Suzuki Harunobu (1725 - 1770). Suzuki Harunobu was a Japanese designer of woodblock print artist in the Ukiyo-e style. He was an innovator, the first to produce full-color prints in 1765, rendering obsolete the former modes of two-and three-color prints. Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties. Like many artists of his day, Harunobu also produced a number of shunga, or erotic images. During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown. Though some scholars assert that Harunobu was originally from Kyoto, pointing to possible influences from Nishikawa Sukenobu, much of his work, in particular his early work, is in the Edo style. His work shows evidence of influences from many artists, including Torii Kiyomitsu, Ishikawa Toyonobu, the Kawamata school, and the Kano school. However, the strongest influence upon Harunobu was the painter and printmaker Nishikawa Sukenobu, who may have been Harunobu's direct teacher. Little is known of Harunobu's early life; his birthplace and birthdate are unknown, but it is believed he grew up in Kyoto. It is said he was forty-six at his death in 1770. Unlike most ukiyo-e artists, Harunobu used his real name rather than an artist name. He was from a samurai family, and had an ancestor who was a retainer of Tokugawa Ieyasu in Mikawa Province; this Suzuki accompanied Ieyasu to Edo when the latter had his capital built there. Harunobu's grandfather Shigemitsu and father Shigekazu were stripped of their hatamoto status when they were found to be involved in financing of gambling and other activities; they were exiled from Edo and relocated to Kyoto. At some point, Harunobu became a student of the ukiyo-e master Nishikawa Sukenobu. Harunobu began his career in the style of the Torii school, creating many works which, while skillful, were not innovative and did not stand out. It was only through his involvement with a group of literati samurai that Harunobu tackled new formats and styles. In 1764, as a result of his social connections, he was chosen to aid these samurai in their amateur efforts to create e-goyomi. Calendars prints of this sort from prior to that year are not unknown but are quite rare, and it is known that Harunobu was close acquaintances or friends with many of the prominent artists and scholars of the period, as well as with several friends of the shogun. Harunobu's calendars, which incorporated the calculations of the lunar calendar into their images, would be exchanged at Edo gatherings and parties. These calendar prints, would be the first nishiki-e. As a result of the wealth and connoisseurship of his samurai patrons, Harunobu created these prints using only the best materials he could. Harunobu experimented with better woods for the woodblocks, using cherry wood instead of catalpa, and used not only more expensive colors, but also a thicker application of the colors, in order to achieve a more opaque effect. The most important innovation in the creation of nishiki-e was the ability of Harunobu, again due to the wealth of his clients, to use as many separate blocks as he wished for a single image; Just 20 years previously, the invention of benizuri-e had made it possible to print in three or four colors; Harunobu applied this new technique to ukiyo-e prints using up to ten different colors on a single sheet of paper. The new technique depended on using notches and wedges to hold the paper in place and keep the successive color printings in register. Harunobu was the first ukiyo-e artist to consistently use more than three colors in each print. Nishiki-e, unlike their predecessors, were full-color images. As the technique was first used in a calendar, the year of their origin can be traced precisely to 1765. In the late 1760s Harunobu thus became one of the primary producers of images of bijinga and kabuki actors of Edo, and of similar and related subjects for the Edo print connoisseur market. In a few special cases, notably his famous set of eight prints entitled Zashiki hakkei, the patron's name appears on the print along with, or in place of, Harunobu's own. The presence of a patron's name or seal, and especially the omission of that of the artist, was another novel development in ukiyo-e of this time. Between 1765 and 1770, Harunobu created over twenty illustrated books and over one thousand color prints, along with a number of paintings. He came to be regarded as the master of ukiyo-e during these last years of his life, and was widely imitated until, a number of years after his death, his style was eclipsed by that of new artists, including Katsukawa Shunsho and Torii Kiyonaga.