from Kinu around 1883 and remarried in 1884 to Tajima Yoshiko (, d. 13 April 1912), with whom he had three further daughters: Natsuko (, b. 1886), Seiko (, 1890–99), and Katsu (, b. 1894). Style and analysis His caricatures in the Marumaru Chinbun probably represent Kiyochika's best-remembered work. The humour frequently targeted differences between the Japanese and foreigners, whose numbers were increasing in Japan, albeit restricted to certain locations, under the conditions of the unequal treaties the Meiji government had been coerced into signing. Kiyochika depicted foreigners as foolish and whose inexpensive modern wares he presented as aesthetically inferior to traditional domestic ones. Kiyochika's open criticism of the foreign community was unusual amongst contemporary caricaturists. He depicts the Russians as cowardly buffoons in his caricatures from the Russo-Japanese War period; generally they are of lower quality than his earlier cartoons. Kiyochika's prints show a concern with light and shadow, most likely an influence of the Western-style painting that came in vogue in Japan in the 1870s. He used a subdued palette in his prints without the harsher aniline dyes that had come into use earlier in the century. His specialty was night scenes illuminated by sources within the composition, such as by lamps. The colours give his prints a sombre air that discourages a clearly affirmative reading of the modernization it depicts. Kiyochika employed Western-style geometric perspective, volumetric modeling, and chiaroscuro to a degree that distinguishes his work from the majority of his ukiyo-e predecessors. His compositions display the influence of Hiroshige in how objects in the frame are often cut off at the edges. Kiyochika's woodblock prints stand apart from those of the earlier Edo period, incorporating not only Western styles but also Western subjects, as he depicted the introduction of such things as horse-drawn carriages, clock towers, and railroads to Tokyo. The modern cityscapes typically form a backdrop to human comings-and-goings rather than the focus itself and appear to observe rather than celebrate or deny Meiji industrial modernization and its promotion of fukoku kyōhei ("enrich the state, strengthen the military"); in contrast, Kiyochika's contemporary Yoshitoshi with his samurai battle prints glorified conservative values against the ideals of Westernization. During the Edo period most ukiyo-e artists regularly produced shunga erotic pictures, despite government censorship. In the Meiji period censorship became stricter as the government wanted to present a Japan that met the moral expectations of the West, and