Fine Art Poster
From £28
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.
Yazama Kihei Mitsunobu - Utagawa Kuniyoshi
Ordinarie pris
£28.00 GBP
Reapris
£28.00 GBP
Ordinarie pris
Arkivbeständigt giclée-tryck
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Beskrivning
Ett träsnitt av Utagawa Kuniyoshi som föreställer Yazama Kihei Mitsunobu, en figur från berättelsen om de fyrtiosju roninerna. Trycket visar Kuniyoshis dynamiska stil och fantasifulla färganvändning.
Utagawa Kuniyoshi (1797-1861) var en framstående japansk ukiyo-e-konstnär under den sena Edo-perioden. Han är berömd för sina dynamiska och fantasifulla tryck, särskilt de som skildrar historiska och mytologiska ämnen. Kuniyoshis verk kännetecknas av dess djärva kompositioner, uttrycksfulla figurer och uppfinningsrika färganvändning. Han var en mästare på träsnittstekniken, och hans tryck har ofta komplexa mönster och fina detaljer. Kuniyoshis inflytande sträckte sig till senare generationer av konstnärer, och hans tryck är fortfarande mycket eftertraktade av samlare och entusiaster. Detta tryck föreställer Yazama Kihei Mitsunobu, en figur från berättelsen om de fyrtiosju roninerna, en historisk händelse som blev ett populärt ämne inom japansk konst och teater. Roninerna var en grupp samurajer som hämnades sin herre, Asano Naganoris död, och sedan begick seppuku (rituellt självmord) som krävdes av bushido (samurajkoden). Trycket visar Yazama Kihei Mitsunobu i en dynamisk pose, hållande en lång stång med en tygbit fäst. Han är klädd i mönstrade kläder, med svärd vid sin sida. Trycket är fyllt med text, typiskt för ukiyo-e-tryck, vilket ger ytterligare information om motivet.
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Tillverkning
Varje tryck produceras på beställning med 12-färgs gicléetryck på FSC-certifierat arkivpapper. Designade i Storbritannien och tryckta vid närmaste produktionsanläggning för att minska avfall och snabba upp leveransen.
Komplettera looken
Yazama Kihei Mitsunobu - Utagawa Kuniyoshi
Ordinarie pris
Från £28.00 GBP
Reapris
Från £28.00 GBP
Ordinarie pris
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.
Våra funktioner
Utformad för varaktig inverkan
Specifika funktioner
Varje Solis-konstverk tillverkas på beställning med arkivbeständiga material av gallerikvalitet som är byggda för att hålla.
- Giclée-tryck i museikvalitet för fylliga, blekningsbeständiga färger
- Arkivbeständigt matt konstpapper, FSC-certifierat
- Flera storlekar och inramningsalternativ tillgängliga
- Ramar i svart, naturträ, mörkt trä eller vitt
- Inramade tryck levereras klara att hänga upp
Skötsel & rengöring
För att bevara ditt konstverk i bästa skick:
- Damma försiktigt med en mjuk, torr trasa
- Undvik långvarigt direkt solljus
- Använd aldrig flytande rengöringsmedel på trycket eller dukytan
- Förvara på en torr plats i rumstemperatur
- Hantera tryck med rena, torra händer
Material och storlek
Gicléeutskrift av museikvalitet på FSC-certifierat matt arkivpapper, med inramade alternativ och alternativ på canvas.
- Pappersstorlekar: A4, A3, A2, A1, A0 och B2 (50×70 cm)
- Canvas: XS (20×30 cm) till Large (60×90 cm)
- Ramar: svart, naturligt trä, mörkt trä eller vit
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
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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Material av museikvalitet
Artistbiografi
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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