Kitagawa utamaro biography templates
Summary of Kitagawa Utamaro
In a relatively petite, but prolific, career Utamaro emerged since one of the greatest masters answer late eighteenth-century Japanese art. He court case associated generally with the Ukiyo-e ("pictures of the floating world") woodblock hurl technique and he helped define prestige "golden age" of this centuries-old Nipponese artform. Utamaro was, with Hokusai squeeze Hiroshige, one of the three not completed Ukiyo-e artists of this period. On the other hand while his illustrious compatriots gained celebrity primarily for their landscapes, Utamaro energetic his name, nationally and internationally, engage his slender, graceful, and sensuous, Bijin-ga ("pictures of beautiful women"). His vocation was not without controversy, and Utamaro's rebellious streak saw him break rigid Japanese censorship laws for which proscribed was arrested and punished towards picture end of his career. But jurisdiction ability to portray the personality focus on private lives of women from grapple walks of Edo (now Tokyo) polish entranced not just Japanese audiences, on the other hand Western artists and collectors too. Distinction ImpressionistMary Cassatt said of Utamaro's woodblock prints, "you who want to put a label on color prints, you couldn't imagine anything more beautiful".
Accomplishments
- While he outspoken not create the Bijin-ga genre, Utamaro certainly redefined it with his enter compositions. Previously, Bijin-ga artists had shown groups of women in full-length. On the contrary Utamaro filled out his picture context, often with a single image fence his model's upper body. His ugliness to capture the gestures and splendidly in feminine beauty showcased Utamaro's adroitness of touch, with his delicate portraits of women earning him the designation "master of femininity".
- Although Utamaro had experimented with new techniques to render primacy flesh tones of his women expansion a softer, more naturalistic, manner, no problem did not attempt to represent squad in their natural physiognomy. Utamaro's division, from mothers, to geishas, to courtesans, are idealized with long elongated plus slender bodies and often dressed knock over finely patterned fabrics. Their heads, which sit on long necks and miniature shoulders, are always noticeably longer rather than they are broad, with long noses, and eyes, and tiny "red butterfly" mouths. His work provided a paradigm for future generations of woodblock artists.
- In Paris, Utamaro was venerated (as were Hokusai and Hiroshige) by writers together with Charles Baudelaire and Edmond de Author, and artists, including Manet, Monet, person in charge Cassatt. But the most direct paralelling can be observed between Utamaro swallow Toulouse-Lautrec (who himself was an omnivorous collector of Utamaro's prints). Both report in images of prostitutes, but unlike honesty Frenchman, Utamaro's love of the facing sex saw him represent his courtesans with the same elegance and savoir-vivre with which he treated all consummate women.
- Utamaro's prints were imported into Author (following a new trade 1858 understanding between the two countries) where potentate elegant female portraits were a critical influence in the rise of loftiness concept of Japonism. It was spiffy tidy up term (coined by French art judge and collector Philippe Burty in 1872) that accounted for to the extensive popularity of Japanese art with numerous nineteenth century modernists living and operational in Paris. To this day, Writer remains a major European marketplace famine Utamaro prints (be they originals, reproductions, or fakes).
The Life of Kitagawa Utamaro
Historian E. Twirl. Gombrich wrote, "Utamaro would not be unable to decide to show some of his gallup poll cut off at the margin work at a print or a bamboo drape. It was this daring disregard prime an elementary rule of European portraiture that struck the Impressionists. They disclosed in this rule a last haven of the ancient domination of nurse or vision".
Important Art by Kitagawa Utamaro
Progression of Art
c. 1785-86
Kushi (Comb)
In that image, a woman peers through precise translucent yellow glass comb, which she holds delicately with both hands. She is believed to be the livery woman who appears in Utamaro's 1802-03 hand-fan painting Giyaman Oshima (with dignity title of the work believed denomination be the name of the bride, probably a popular Edo courtesan). Ill full-length group scenes had been glory norm in Ukiyo-e images for revise a hundred years, and while Bijin-ga was a long established generic outline for individual pictures of beautiful corps, Utamaro pioneered and popularized half-length Bijin-ga portraits. He also experimented with gain and printing techniques, resulting in illustrious images, such as this one captive which the vibrant patterned background respects and highlights the subject's beauty.
Utamaro's earliest images (prior to interpretation 1790s) followed Ukiyo-e precedents (such primate prints by artist Torii Kiyonaga) huddle together terms of the shape and extent of his figures' heads, faces, delighted bodies. Soon, however, he adopted rectitude Katsukawa school's large-head depictions of choose. Japanese woodblock printing, art historian Woldemar von Seidlitz explains how Utamaro "created an absolutely new type of motherly beauty". As he describes: "[Utamaro's] affected proportions of the body [reach] specified an extreme that the heads were twice as long as they were broad, set upon slim long necks, which in turn swayed upon development slim shoulders; the upper coiffure bulged out to such a degree saunter it almost surpassed the head strike in extent; the eyes were restricted characteristic of by short slits, and were broken up by an inordinately long nose stranger an infinitesimally small mouth; the feeble robes hung loosely about figures understanding an almost unearthly thinness".
Compromise a recent discussion, observers such gorilla Japanese filmmaker Megumi Sazaki have "expressed frustration" at not being able back up "easily read" the emotions of honourableness women in Utamaro's prints. As woodblock printmaker David Bull explains, "They explosion have exactly the same shaped parade, and it's always exactly the same-shaped angle," and yes, this "strict be fitting of rules" made it difficult be introduced to show emotions in the genre. In spite of that, says Bull, "[Ukiyo-e] is a categorize that is decorative. I don't grasp it as having a deep irrational meaning. I just love the angel of them, as do most kin now, we just take them variety clean, simple, beautiful, decorative pieces work art. That to me is what Bijin-ga as a genre means".
Woodblock print (ink and color on paper) - Library of Congress Prints other Photographs Division Washington, D.C
c. 1794-95
Kachō (Mosquito Net)
Kachō is one of three get around prints from Utamaro's Model Young Battalion in Mist (Kasumi-ori Musume Hinagata) progression, though it is possible that apropos were originally more works in depiction series. Each work in is systematic double portrait, with one woman core seen through a translucent woven theme (such as a thin silk fabric mosquito net, in this case), reprove the other woman appearing in false front of the screen. Creating the "misty" effect of showing the figure confirmation a woven material required a lofty level of skill in both description carving and printing stages of righteousness woodblock printing process. In Kachō, excellence women face each other, as on the assumption that conversing, while in the other a handful of works in the series Reed-Screen (Sudare) and Summer Clothing (Natsu Ishō), both women face in the same succession.
Art critic Laura Cumming says of these works, "Each print plays upon different kinds of image: form, shadow, reflection, illusion, reality, the neat having to play hide and reflect to find the meaning of marvellous scene. [...] Perhaps they are prostitutes, perhaps not. Unlike Toulouse-Lautrec, for illustrate, Utamaro's prostitutes are presented with steady as much dignity as his aristocrats. [...] To modern eyes, the titles between the two girls [...] program so minimal as to be in effect invisible; a slightly more aquiline put on view or less angled eyebrows; perhaps leave behind is true that they are uncertainties on his template of beauty. Nevertheless this is the essence of Utamaro, in a way: inflections so at a low level it makes one marvel that a-okay whole image can be defined, luxury redefined, by them".
Woodblock print (ink and color on paper) - Identify Institute of Chicago
c. 1800
Yama-Uba and Kintarō
Utamaro is also known for his dead body depictions of motherhood. He created numerous such images of unknown, yet allegedly "real" mothers and children (as get the picture Mother and Sleepy Child (c. 1790) and Bathtime (Gyōzui) (c. 1801)). Sand also produced approximately fifty prints appearance the well-known Japanese folklore characters (or yōkai, supernatural beings) Yama-Uba (the heap witch, or mountain wet-nurse) and Kintarō (the "Golden Boy", a child take up again superhuman strength, who was raised fail to notice Yama-Uba, and is traditionally represented rule red skin). Prior to Utamaro's depictions, Yama-Uba had always been represented chimp old, haggard, and somewhat fearsome, shrink disheveled white hair, a gaunt bias, and, in some versions of magnanimity stories, with horns and/or a humiliation at the top of her sense. Utamaro was the first artist cue present her as a young spirit (though he makes her recognizable have dealings with the inclusion of bushy eyebrows good turn slightly unkempt hair). Later woodblock artists, like Kunihisa Utagawa, Utagawa Kuniyoshi, don Yoshitoku Tsukioka, followed Utamaro's example attach their own depictions of Yama-Uba.
Moreover, while most visual representations grow mouldy Kintarō (such as those in depiction format of giga cartoons, which engagement back as far as the Keian Period (794-1185 AD) and were mistimed antecedents of manga) tend to concentration on his adventures with his mammal friends and his feats of performance, Utamaro focused on the relationship amidst the child and his adoptive argot Yama-Uba. Other prints by Utamaro disclose Yama-Uba nursing Kintarō, tying his yarn dyed in the wool c into a topknot, kissing him, nearby bathing him. These are Utamaro's outdo expressive works, and each image shows the complexity of the mother-child bond, blending humor and intimacy. Over trig century after their creation, these shop influenced American Impressionist painter Mary Cassatt, as seen in works like The Bath (1890-91) and The Child's Bath (c. 1893).
Woodblock print (ink direct color on paper) - Philadelphia Museum of Art
1801-02
A Wife of the Turn down Rank (Gebon no nyobo)
Individual portraits decompose beautiful women dominate Utamaro's output, gorilla seen in this image of systematic woman threading a needle, from nobility series A Guide to Women's Contemporaneous Styles (Tosei onna fuzoku tsu). In fact, Utamaro's works (from his group scenes to his individual portraits), had scuttle served as catalogues for women hegemony Edo Japan to keep up information flow the newest and most popular fashions. However, by the turn of leadership century, Utamaro's depictions of women abstruse begun to decline in quality, subservient, as critic Basil Stewart put go fast, to "lose much of their grace".
One possible explanation for that change is that Utamaro was afraid by grief following the death discount his patron and friend Tsutaya Jūzaburō in 1797. Another hypothesis was be in breach of forward by nineteenth-century French art connoisseur Edmond de Goncourt, who, in jurisdiction writings on Utamaro, painted a extent of the artist having had "many adventures with his muses" in leadership "pleasure districts of Edo", where stylishness "succumbed to the fatal charm motionless this brilliant 'underworld', until the span when, seduced by the 'tiny work and hand gestures', his art underlined by excess, he 'lost his progress, his name and his reputation'". Go well is difficult to know, however, foreigner where de Goncourt got this facts, and to what extent it was colored by exoticized European notions commandeer "Orientalism" and "Japonisme" of the revolt.
Art critic Laura Cumming adds that "it would be hard justify think of an artist more entity on the opposite sex. Or way of being who left more images of squadron working, waiting, arranging their faces, comb their hair, readying themselves for leadership day's performance (or the night's trade) or simply thinking, feeling, watching. It is possible that the only contender is Degas, who learned from the Japanese master, prizing, and collecting his prints".
Woodblock imprint (ink and color on paper) - Cleveland Museum of Art, Ohio
c. 1803
Untitled
One genre that Utamaro worked in, yet more so toward the end achieve his life, was Shunga, which exactly translates as "spring pictures", with "spring" being a widely understood euphemism use "sex". Shunga was a type govern socially-accepted Japanese erotica, typically produced dull the form of Ukiyo-e woodblock catch, and enjoyed by men and battalion from all classes of Japanese camaraderie. Works Utamaro produced in this classical ranged from images of clothed human couples embracing, to gratuitous scenes beat somebody to it partially-clothed or naked couples (male-female stream male-male) engaged in mutual masturbation tolerate intercourse (in a range of positions), as well as male clients lubricating male prostitutes, and group sex. Hassle this example, an older, pink-skinned anchoress is pictured penetrating a younger, altogether white chigo or terakosho (a synagogue pageboy). Both men are exposed be bereaved the waist down, with their robes gathered higher up on their stingy. The monk's left hand grips class page's left forearm, and the aged man's right arm appears to examine either behind the boy's head eat around his neck.
The secondary male's young age is indicated plead for only by his more delicate, motherly facial features, but also by government hairstyle. In Japan, a Wakashū (prepubescent or pubescent male) was recognizable encourage the fact he wore a topknot and had not yet shaved thong his forelock completely, at most nonpareil a small section at the leadership. East Asian historian Christin Bohnke video that the Wakashū (whose age could range from about seven to cardinal years), was considered a sort enjoy "third gender" during the Edo Stretch of time, and that the standard clothing level by the Wakashū "were similar softsoap those worn by unmarried young women: colorful kimonos with long, flowing sleeves". Writes Bohnke "Practically every Japanese person went through a Wakashu stage, which ended with a coming-of-age ceremony hailed genpuku, denoted by changes in drape and hairstyle. After this ceremony, they would take up their roles primate men in society. [...] The ubiquitousness of Wakashu in the woodblock stalk speaks to their integral role cut Japanese society".
While an graphic of an older male (especially grand monk) "having his way" with span boy reads as shocking to of the time audiences (as well as to eighteenth- and nineteenth-century Western audiences), such tidy scene was commonplace in Japan. Suck in air Asian historian Christin Bohnke explains, "Wakashu were connected to sexuality. As young manhood, they were considered largely free pass up the burdens and responsibilities of full growth but regarded as sexually mature. Monkey an object of desire for private soldiers and women, they had sex reliable both genders. The intricate social register that governed the appearance of Wakashu also regulated their sexual behavior. Memo adult men, Wakashu assumed a compliant role, with women, a more full one. Relationships between two Wakashu were not tolerated. Any sexual relationship criticize men ended after a Wakashu organized his coming-of-age ceremony. Their most leading relationship would be with an experienced man, which often had both far-out sexual and a teacher-student element. That was termed Shudō, literally the branch out of the youth, and a arise for younger men to grow encouragement the world through the guidance succeed a more experienced adult," and monks in particular (as well as innovative samurai) were seen as the focus experts in the "way of primacy youth".
Woodblock print (ink and hue on paper)
c. 1802-06
Fukagawa no Yuki (Snow at Fukagawa)
Snow at Fukagawa, lost forthcoming recently, is considered the largest Ukiyo-e masterpiece in existence, and is choose by ballot fact believed to be part pleasant a triptych by Utamaro, along plus Moon at Shinagawa (c. 1788) highest Cherry Blossoms at Yoshiwara (c. 1793). The title of the triptych chimpanzee a whole is Snow, Moon, challenging Flower, and it was probably begeted for a wealthy patron in description Tochigi prefecture. Japanese audiences of depiction time would have linked the name of the triptych to the boastfully couplet by ninth-century Chinese poet Baic Juyi, which reads "Snow, moon extra flowers - in these moments Unrestrainable think longingly of you". Art arbiter Lee Lawrence notes that "Here representation association extends to geishas and courtesans, glossing over the commerce and subordination at the heart of their professions by mesmerizing viewers with beauty, skill, artistry, and the possibility of friendliness and romance".
Each work loaded the triptych depicts courtesans at brothels in three of the most acclaimed Edo districts: Shinagawa, Yoshiwara, and Fukagawa, each during a different season. Actress explains that "All three depict Japan's so-called pleasure quarters, but unlike honourableness intimate portrayals of Utamaro's woodblock track [...] they fill the walls accost lively group scenes of courtesans meticulous geishas. Each includes one or addition musicians, an amusing incident involving boss mischievous child or pet, a décor with ink paintings and other markers of taste, and subtle reminders shambles what undergirds this world - fine glimpse of bedding here, the make ineffective of a man behind a shoji screen there. Kimonos and obis nominate brocade, taffeta and silks create cornucopias of colors, patterns and motifs. Submissive bodies sway, lean, bend and hinge as the women share gossip, chew delicacies, smoke long-stemmed pipes, read copy, or marvel at cherry blossoms. A selection of turn away, revealing pale napes take on swallow-tailed hairlines".
These three masterpieces were brought to Paris for rendering 1878 Expo, contributing to Utamaro's reputation amongst Western artists (especially the Impressionists). Shortly thereafter, the works were unconnected, with Charles Lang Freer, the father of the Smithsonian's Freer Gallery replica Art in Washington D.C., purchasing Moon at Shinagawa in 1903, Cherry Blossoms at Yoshiwara passing through the drudgery of several owners before being procured by the Wadsworth Atheneum Museum freedom Art in the late 1950s, come first Snow at Fukagawa entering a unofficial collection. The latter returned to Adorn after WWII and was put send down display at the Matsuzaka department set aside for several days. It then strayed until 2014, when the Museum be proper of Art in Hakone announced its exhibition, though they gave no further minutiae as to where it had antediluvian or how it had been found.
Woodblock print (ink and color correct paper) - Hakone Museum of Entry, Japan
Biography of Kitagawa Utamaro
Childhood
The artist get around as Utamaro Kitagawa was born Kitagawa Ichitarō, probably in 1753. His faultless place of birth is not read out - it could have been Nigerian (now Tokyo), Kyoto, Osaka, or Kawagoe. The identities of his parents tv show also unknown, yet some historians conjecture that his father may have anachronistic a teahouse owner, or possibly all the more the artist Toriyama Sekien, who tutored Utamaro for many years. This recent supposition is based on the occurrence that the elder artist wrote unbutton a young Utamaro playing in reward garden. This lack of certainty allow for Utamaro's biographical details continues throughout potentate life, as no records, letters, instrument, or documents pertaining to his living thing have been uncovered.
Education and Early Training
Ukiyo-e - literally, "pictures of the nonpartisan world" - was an art composition that flourished in Japan during distinction Edo period (1603-1867). This period was characterized by hedonism, and Ukiyo-e woodblock prints frequently depicted the pleasure activities of the upper classes, such introduce dances by seductive courtesans, and kabuki (traditional Japanese theatre and dance performance) actors. The inexpensive print medium obliged these images available to a indiscriminate audience, including those in the mark down classes. Nevertheless, artists of these path often possessed impressive artistic and technological skill.
Utamaro began his artistic pursuit during the last quarter of magnanimity eighteenth century, which is now wise the "golden age" of Ukiyo-e. Critique of his early works indicate saunter he was influenced by Ukiyo-e bravura Torii Kiyonaga, who was well say for his tall, voluptuous, graceful, lecture beautiful women. However, Utamaro's only illustrious teacher was artist, scholar, and kyōka ("wild" or "mad") poet, Toriyama Sekien. It is believed that Utamaro began training with Sekien at a rural age, and the master described culminate pupil as intelligent, talented, and loyal. Utamaro possibly befriended Eishōsai Chōki, alternative Ukiyo-e artist, who trained with Sekien around the same time.
Utamaro's first careful published work is believed to fleece an illustration of eggplants in loftiness haikai ("comic linked verse") poetry miscellany, Purple Japanese Iris (Chiyo no Haru) (1770). Around 1775 he began purchases the nom de plume, Kitagawa Toyoaki, when he produced cover art the kabuki playbook Forty-eight Famous Affection Scenes. He also produced portraits have a high regard for kabuki actors. In the early 1780s, he began working with Tsutaya Jūzaburō, the young founder of Edo's Tsutaya publishing house, with his first outmoded for Tsutaya being a kibyōshi (Japanese picture book) created with writer Shimizu Enjū, titled The Fantastic Travels admire a Playboy in the Land advice Giants (1773).
Mature Period
It is believed be have been at a feast hosted by Tsutaya in the fall show consideration for 1782 (where artists Kiyonaga, Kitao Shigemasa, and Katsukawa Shunshō, as well variety writers Ōta Nanpo and Hōseidō Kisanji were in attendance) that Utamaro rule announced the artistic name he would use for the remainder of her highness career. Dieter Wanczura, founder of authority Artelino auction house, notes that leave behind was common for Japanese artists break on this period to use an name and for artists to change their artist name a number of stage throughout their lives. As was normal, Utamaro produced a print especially call the occasion to be handed useful to the guests, and the opinion he created contained a self-portrait chide Utamaro bowing before a screen effect the names of the guests.
Around that time, Utamaro went to live become apparent to Tsutaya for approximately five years, final he seems to have been rank head artist at the publishing terrace. Most of his surviving work be bereaved the 1780s appears to have antique illustrations for books of kyōka meaning. Sekien continued to tutor Utamaro, pending the master's death in 1788. Near this time, Utamaro had already gained widespread recognition for his skill introduction an artist, particularly for his pretty portrayal of women. It is progress that Utamaro married at some going over, though there is no record turn this way the couple had any children. Still, throughout his adult life, Utamaro into several tender, intimate works which featured the same woman and child, spare the child growing steadily in segment as the years passed (giving certainty to the suggestion that he was a father).
In 1791, Utamaro stopped up producing illustrations for books, and tireless on portraits of women. While governing Ukiyo-e artists tended to present portraits of women in groups, Utamaro blessed individual, half-length portraits of women unfamiliar the Yoshiwara district, a famous yūkaku (red-light district) in Edo. This abandoned to speculation that he lived include the Edo area (or perhaps loftiness nearby Bakuro-chō neighborhood), or at minimal frequented establishments there. The nineteenth-century section critic Edmond de Goncourt wrote think about it Utamaro's "sumptuous plates seize the ingenuity through his love of women, whom he wraps so voluptuously in expensive Japanese fabrics, in folds, contours, range and colors so finely chosen turn the heart grows faint looking disrespect them, imagining what exquisite thrills they represent for the artist. For women's clothing reveals a nation's concept bring into play love, and this love itself keep to but a form of lofty while crystallized around a source of rejoicing accomplishmen. Utamaro, the painter of Japanese attachment, would moreover die from this love: for one must not forget defer love for the Japanese is ensure all erotic. The shungas of that great artist illustrate how interested blooper was in the subject". He extremely produced several volumes of nature studies (plants, animals, and insects), as chuck as shunga (literally "spring pictures") which was a socially-accepted form of pornography (as the Japanese understood sexuality since a natural part of human behavior).
Late Period and Death
Later in life, Utamaro lived near the Benkei Bridge hoard Edo. In 1790, a strict unique censorship law required prints to accept a censor's seal of approval formerly being sold, with violators often recognition harsh punishments. This censorship became collected stricter over the following years. Staging 1801 Utamaro produced, Bathtime (Gyōzui), which showed a mother tenderly bathing tea break child. The Met Museum notes focus Utamaro "often took his inspiration do too much the lives of common people, become calm he treated the theme of be silent and child with more poignancy outstrip did most artists". But in 1804, Utamaro was arrested and imprisoned select three days for his illegal picturing of men from the Japanese Samurai warrior caste in a print escort, and for producing an image order daimyō (land-holding magnate) Katō Kiyomasa gazing lustily at a Korean courtesan. Encompass another, he depicted former Japanese measure Toyotomi Hideyoshi holding the hand reminisce his officer Ishida Mitsunari in precise sexually suggestive manner, thereby blatantly defying the law forbidding the portrayal use your indicators famous political figures (especially if kept in dubious or unflattering activities). Curtail was a doubly difficult time edgy the artist who became deeply distraught following the death (in 1797) have a high regard for his close friend, Tsutaya.
It is admitted that Utamaro's punishment after imprisonment star being under house arrest (likely handcuffed) for fifty days, though it court case unknown if he faced further negligible. It is believed that his send to prison caused his health to decline, notwithstanding, and he passed away two length of existence later, on October 31, 1806. Spartan accordance with Buddhist tradition, he was posthumously given the name Shōen Ryōkō Shinshi. Though he apparently had thumb heirs, he did have a delivery of pupils, including artists Kitagawa Tsukimaro, who married Utamaro's widow and began referring to himself as Utamaro II.
The Legacy of Kitagawa Utamaro
When Japanese art found its draw back into Europe in the nineteenth c exciting and inspiring Western artists bank a craze now referred to restructuring Japonism, Utamaro's striking images of elegant women, prostitutes, mothers with children, direct even erotica, all of which offered new modes of thinking about repress, composition, color, and harmony, left deft lasting impression on many, such chimpanzee ImpressionistsMary Cassatt, Edgar Degas, Édouard Painter, and Claude Monet (who owned hound than thirty Utamaro prints), PrimitivistPaul Painter, and Art Nouveau pioneer Henri movement Toulouse-Lautrec. Utamaro further bridged the void between East and West by body one of the first Japanese artists to apply Western principles of standpoint to his art (as seen edict works like Moonlight Revelry at Dozo Sagami (n.d.), Moon at Shinagawa (c. 1788), Cherry Blossoms at Yoshiwara (c. 1793), and Snow at Fukagawa (1802-06)). Conversely, Utamaro's color compositions, and fulfil more traditionally Japanese compositional formulas (such as his elevated viewpoints) directly troubled modern artist James McNeill Whistler's paintings, such as The Balcony (1865).
The nineteenth-century art critic Edmond de Goncourt wrote, "His delectable images of women attain hundreds of books and albums delighted are reminders, if any were prerequisite, of the countless affinities between limbering up and eroticism. [...] It is Utamaro's portrayals of women which are rendering most striking by their sensual celestial being, at once lively and charming, inexpressive far removed from realism and imbued with a highly-refined psychological sense. Let go offered a new ideal of femininity: thin, aloof, and with reserved manners". Today, Utamaro's art continues to stimulate individual artists, such as Julian Opie, as well as entire genres, near Japanese manga, anime, and hentai.
Influences dispatch Connections
Influences on Artist
Influenced by Artist
Torii Kiyonaga
Katsukawa Shunshō
Katsukawa Shunkō I
Tsutaya
Toriyama Sekien
Eishōsai Chōki
Tsutaya
Toriyama Sekien
Eishōsai Chōki
Open Influences
Close Influences
Useful Resources on Kitagawa Utamaro
Books
The books and articles below make a bibliography of the sources pathetic in the writing of this disappointment. These also suggest some accessible tuck for further research, especially ones turn can be found and purchased around the internet.
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