Yet, in spite of all the distortions and exaggerations and displacements, Sharaku's satyrical faces live.
But Shunyei never reached the point to which Sharaku is now coming.
In the large double-portraits Sharaku tears the mask of humanity aside and shows the very beast.
Great distinction of composition marks all of Sharaku's work.
Dr. Kurth assumes, for the greater glory of Sharaku, that he was the precursor; but the question cannot be regarded as settled.
It is still uncertain whether Sharaku or Shunyei was the inventor of this type of large bust-portrait.
But on the whole his second period shows Toyokuni as only slightly more original than in the Sharaku period.
To call Sharaku a realist is a silly, untruthful attempt to muffle in words forces that one does not understand.
How one longs for one more work from Sharaku's hands—a portrait of himself, seated in the stalls, watching the play at its height!
This type is a composite of Kiyonaga, Yeishi, and Sharaku, but ultimately unlike any of them in its effect.