #Geisha #芸者 #artText #art #JapaneseArt #JapaneseArtist

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A young adult woman is shown from the chest up, turned in three-quarter view as if she has just glanced back over her shoulder. Her skin is pale and softly modeled against a luminous mica background that would shimmer silver in the light, making the quiet scene feel gently radiant. Her dark hair is parted and smoothed into a low, rounded bun, with a loose strand framing her cheek. One hand lifts a thin cloth to her face … more a dab than a wipe … capturing the practical tenderness of drying off after bathing. Her eyes are almond-shaped and half-lidded, looking down and towards us. Her mouth is small and relaxed, the expression calm, inward, and unhurried. She wears a dark robe that slips low across her shoulders, revealing the curve of neck and collarbone without dramatizing her body. The composition crops away the room entirely, so the focus stays on touch, breath, and the sensation of skin meeting cloth.

In shin-hanga (新版画) bijin-ga (美人画), modern femininity is often staged as elegance, but here it’s anchored in something more private. We are presented a threshold between warmth and air, water and dryness, public gaze and self-possession. “After the bath” becomes a kind of boundary ritual, where care is both ordinary and profound. The mica backdrop lends a cinematic glow, yet the woman’s lowered gaze resists turning intimacy into spectacle. She seems to confidently belong to herself first. 

Japanese artist Kobayakawa Kiyoshi’s (小早川清) women frequently feel contemporary for their time with sleek hair, simplified forms, and psychological distance to match the early Shōwa (昭和時代) era appetite for images that were modern but still intensely controlled. This print holds that tension beautifully as it offers closeness (we can almost feel the towel’s light drag) while preserving privacy. The result is less a portrait of a type than a portrait of a moment … and an elegant pause in which quiet self-care reads as dignity and agency.

A young adult woman is shown from the chest up, turned in three-quarter view as if she has just glanced back over her shoulder. Her skin is pale and softly modeled against a luminous mica background that would shimmer silver in the light, making the quiet scene feel gently radiant. Her dark hair is parted and smoothed into a low, rounded bun, with a loose strand framing her cheek. One hand lifts a thin cloth to her face … more a dab than a wipe … capturing the practical tenderness of drying off after bathing. Her eyes are almond-shaped and half-lidded, looking down and towards us. Her mouth is small and relaxed, the expression calm, inward, and unhurried. She wears a dark robe that slips low across her shoulders, revealing the curve of neck and collarbone without dramatizing her body. The composition crops away the room entirely, so the focus stays on touch, breath, and the sensation of skin meeting cloth. In shin-hanga (新版画) bijin-ga (美人画), modern femininity is often staged as elegance, but here it’s anchored in something more private. We are presented a threshold between warmth and air, water and dryness, public gaze and self-possession. “After the bath” becomes a kind of boundary ritual, where care is both ordinary and profound. The mica backdrop lends a cinematic glow, yet the woman’s lowered gaze resists turning intimacy into spectacle. She seems to confidently belong to herself first. Japanese artist Kobayakawa Kiyoshi’s (小早川清) women frequently feel contemporary for their time with sleek hair, simplified forms, and psychological distance to match the early Shōwa (昭和時代) era appetite for images that were modern but still intensely controlled. This print holds that tension beautifully as it offers closeness (we can almost feel the towel’s light drag) while preserving privacy. The result is less a portrait of a type than a portrait of a moment … and an elegant pause in which quiet self-care reads as dignity and agency.

“湯上がり (After the Bath)” by 小早川清 / Kobayakawa Kiyoshi (Japanese) - Woodblock print on paper (mica ground) / c. 1933 - British Museum (London, England) #WomenInArt #BritishMuseum #KobayakawaKiyoshi #小早川清 #Kobayakawa #ShinHanga #BijinGa #JapanesePrint #art #artText #artwork #新版画 #美人画 #JapaneseArtist

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