Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
View of Mitsumata in the Eastern Capital - Utagawa Kuniyoshi
Prezzo originale
£28.00 GBP
Prezzo scontato
£28.00 GBP
Prezzo originale
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A woodblock print by Utagawa Kuniyoshi depicting boat maintenance on the banks of the Sumida River in Edo.
This woodblock print by Utagawa Kuniyoshi depicts the Mitsumata area of Edo, known today as Tokyo. It belongs to the series Views of the Eastern Capital, a collection that documents the urban geography and daily life of the city during the late Edo period. The composition focuses on the riverbank, where two men tend to a fire beneath a boat, a process used to heat and soften the wood for maintenance or repair. A thick column of dark smoke rises from the flames, contrasting with the clear blue sky and the calm water of the Sumida River.
In the background, the Eitai Bridge spans the river, connecting the bustling districts of the city. Kuniyoshi employs a clear, linear style to define the architectural elements and the figures, while the use of Prussian blue provides a sense of depth to the water. The print captures a specific moment of industrial activity within the city, showing the intersection of human labour and the natural environment. The inclusion of small boats and distant buildings provides a sense of scale, grounding the scene in the reality of the period. Kuniyoshi, a master of the Ukiyo-e tradition, demonstrates his ability to balance technical precision with atmospheric observation. The print serves as a record of the maritime culture that defined Edo, where the river served as a primary artery for transport and commerce. The work reflects the artist's interest in the changing appearance of the city, documenting both the permanent structures and the transient actions of its inhabitants.
Politica di reso
Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
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Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
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- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
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- Spolvera delicatamente con un panno morbido e asciutto
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Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
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View of Mitsumata in the Eastern Capital - Utagawa Kuniyoshi
Prezzo originale
Da £28.00 GBP
Prezzo scontato
Da £28.00 GBP
Prezzo originale
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Utagawa Kuniyoshi
Kuniyoshi's father was a silk dyer in Edo. The boy helped with pattern design, which gave him an instinct for colour and textile decoration that shows in every print he made. At twelve he caught the attention of Utagawa Toyokuni, the head of the Utagawa school, and was admitted as a student. He was given the name Kuniyoshi in 1814 and became independent.
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
For the first thirteen years he struggled. The breakthrough came in 1827 with a commission to illustrate the 108 Heroes of the Suikoden, a Chinese adventure novel. He drew tattooed warriors in dynamic poses that broke out of the frame, the tattoos rendered with a detail that started a fashion in Edo. The series was enormously popular and established him as the leading designer of warrior prints.
He loved cats. His studio was always full of them, and he often worked with a kitten tucked inside his kimono. When a cat died, he sent it to a nearby temple, and he kept a Buddhist altar for his deceased cats at home. Cats appear constantly in his prints: as substitute actors in kabuki scenes, as letter-forms in playful alphabets, as parodies of famous paintings. Government censorship in the 1840s prohibited the depiction of actors and courtesans by name, so Kuniyoshi gave them cat faces, which was technically legal and funnier.
His range was unusual for an ukiyo-e artist. Warriors, landscapes, beautiful women, ghosts, satirical cartoons, cats. He was equally comfortable with the heroic and the absurd, sometimes on the same sheet. His triptych of the giant skeleton spectre, from the tale of Takiyasha the Witch, is one of the most reproduced images in Japanese art.
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Fine Art Framed
From £45
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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