Collectie
Utagawa Kuniyoshi
Ontdek gecureerde kunstprints, geselecteerd voor karakteristieke woningen en doordachte interieurs.
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Acteur als samoerai met zwaard en pruimenbloesems - Utagawa KuniyoshiPrint
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Zhu Shouchang - Utagawa KuniyoshiPrint
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Afbeelding van Mitsumata - Utagawa KuniyoshiPrint
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Album met achtennegentig prenten uit de serie Ogura-imitaties van honderd gedichten door honderd dichters (Ogura nazorae hyakunin isshu) - Utagawa KuniyoshiPrint
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Het terughalen van het gestolen juweel uit het paleis van de Drakenkoning - Utagawa KuniyoshiPrint
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Vakman bij de twaalf tekens van de dierenriem - Utagawa KuniyoshiPrint
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Een tak van een pruimeboom (Umegoe) - Utagawa KuniyoshiPrint · Framed
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De eerste zangvogel - Utagawa KuniyoshiPrint
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Hakoōmaru, Buyū chikara-gusa - Utagawa KuniyoshiPrint
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Een boot op het water - Utagawa KuniyoshiPrint
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Avondgezichten - Utagawa KuniyoshiPrint
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Jinzaburô, de dienaar van Shikamatsu Kanroku - Utagawa KuniyoshiPrint · Framed
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Miura Jirōemon Kanetsune - Utagawa KuniyoshiPrint · Framed
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Yoshida Chûzaemon Kanesuke - Utagawa KuniyoshiPrint · Framed
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Kaida Yadaemon Tomonobu - Utagawa KuniyoshiPrint · Framed
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Hayano Kanpei Tsuneyo - Utagawa KuniyoshiPrint · Framed
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Hara Gōemon Mototoki - Utagawa KuniyoshiPrint · Framed
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Sumino Jûheiji Tsugufusa - Utagawa KuniyoshiPrint · Framed
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Mase Chūdayū Masaaki - Utagawa KuniyoshiPrint · Framed
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Yazama Kihei Mitsunobu - Utagawa KuniyoshiPrint · Framed
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Tokuda Magodayû Shigemori - Utagawa KuniyoshiPrint · Framed
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Shikamatsu Kanroku Yukishige - Utagawa KuniyoshiPrint · Framed
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Bewondering voor een lantaarn met een geschilderd landschap - Utagawa KuniyoshiPrint · Framed
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Een etiket schrijven voor chrysanten - Utagawa KuniyoshiPrint · Framed
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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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