Continuing to use this site, you agree with this. Sometime during his childhood Utamaro came under the tutelage of Sekien, who described his pupil as bright and devoted to art. According to some sources, the experience crushed him emotionally and ended his career as an artist. The scholar and artist Sekien served as Utamaro’s teacher until Seiken’s death in 1788.

Utamaro then went on to produce several series of well-known works, all featuring women of the Yoshiwara district. [51] The painter character Seiji Moriyama in the British novelist Kazuo Ishiguro's An Artist of the Floating World (1986) has a reputation as a "modern Utamaro" for his combination of Western techniques Utamaro-like feminine subjects. In about 1791 Utamaro gave up designing prints for books and concentrated on making single portraits of women displayed in half-length, rather than the prints of women in groups favoured by other ukiyo-e artists. Exhibitions in Paris of Japanese art began to be staged in the 1880s, include an Utamaro exhibition in 1888 by the German-French art dealer Siegfried Bing. Among his best-known works are the series Ten Studies in Female Physiognomy, A Collection of Reigning Beauties, Great Love Themes of Classical Poetry (sometimes called Women in Love containing individual prints such as Revealed Love and Pensive Love), and Twelve Hours in the Pleasure Quarters. [citation needed] His work appeared from at least 60 publishers, of which Tsutaya JÅ«zaburō and Izumiya Ichibei were the most important. The earliest surviving copy, the Ukiyo-e Kōshō, wrote of Utamaro:[55], The earliest comprehensive historical and critical works on ukiyo-e came from the West,[56] and often denied Utamaro a place in the ukiyo-e canon. Evidence of his prints for the next few years is sporadic, as he mostly produced illustrations for books of kyōka ("crazy verse"), a parody of the classical waka form. about our upcoming exhibitions, events, featured artists, special promotions, and more! [41] Due to his popularity Utamaro had many imitators, some of whom likely signed their work with his name; this is believed to include students of his and his successor, Utamaro II.

They were printed by using a large number of woodblocks, one for each colour.

[14], Utamaro's first published work may be an illustration of eggplants in the haikai poetry anthology Chiyo no Haru[d] published in 1770. Utamaro and EnjÅ« appeared to have worked on a previous book together during 1781: Renowned Beauties from the Six Best Houses, "Utamaro woodblock print fetches world-record €745,000 in Paris", Utamaro's books in the Fitzwilliam Museum, Cambridge, Kitagawa Utamaro Online at www.artcyclopedia.com, Srpskohrvatski / српскохрватски. [34] On rare occasions Utamaro signed his work "the genuine Utamaro"[n] to distinguish himself from these imitators. [9], Little is known of Utamaro's life.

Over the years, he also occupied himself with a number of volumes of animal, insect, and nature studies and shunga, or erotica. [29] Utamaro's censored prints include one of the daimyō Katō Kiyomasa lustily gazing at a Korean dancer at a party,[30] another of Hideyoshi holding the hand of his page Ishida Mitsunari in a sexually suggestive manner,[31] and another of Hideyoshi with his five consorts viewing the cherry blossoms at the temple Daigo-ji in Kyoto, a historical event famous for displaying Hideyoshi's extravagance. [m][33] Apparently with no heirs, his tomb at the temple Senkōji [ja] was left untended. Although his imprisonment was brief, he never recovered from this blow, and he died two years later. Some believe that this broke his spirit, for he died in Edo two years later. A partial list of his print series and their dates includes: Three Beauties of the Present Day c. 1793, Hairdresser from the series Twelve types of women's handicraft, Hari-shigoto ("Needlework"), c. 1794–95, The Courtesan Ichikawa of the Matsuba Establishment from the series Famous Beauties of Edo, Karagoto of the House of Chojiya in Edo-cho Nichome from the series A Comparison of Courtesan Flowers, Man lubricating a male prostitute while someone in the background peeks through the curtains and watches. Shunga prints were quite acceptable in Japanese culture, not associated with a negative concept of pornography as found in western cultures, but considered rather as a natural aspect of human behavior, and circulated among all levels of Japanese society.

All rights reserved. [36] Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background.

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