Kitagawa Utamaro

Key facts

Lived

1753–1806, Japanese^[1]

Movement

• Ukiyo-e

^[1]

• How did kitagawa utamaro died?+

  Kitagawa Utamaro died in 1806^[1] at the age of 53.
• What is kitagawa utamaro?+

  The provided texts do not specify what Kitagawa Utamaro was.
• What is Kitagawa Utamaro's most famous work?+

  Kitagawa Utamaro (1753^[1]-1806^[1]) is well known for his portraits of beautiful women (bijin), and for his erotic works (shunga). He is particularly noted for his half-length and large-head portraits (okubi-e) of bijin, which were published in the early 1790s. These prints presented a close-up view of women, from just below the waist upwards, or just the head and shoulders. Utamaro's specialisation in bijin prints began after producing actor prints in the style of Katsukawa Shunshō. He was influenced by Torii Kiyonaga and Kitao Masanobu. By the early 1790s, Utamaro had developed his own style, replacing Kiyonaga as the foremost designer of prints of beautiful women. One of Utamaro's most celebrated works is the shunga album 'Poem of the Pillow' (Uta makura), dating from about 1788^[1]. The Victoria and Albert Museum holds a print from this series called 'Lovers'. Utamaro was also successful in capturing erotic scenes. An example of an ōkubi-e is from the series “Seven Komachis from the Pleasure Quarters” (Seirō nana Komachi), issued around 1796.
• What should I know about Kitagawa Utamaro's prints?+

  Kitagawa Utamaro (1753^[1]-1806^[1]) is known for his portraits of women (bijin), and for his erotic works (shunga). He was apprenticed to Toriyama Sekien, and his earliest known work is an illustration from 1770^[1]. He produced actor prints and book illustrations from 1775 under the name Kitagawa Toyoaki. Utamaro's bijin prints moved away from idealised depictions. Instead, he portrayed actual women; tea-house attendants such as Okita, Ohina and Ohisa were among his favourite models. He aimed to capture their personality, character, and mood. In the early 1790s, he produced half-length and "large-head" (okubi-e) portraits, which were a departure from previous styles. Utamaro's prints often feature a signature, typically found on the lower part of the work. Before 1791-92, he signed his work "Utamaro ga"; afterwards, he used "Utamaro hitsu". His publishers included Tsutaya Jūzaburō and Izumiya Ichibei. In 1804, Utamaro was jailed for depicting historical figures in his prints. Some works attributed to him may be by his pupil, Utamaro II. He died in 1806.
• What style or movement did Kitagawa Utamaro belong to?+

  Kitagawa Utamaro belonged to the Ukiyo-e^[1] movement, which flourished in Japan from the 17th through 19th centuries. Ukiyo-e, meaning 'pictures of the floating world', is known especially for its woodblock prints. Utamaro's earliest known work is an illustration from 1770^[1]. He began producing actor prints in 1775, and around 1781, he changed his name from Toyoaki to Utamaro. During the 1780s and early 1790s, Utamaro developed his own style, becoming a central figure in Edo's literary and artistic circles. He is particularly praised for his sensual and elegant portrayals of women, especially in his 'large-head pictures' (okubi-e). Utamaro's Ukiyo-e prints capture the essence of his subjects' personalities, character, and mood. He also explored the emotional aspects of lovers in series such as 'A Mirror of Flirting Lovers'. Other Ukiyo-e artists working at the same time as Utamaro include Hosoda Eishi, who was initially influenced by Kiyonaga and then Utamaro.
• What techniques or materials did Kitagawa Utamaro use?+

  Kitagawa Utamaro (1753^[1]-1806^[1]) was a Japanese^[1] artist who primarily worked with woodblock printing, a technique known as *ukiyo-e*. This method involved several key steps. First, the artist created a design. Skilled block cutters then transferred this design onto woodblocks, usually cherry. Separate blocks were needed for each colour in the final print. Utamaro used a range of colours, often employing subtle gradations and delicate tones. These colours were made from natural pigments mixed with water and a binding agent. The printing process itself was done by hand, with printers carefully applying the colours to the blocks and then pressing them onto paper. The paper used was typically thin and absorbent, allowing the colours to soak in and create a smooth finish. Utamaro’s skill lay not only in his designs but also in his ability to collaborate with block cutters and printers to achieve the desired artistic effect. This collaborative process was essential to the production of *ukiyo-e* prints.
• When did kitagawa utamaro born?+

  Kitagawa Utamaro was born in 1753^[1] in Japan. Kitagawa Utamaro died in 1806^[1], aged 53.
• Where can I see Kitagawa Utamaro's work?+

  Kitagawa Utamaro's works can be viewed in several locations worldwide. The Tokyo National Museum has a collection of 14,000 prints, including examples of Utamaro's surimono (privately commissioned woodblock prints). The catalogue is available in both Japanese^[1] and English. The Japan Ukiyo-e^[1] Society in Tokyo also organises periodic exhibitions of members' prints in department stores. In Europe, the Rijksmuseum in Amsterdam has a collection of surimono, including works by Utamaro; however, it has not yet been catalogued. The Museum für Kunst und Gewerbe in Hamburg also owns a collection of approximately 300 surimono, with ukiyo-e artists well represented. In the United States, the Fogg Museum at Harvard University possesses a large surimono collection, though it has not been catalogued. Utamaro is represented in their collection, though less so than some other artists.
• Who did Kitagawa Utamaro influence?+

  Utamaro's artistic journey began with studies under Toriyama Sekien. His early works, such as the illustration in the 1770^[1] *haikai* anthology *Eternal Spring*, were signed Sekiyō. He then produced actor prints in the style of Katsukawa Shunshō. However, he soon specialised in images of beautiful women (*bijin*), influenced by Torii Kiyonaga and Kitao Masanobu. By the early 1790s, Utamaro had developed his own style, moving away from idealised portrayals to depicting actual women, such as tea-house attendants Okita, Ohina, and Ohisa. He captured the essence of their personality, character, and mood. Utamaro dominated the *bijinga* genre from the 1790s onward. Hosoda Eishi, of samurai origin, initially painted in the style of Kiyonaga, and then Utamaro. Some works assigned to Utamaro were possibly by his pupil, Utamaro II.
• Who is kitagawa utamaro?+

  Kitagawa Utamaro was a Japanese^[1] print artist, working from 1775^[1] until his death in 1806^[1]. Little is known about his early life, but he is considered one of the better-known print artists outside of Japan.
• Who was Kitagawa Utamaro?+

  Kitagawa Utamaro (1753^[1]-1806^[1]) was a Japanese^[1] print artist of the Ukiyo-e^[1] school. Outside Japan, he is one of the better-known artists of the form. Utamaro was a student of Toriyama Sekien (1712-1788^[1]). His earliest known work is an illustration of aubergines, signed Sekiyō, in the 1770^[1] anthology "Eternal Spring". He produced book illustrations and actor prints starting in 1775 under the name Kitagawa Toyoaki. Around 1783, he began using the art surname Kitagawa. Utamaro is known for half-length and "large-head" portraits of women (bijin), published in the early 1790s. These close-up views of women, from just below the waist upwards or head and shoulders alone, were set against backgrounds devoid of drawing, but embellished with mica. This focused attention on the individual, allowing for a greater degree of intimacy. He also designed full-length portraits and groups of women, sometimes in multiple-sheet prints. In 1805, Utamaro was imprisoned for a print that portrayed a loosely disguised Hideyoshi, violating laws against depicting historical figures.
• Why are Kitagawa Utamaro's works important today?+

  Kitagawa Utamaro (1753^[1]-1806^[1]) was a leading designer of ukiyo-e woodblock prints in Japan. His work is important today for several reasons. Utamaro shifted ukiyo-e away from its earlier focus on actors, courtesans, and generic beauties. He instead created intimate, individualised portraits of women from the pleasure districts. These portraits captured nuances of emotion and character, rather than idealised types. His close observation of the human condition is a component that contributes to the still-contemporary character of his works. Utamaro’s openness in the interpretations of his oeuvre is evident in recent years, as with the notion of contemplating the works in the context of the convivium, room for divergent opinions and an invitation to exchange ideas are also seen as possible intentions behind his paintings. Utamaro's prints also document the fashions, customs, and social life of Edo-period Japan. They offer insights into the daily lives of ordinary people; their beauty rituals, their clothing, and their leisure activities. Utamaro's work provides a valuable historical record.