Azabu Museum of Art, and Osaka Municipal Museum of Art, eds., Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo/Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art, introduction by Kobayashi Tadashi, exh. cat. (Tokyo: Azabu Museum of Art; Osaka: Osaka Municipal Museum of Art, 1988), pl. 79.
Kobayashi Tadashi, ed., Azabu bijutsu kogeikan (Azabu Museum of Arts and Crafts), vol. 6 of Nikuhitsu ukiyo-e taikan (Tokyo: Kodansha, 1995), pl. 61.
Kubota Kazuhiro, "Hokusai musume: Oi Eijo ron" (A discussion of Hokusai's daughter Oi Eijo), Ukiyo-e geijutsu/Ukiyo-e Art 107 (September 1995), fig. 7.
Nakamura Hideki, Hokusai mangekyo: Porifueniiteki shutai e/Gazing at Hokusai's constellation: Toward polyphonic vision (Tokyo: Bijutsu Shuppansha, 1990), pp. 100, 101.
Nikuhitsu ukiyo-e meihin ten (Exhibition of masterpieces of ukiyo-e painting), exh. cat. (Tokyo: Itabashi Art Museum, 1989), pl. 51.
Nikuhitsu ukiyo-e meisaku ten mokuroku (Catalogue of an exhibition of masterpieces of ukiyo-e painting), exh. cat. (Tokyo: Mainichi Shimbunsha, 1957), no. 94.
Nikuhitsu ukiyo-e meisaku ten: Orinpikku Tokyo taikai kinen/The exhibition of ukiyoe hand-paintings [sic]: In commemoration of the Tokyo Olympics, exh. cat. (Tokyo: Mainichi Shimbunsha, 1964), no. 129.
Patricia Fister, Kinsei no josei gakatachi: Bijutsu to jendaa/Japanese Women artists of the Kinsei era, translated and edited by Goto Mikako (Kyoto: Shibunkaku Shuppan, 1994), color pl. p. 228.
Shibui Kiyoshi, ed., Nikuhitsu ukiyo-e bijinga shusei/Ukiyo-e Paintings of Beauties in Japanese Collections, vol. 2 (Tokyo: Mainichi Shimbunsha, 1983), pl. 20.
Tazawa Hiroyoshi, "Azabu bijutsukan shozo nikuhitsu ukiyo-e meihin ten: Tenrankai annai" (Exhibition of ukiyo-e masterpieces in the Azabu Museum of Art: Exhibition news), Ukiyo-e geijutsu/Ukiyo-e Art 94 (October 1988), title pg. illustr.
This gruesome tableau portrays Guanyu, one of the primary heroes of the Chinese historical novel The Romance of the Three Kingdoms, popular in illustrated translations circulated in Japan during the Edo period. After being seriously wounded by an enemy's poisoned arrow, the legendary general calmly carries on with a game of go as a bespectacled physician slices into his outstretched arm in a bloodletting operation.
Throughout much of her career Oi worked by her father's side as one of his most talented pupils. She paints with compulsively meticulous brushwork, bold color schemes, and Western-style shading and lighting effects. Here she uses Hokusai's Katsushika seal--testimony to the close collaboration of father and daughter.