The Meiji government promoted their use as part of broader policies of Westernization. [163] Especially from 1858 to 1862, Yokohama-e prints documented, with various levels of fact and fancy, the growing community of world denizens with whom the Japanese were now coming in contact;[164] triptychs of scenes of Westerners and their technology were particularly popular. [36] Toyoharu's works helped pioneer the landscape as an ukiyo-e subject, rather than merely a background for human figures. As the artists gained fame, publishers usually covered these costs, and artists could demand higher fees. Printed or painted ukiyo-e works were popular with the merchant class, who had become wealthy enough to afford to decorate their homes with them. The French called it "Japonisme". Artists rarely carved their own woodblocks for printing; rather, production was divided between the artist, who designed the prints, the carver, who cut the woodblocks, the printer, who inked and pressed the woodblocks onto hand-made paper, and the publisher, who financed, promoted, and distributed the works. Following the deaths of these two masters, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline. Censorship increased in strictness over the following decades, and violators could receive harsh punishments. Ukiyo-e nature prints are called kach-e, which translates as "flower-and-bird pictures", though the genre was open to more than just flowers or birds, and the flowers and birds did not necessarily appear together. [11] Woodblock imagery continued to evolve as illustrations to the kanazshi genre of tales of hedonistic urban life in the new capital. Prominent amongst these, [wabi-sabi]] favours simplicity, asymmetry, and imperfection, with evidence of the passage of time;[141] and shibui values subtlety, humility, and restraint. The woodblocks were also traded or sold to other publishers or pawnshops. The fibers of Kozo are very long and soft, and absorb the water colors well which produce not only Japanese woodcut prints' iconic rich and vivid colors but also enhance the special printing effects Harunobu liked to use. [3] Later works appeared by and for townspeople, including inexpensive monochromatic paintings of female beauties and scenes of the theatre and pleasure districts. James Abbot McNeill Whistler, who led both the Tonalism painting movement and the Aesthetic Movement, was greatly influenced by the Japanese prints's use of color and composition. Other publishers followed Watanabe's success, and some shin-hanga artists such as Goy and Hiroshi Yoshida set up studios to publish their own work. Around 1439 the German goldsmith Gutenberg invented the printing press. [242] Amongst the defrauded collectors was American architect Frank Lloyd Wright, who brought 1500 Takamizawa prints with him from Japan to the US, some of which he had sold before the truth was discovered. However, the 20th century saw a revival in Japanese printmaking: the shin-hanga ("new prints") genre capitalized on Western interest in prints of traditional Japanese scenes, and the ssaku-hanga ("creative prints") movement promoted individualist works designed, carved, and printed by a single artist. ", The earliest ukiyo-e artists came from the world of Japanese painting. Less attention was given to accuracy of the women's physical features, which followed the day's pictorial fashionsthe faces stereotyped, the bodies tall and lanky in one generation and petite in another. 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