especially the sooty black. Blind printing is also employed with particular frequency.
Harunobu is said to have left a son or pupil, Harunobu II., who learned to draw in the Dutch (European) style (Anderson Catalogue, p. 342). Fenollosa names another pupil of Harunobu, Fujinobu (Catalogue, No. 163; see under Shigenaga), also Kuninobu (No. 164). Suzuki Haruji, of whom we have kakemono-ye, was very similar to the master, and therefore probably his pupil. The following are further mentioned as his pupils: Harushige, his son, who worked principally in the seventies (Hayashi Catalogue, No. 415); Harutsugu (ibid., No. 419 seqq.); Haruhiro, i.e. Koriusai (see below); Muranobu (ibid., No. 422); Uchimasa (ibid., No. 423).
Among contemporaries of Harunobu may be mentioned: Miyagawa Tominobu (Hayashi Catalogue, No. 354); Minko, of Osaka, who came to Yedo in 1760 (ibid., Nos. 406, 407) and illustrated books about 1765 and 1770; Uyeno Shoha (ibid., No. 408); Soan (ibid., No. 409); Morino Sogiku (ibid., No. 410); Kogan (ibid., No. 411); Shoshoken (ibid., No. 412); Soshosai Seiko (ibid., No. 413).
Yamato Yoshinobu, often confused with Harunobu, was very likely also a pupil of Shigenaga (Hayashi Catalogue, No. 350), and worked at two-colour prints of very delicate and naive character towards the end of the fifties (Fenollosa, No. 95); he was perhaps the same person as the later Komai Yoshinobu (Fenollosa, No. 167). Another pupil of Shigenaga was Shigemasa, who began with three-colour prints about the middle of the sixties, and soon after, at the same time with Harunobu, turned to polychrome prints, continuing thenceforward, beside Harunobu, as one of the principal masters of this school. Before, however, we give our attention to him and the remaining contemporaries of Harunobu, it will be necessary to speak of an artist who, as the immediate continuer of Harunobu, so completely assimilated
