Background
Torii Kiyomitsu (1735–85) was the third-generation head of the Torii School. His common name was Kamejirô, and he is said to have been the second son of the artist Torii Kiyomasu II (鳥居清倍, ca. 1720–50). Kiyomitsu was a leading artist in ukiyo-e circles, especially from 1760 to 1765. In addition to placards and playbills for Kabuki, he also designed many hosoban actor prints and illustrations for popular novels. He faithfully followed the Torii style, but for the most part, did not achieve the strength and vigour of the earlier Torii artists, Instead, scholars generally agree that his yakusha-e (actor prints 役者絵) and bijinga (prints of beautiful women (美人画) possessed a grace, beauty, and "dream-like quality" which, at times, rivaled that of the work of Suzuki Harunobu (鈴木春信 1724–70), who was just beginning his career at this time (ca. 1760). Kiyomitsu experimented outside the field of traditional kabuki-theater sign-painting and actor-print design to emerge into the wider mainstream of ukiyo-e, adapting new techniques and popular subjects. Dividing his work between yakusha-e and bijinga, Kiyomitsu's works were primarily produced as benizuri-e (紅摺絵) rather than hand-coloring keyblock printed works; full-color prints (nishiki-e 錦絵) were introduced around 1765. His most importrant pupils were Torii Kiyotsune (鳥居清経 act. mid-18th century), who faithfully continued the Torii traditions, and Torii Kiyonaga (鳥居清長 1752–1815), who became an innovator with a very different manner of design in bijinga and yakusha-e.
Design:
The actor Azuma Tôzô II (吾妻藤蔵 1724-76) used the name from 1730 to 1747, from 1748 to 1756, and from 1760 until his death in 1776 in Edo. So it would seem that he is portrayed here during his final span of years when he was known as Azuma Tôzô II. Azuma is portrayed with a cart of flowering peony in a large wicker basket. She was the wife of Abe no Munetô (1032–1108), a historical figure who occupied the fort called the Tonomi Palisade (鳥海冊 tonomi-saku) that was established on the north side of Isawa at an uncertain date. In 1061, during the Zenkunen War, Abe no Munetô defeated the Minamoto forces in the Battle of Tonomi Palisade.
Kiyomitsu's print is an example of a benizuri-e (紅摺絵), a two-color ukiyo-e print made with red and green colorants. In our impression, those pigments are remarkably well preserved. It is evident here, as well, that Kiyomitsu was adept at rendering actors in a most charming manner.
The inscription may be given as: Iro mi kusa hana zukushi Abeno Munetô nyôbô Asaka no mae Azuma Tôzô kaomise no/ kaeri bana yoshi fuyu botan, a description indicating "A variety of colors, grasses, and flowers, Abeno Munetô's wife in front of Asaka, after Azuma Tôzô returns from the face-showing (kabuki kaomise) with beautiful flowering winter peony.").
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