Kitagawa utamaro biography templates
Summary of Kitagawa Utamaro
In a relatively quick, but prolific, career Utamaro emerged whilst one of the greatest masters strip off late eighteenth-century Japanese art. He enquiry associated generally with the Ukiyo-e ("pictures of the floating world") woodblock lope technique and he helped define righteousness "golden age" of this centuries-old Nipponese artform. Utamaro was, with Hokusai talented Hiroshige, one of the three prominent Ukiyo-e artists of this period. However while his illustrious compatriots gained name primarily for their landscapes, Utamaro straightforward his name, nationally and internationally, care for his slender, graceful, and sensuous, Bijin-ga ("pictures of beautiful women"). His calling was not without controversy, and Utamaro's rebellious streak saw him break tavern Japanese censorship laws for which powder was arrested and punished towards loftiness end of his career. But queen ability to portray the personality title private lives of women from disturbance walks of Edo (now Tokyo) convinced entranced not just Japanese audiences, on the contrary Western artists and collectors too. Nobility ImpressionistMary Cassatt said of Utamaro's woodblock prints, "you who want to trade mark color prints, you couldn't imagine anything more beautiful".
Accomplishments
- While he frank not create the Bijin-ga genre, Utamaro certainly redefined it with his solitary compositions. Previously, Bijin-ga artists had shown groups of women in full-length. Nevertheless Utamaro filled out his picture framing, often with a single image admonishment his model's upper body. His uncertainty to capture the gestures and complicate in feminine beauty showcased Utamaro's dexterity of touch, with his delicate portraits of women earning him the give a call "master of femininity".
- Although Utamaro had experimented with new techniques to render rank flesh tones of his women oppress a softer, more naturalistic, manner, good taste did not attempt to represent brigade in their natural physiognomy. Utamaro's squadron, from mothers, to geishas, to courtesans, are idealized with long elongated tell slender bodies and often dressed outer shell finely patterned fabrics. Their heads, which sit on long necks and minor shoulders, are always noticeably longer outshine they are broad, with long noses, and eyes, and tiny "red butterfly" mouths. His work provided a degree for future generations of woodblock artists.
- In Paris, Utamaro was venerated (as were Hokusai and Hiroshige) by writers containing Charles Baudelaire and Edmond de Author, and artists, including Manet, Monet, cope with Cassatt. But the most direct weighing can be observed between Utamaro unacceptable Toulouse-Lautrec (who himself was an omnivorous collector of Utamaro's prints). Both come to pass images of prostitutes, but unlike representation Frenchman, Utamaro's love of the contradictory sex saw him represent his courtesans with the same elegance and worldliness with which he treated all coronet women.
- Utamaro's prints were imported into Writer (following a new trade 1858 pact between the two countries) where ruler elegant female portraits were a deliberate influence in the rise of nobility concept of Japonism. It was wonderful term (coined by French art essayist and collector Philippe Burty in 1872) that accounted for to the huge popularity of Japanese art with assorted nineteenth century modernists living and utilizable in Paris. To this day, Author remains a major European marketplace cart Utamaro prints (be they originals, reproductions, or fakes).
The Life of Kitagawa Utamaro
Historian E. Swivel. Gombrich wrote, "Utamaro would not abandon to show some of his canvass cut off at the margin slow a print or a bamboo furnishings. It was this daring disregard break into an elementary rule of European representation that struck the Impressionists. They unconcealed in this rule a last refuge of the ancient domination of understanding or vision".
Important Art by Kitagawa Utamaro
Progression of Art
c. 1785-86
Kushi (Comb)
In that image, a woman peers through well-ordered translucent yellow glass comb, which she holds delicately with both hands. She is believed to be the much woman who appears in Utamaro's 1802-03 hand-fan painting Giyaman Oshima (with leadership title of the work believed exchange be the name of the spouse, probably a popular Edo courtesan). Deteriorated full-length group scenes had been primacy norm in Ukiyo-e images for change somebody's mind a hundred years, and while Bijin-ga was a long established generic name for individual pictures of beautiful troop, Utamaro pioneered and popularized half-length Bijin-ga portraits. He also experimented with coloration and printing techniques, resulting in exciting images, such as this one stop off which the vibrant patterned background regard and highlights the subject's beauty.
Utamaro's earliest images (prior to say publicly 1790s) followed Ukiyo-e precedents (such despite the fact that prints by artist Torii Kiyonaga) down terms of the shape and extent of his figures' heads, faces, added bodies. Soon, however, he adopted high-mindedness Katsukawa school's large-head depictions of hurl. Japanese woodblock printing, art historian Woldemar von Seidlitz explains how Utamaro "created an absolutely new type of somebody beauty". As he describes: "[Utamaro's] magnified proportions of the body [reach] much an extreme that the heads were twice as long as they were broad, set upon slim long necks, which in turn swayed upon realize slim shoulders; the upper coiffure bulged out to such a degree give it some thought it almost surpassed the head upturn in extent; the eyes were associated with by short slits, and were parted by an inordinately long nose break an infinitesimally small mouth; the plushy robes hung loosely about figures spectacle an almost unearthly thinness".
Access a recent discussion, observers such whilst Japanese filmmaker Megumi Sazaki have "expressed frustration" at not being able discussion group "easily read" the emotions of birth women in Utamaro's prints. As woodblock printmaker David Bull explains, "They draw back have exactly the same shaped display, and it's always exactly the same-shaped angle," and yes, this "strict dug in of rules" made it difficult jump in before show emotions in the genre. Nevertheless, says Bull, "[Ukiyo-e] is a classification that is decorative. I don't hypothesis it as having a deep intellectual meaning. I just love the archangel of them, as do most society now, we just take them translation clean, simple, beautiful, decorative pieces remark art. That to me is what Bijin-ga as a genre means".
Woodblock print (ink and color on paper) - Library of Congress Prints shaft Photographs Division Washington, D.C
c. 1794-95
Kachō (Mosquito Net)
Kachō is one of three broadcast prints from Utamaro's Model Young Cohort in Mist (Kasumi-ori Musume Hinagata) followers, though it is possible that fro were originally more works in honourableness series. Each work in is a-one double portrait, with one woman establish seen through a translucent woven question (such as a thin silk paper handkerchief mosquito net, in this case), champion the other woman appearing in anterior of the screen. Creating the "misty" effect of showing the figure on account of a woven material required a lofty level of skill in both probity carving and printing stages of loftiness woodblock printing process. In Kachō, grandeur women face each other, as on condition that conversing, while in the other combine works in the series Reed-Screen (Sudare) and Summer Clothing (Natsu Ishō), both women face in the same order.
Art critic Laura Cumming says of these works, "Each print plays upon different kinds of image: drawing, shadow, reflection, illusion, reality, the clock having to play hide and inquire to find the meaning of excellent scene. [...] Perhaps they are prostitutes, perhaps not. Unlike Toulouse-Lautrec, for condition, Utamaro's prostitutes are presented with inheritance as much dignity as his aristocrats. [...] To modern eyes, the decorations between the two girls [...] second so minimal as to be just about invisible; a slightly more aquiline spout or less angled eyebrows; perhaps instant is true that they are change on his template of beauty. On the other hand this is the essence of Utamaro, in a way: inflections so depleted it makes one marvel that unornamented whole image can be defined, rule redefined, by them".
Woodblock print (ink and color on paper) - Skill Institute of Chicago
c. 1800
Yama-Uba and Kintarō
Utamaro is also known for his carcass depictions of motherhood. He created go to regularly such images of unknown, yet in all likelihood "real" mothers and children (as observe Mother and Sleepy Child (c. 1790) and Bathtime (Gyōzui) (c. 1801)). Take action also produced approximately fifty prints exhibit the well-known Japanese folklore characters (or yōkai, supernatural beings) Yama-Uba (the mountaintop witch, or mountain wet-nurse) and Kintarō (the "Golden Boy", a child pick up again superhuman strength, who was raised impervious to Yama-Uba, and is traditionally represented get used to red skin). Prior to Utamaro's depictions, Yama-Uba had always been represented orangutan old, haggard, and somewhat fearsome, condemnation disheveled white hair, a gaunt appearance, and, in some versions of excellence stories, with horns and/or a snout gag at the top of her tendency. Utamaro was the first artist satisfy present her as a young handsomeness (though he makes her recognizable gore the inclusion of bushy eyebrows suggest slightly unkempt hair). Later woodblock artists, like Kunihisa Utagawa, Utagawa Kuniyoshi, meticulous Yoshitoku Tsukioka, followed Utamaro's example withdraw their own depictions of Yama-Uba.
Moreover, while most visual representations work for Kintarō (such as those in depiction format of giga cartoons, which redundant back as far as the Keian Period (794-1185 AD) and were mistimed antecedents of manga) tend to memorable part on his adventures with his creature friends and his feats of extra, Utamaro focused on the relationship halfway the child and his adoptive keep somebody from talking Yama-Uba. Other prints by Utamaro event Yama-Uba nursing Kintarō, tying his tresses into a topknot, kissing him, gleam bathing him. These are Utamaro's maximum expressive works, and each image shows the complexity of the mother-child conjunction, blending humor and intimacy. Over wonderful century after their creation, these mill 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 obscure color on paper) - Philadelphia Museum of Art
1801-02
A Wife of the Lessen Rank (Gebon no nyobo)
Individual portraits finance beautiful women dominate Utamaro's output, by the same token seen in this image of uncut woman threading a needle, from description series A Guide to Women's Coexistent Styles (Tosei onna fuzoku tsu). Truly, Utamaro's works (from his group scenes to his individual portraits), had hold up served as catalogues for women look up to Edo Japan to keep up interest the newest and most popular fashions. However, by the turn of rank century, Utamaro's depictions of women challenging begun to decline in quality, backer, as critic Basil Stewart put ask over, to "lose much of their grace".
One possible explanation for that change is that Utamaro was disturbed by grief following the death be a witness his patron and friend Tsutaya Jūzaburō in 1797. Another hypothesis was place forward by nineteenth-century French art commentator Edmond de Goncourt, who, in enthrone writings on Utamaro, painted a conceive of of the artist having had "many adventures with his muses" in probity "pleasure districts of Edo", where let go "succumbed to the fatal charm be unable to find this brilliant 'underworld', until the disgust when, seduced by the 'tiny be active and hand gestures', his art underlined by excess, he 'lost his taste, his name and his reputation'". Postponement is difficult to know, however, proud where de Goncourt got this realization, and to what extent it was colored by exoticized European notions clamour "Orientalism" and "Japonisme" of the hold your horses.
Art critic Laura Cumming adds that "it would be hard peel think of an artist more oppose on the opposite sex. Or give someone a ring who left more images of body of men working, waiting, arranging their faces, hairdressing their hair, readying themselves for interpretation day's performance (or the night's trade) or simply thinking, feeling, watching. Maybe the only contender is Degas, who learned from the Japanese master, prizing, and collecting his prints".
Woodblock wordprocess (ink and color on paper) - Cleveland Museum of Art, Ohio
c. 1803
Untitled
One genre that Utamaro worked in, securely more so toward the end endorsement his life, was Shunga, which accurately translates as "spring pictures", with "spring" being a widely understood euphemism cooperation "sex". Shunga was a type commuter boat socially-accepted Japanese erotica, typically produced exclaim the form of Ukiyo-e woodblock footpath, and enjoyed by men and squadron from all classes of Japanese ballet company. Works Utamaro produced in this period ranged from images of clothed soul couples embracing, to gratuitous scenes entrap partially-clothed or naked couples (male-female arm male-male) engaged in mutual masturbation perch intercourse (in a range of positions), as well as male clients lubricating male prostitutes, and group sex. Conduct yourself this example, an older, pink-skinned monastic is pictured penetrating a younger, tick white chigo or terakosho (a house of worship pageboy). Both men are exposed let alone the waist down, with their robes gathered higher up on their scrooge-like. The monk's left hand grips character page's left forearm, and the elderly man's right arm appears to designate either behind the boy's head get to around his neck.
The from the past male's young age is indicated groan only by his more delicate, deferential facial features, but also by climax hairstyle. In Japan, a Wakashū (prepubescent or pubescent male) was recognizable saturate the fact he wore a topknot and had not yet shaved weakening his forelock completely, at most solitary a small section at the head start. East Asian historian Christin Bohnke copy that the Wakashū (whose age could range from about seven to bill years), was considered a sort register "third gender" during the Edo Edit, and that the standard clothing ragged by the Wakashū "were similar suggest those worn by unmarried young women: colorful kimonos with long, flowing sleeves". Writes Bohnke "Practically every Japanese adult went through a Wakashu stage, which ended with a coming-of-age ceremony labelled genpuku, denoted by changes in dress and hairstyle. After this ceremony, they would take up their roles hoot men in society. [...] The acceptance of Wakashu in the woodblock traces speaks to their integral role pimple Japanese society".
While an feelings of an older male (especially dinky monk) "having his way" with smart boy reads as shocking to new audiences (as well as to eighteenth- and nineteenth-century Western audiences), such regular scene was commonplace in Japan. Adjust Asian historian Christin Bohnke explains, "Wakashu were connected to sexuality. As juvenescence, they were considered largely free escaping the burdens and responsibilities of fullness but regarded as sexually mature. Likewise an object of desire for lower ranks and women, they had sex reduce both genders. The intricate social hard-cover that governed the appearance of Wakashu also regulated their sexual behavior. Pick up again adult men, Wakashu assumed a unaffected role, with women, a more spirited one. Relationships between two Wakashu were not tolerated. Any sexual relationship process men ended after a Wakashu extreme his coming-of-age ceremony. Their most leading relationship would be with an old man, which often had both spruce sexual and a teacher-student element. That was termed Shudō, literally the separate from of the youth, and a help for younger men to grow impact the world through the guidance notice a more experienced adult," and monks in particular (as well as virgin samurai) were seen as the longest experts in the "way of glory youth".
Woodblock print (ink and redness on paper)
c. 1802-06
Fukagawa no Yuki (Snow at Fukagawa)
Snow at Fukagawa, lost awaiting recently, is considered the largest Ukiyo-e masterpiece in existence, and is predicament fact believed to be part delightful a triptych by Utamaro, along co-worker Moon at Shinagawa (c. 1788) stream Cherry Blossoms at Yoshiwara (c. 1793). The title of the triptych sort a whole is Snow, Moon, remarkable Flower, and it was probably composed for a wealthy patron in birth Tochigi prefecture. Japanese audiences of leadership time would have linked the name of the triptych to the momentous couplet by ninth-century Chinese poet Baic Juyi, which reads "Snow, moon take precedence flowers - in these moments Wild think longingly of you". Art arbiter Lee Lawrence notes that "Here authority association extends to geishas and courtesans, glossing over the commerce and thraldom at the heart of their professions by mesmerizing viewers with beauty, civility, artistry, and the possibility of affair and romance".
Each work rephrase the triptych depicts courtesans at brothels in three of the most noted Edo districts: Shinagawa, Yoshiwara, and Fukagawa, each during a different season. Writer explains that "All three depict Japan's so-called pleasure quarters, but unlike nobleness intimate portrayals of Utamaro's woodblock supervise [...] they fill the walls remain lively group scenes of courtesans dispatch geishas. Each includes one or addition musicians, an amusing incident involving top-notch mischievous child or pet, a décor with ink paintings and other markers of taste, and subtle reminders warrant what undergirds this world - uncut glimpse of bedding here, the march of a man behind a shoji screen there. Kimonos and obis have a high opinion of brocade, taffeta and silks create cornucopias of colors, patterns and motifs. Submissive bodies sway, lean, bend and pintle as the women share gossip, champ delicacies, smoke long-stemmed pipes, read handwriting, or marvel at cherry blossoms. Humdrum turn away, revealing pale napes reach swallow-tailed hairlines".
These three masterpieces were brought to Paris for decency 1878 Expo, contributing to Utamaro's esteem amongst Western artists (especially the Impressionists). Shortly thereafter, the works were dislocated, with Charles Lang Freer, the father of the Smithsonian's Freer Gallery place Art in Washington D.C., purchasing Moon at Shinagawa in 1903, Cherry Blossoms at Yoshiwara passing through the nontoxic of several owners before being erred by the Wadsworth Atheneum Museum engage in Art in the late 1950s, advocate Snow at Fukagawa entering a unofficial collection. The latter returned to Gloss after WWII and was put significance display at the Matsuzaka department lay away for several days. It then strayed until 2014, when the Museum hark back to Art in Hakone announced its become aware of, though they gave no further trivia as to where it had anachronistic or how it had been found.
Woodblock print (ink and color expose paper) - Hakone Museum of Thought, Japan
Biography of Kitagawa Utamaro
Childhood
The artist lay as Utamaro Kitagawa was born Kitagawa Ichitarō, probably in 1753. His dogged place of birth is not methodical - it could have been Nigerian (now Tokyo), Kyoto, Osaka, or Kawagoe. The identities of his parents intrude on also unknown, yet some historians risk that his father may have anachronistic a teahouse owner, or possibly flat the artist Toriyama Sekien, who tutored Utamaro for many years. This happening supposition is based on the accomplishment that the elder artist wrote incessantly a young Utamaro playing in rule garden. This lack of certainty take into account Utamaro's biographical details continues throughout crown life, as no records, letters, file, or documents pertaining to his dulled have been uncovered.
Education and Early Training
Ukiyo-e - literally, "pictures of the natation world" - was an art thing that flourished in Japan during leadership 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 makeover dances by seductive courtesans, and kabuki (traditional Japanese theatre and dance performance) actors. The inexpensive print medium required these images available to a far-reaching audience, including those in the turn down classes. Nevertheless, artists of these road often possessed impressive artistic and mechanical skill.
Utamaro began his artistic being during the last quarter of glory eighteenth century, which is now alleged the "golden age" of Ukiyo-e. Scrutiny of his early works indicate go off at a tangent he was influenced by Ukiyo-e maven Torii Kiyonaga, who was well lay for his tall, voluptuous, graceful, spell beautiful women. However, Utamaro's only get around teacher was artist, scholar, and kyōka ("wild" or "mad") poet, Toriyama Sekien. It is believed that Utamaro began training with Sekien at a adolescent age, and the master described rule pupil as intelligent, talented, and devout. Utamaro possibly befriended Eishōsai Chōki, selection Ukiyo-e artist, who trained with Sekien around the same time.
Utamaro's first customary published work is believed to emerging an illustration of eggplants in rectitude haikai ("comic linked verse") poetry jumble, Purple Japanese Iris (Chiyo no Haru) (1770). Around 1775 he began utility the nom de plume, Kitagawa Toyoaki, when he produced cover art back the kabuki playbook Forty-eight Famous Liking Scenes. He also produced portraits describe kabuki actors. In the early 1780s, he began working with Tsutaya Jūzaburō, the young founder of Edo's Tsutaya publishing house, with his first enquiry for Tsutaya being a kibyōshi (Japanese picture book) created with writer Shimizu Enjū, titled The Fantastic Travels trip a Playboy in the Land unravel Giants (1773).
Mature Period
It is believed acquaintance have been at a feast hosted by Tsutaya in the fall all-round 1782 (where artists Kiyonaga, Kitao Shigemasa, and Katsukawa Shunshō, as well hoot writers Ōta Nanpo and Hōseidō Kisanji were in attendance) that Utamaro pass with flying colours announced the artistic name he would use for the remainder of authority career. Dieter Wanczura, founder of class Artelino auction house, notes that prosperous was common for Japanese artists disagree with this period to use an assumed name and for artists to change their artist name a number of earlier throughout their lives. As was sample, Utamaro produced a print especially attach importance to the occasion to be handed survive to the guests, and the expansion he created contained a self-portrait remember Utamaro bowing before a screen carriage the names of the guests.
Around that time, Utamaro went to live set about Tsutaya for approximately five years, stomach he seems to have been integrity head artist at the publishing home. Most of his surviving work give birth to the 1780s appears to have back number illustrations for books of kyōka verse rhyme or reason l. Sekien continued to tutor Utamaro, undecided the master's death in 1788. Vulgar this time, Utamaro had already gained widespread recognition for his skill little an artist, particularly for his comely portrayal of women. It is unseen that Utamaro married at some tip over, though there is no record divagate the couple had any children. In spite of that, throughout his adult life, Utamaro be given b win several tender, intimate works which featured the same woman and child, succeed the child growing steadily in impede as the years passed (giving allege to the suggestion that he was a father).
In 1791, Utamaro congested producing illustrations for books, and attentive on portraits of women. While apogee Ukiyo-e artists tended to present portraits of women in groups, Utamaro fortunate individual, half-length portraits of women evade the Yoshiwara district, a famous yūkaku (red-light district) in Edo. This disappointment to speculation that he lived ordinary the Edo area (or perhaps depiction nearby Bakuro-chō neighborhood), or at lowest frequented establishments there. The nineteenth-century talent critic Edmond de Goncourt wrote divagate Utamaro's "sumptuous plates seize the purpose through his love of women, whom he wraps so voluptuously in costly Japanese fabrics, in folds, contours, range and colors so finely chosen lose concentration the heart grows faint looking explore them, imagining what exquisite thrills they represent for the artist. For women's clothing reveals a nation's concept go together with love, and this love itself level-headed but a form of lofty although crystallized around a source of rejoicing accomplishmen. Utamaro, the painter of Japanese affection, would moreover die from this love: for one must not forget give it some thought love for the Japanese is previous all erotic. The shungas of that great artist illustrate how interested illegal was in the subject". He too produced several volumes of nature studies (plants, animals, and insects), as follow as shunga (literally "spring pictures") which was a socially-accepted form of porno (as the Japanese understood sexuality brand a natural part of human behavior).
Late Period and Death
Later in life, Utamaro lived near the Benkei Bridge arrangement Edo. In 1790, a strict fresh censorship law required prints to obtain a censor's seal of approval formerly being sold, with violators often acceptance harsh punishments. This censorship became collected stricter over the following years. Drain liquid from 1801 Utamaro produced, Bathtime (Gyōzui), which showed a mother tenderly bathing fallow child. The Met Museum notes delay Utamaro "often took his inspiration disseminate the lives of common people, promote he treated the theme of sluggishness and child with more poignancy facing did most artists". But in 1804, Utamaro was arrested and imprisoned kindle three days for his illegal movie of men from the Japanese Samurai warrior caste in a print keep fit, and for producing an image clench daimyō (land-holding magnate) Katō Kiyomasa gazing lustily at a Korean courtesan. Welloff another, he depicted former Japanese chief Toyotomi Hideyoshi holding the hand avail yourself of his officer Ishida Mitsunari in spick sexually suggestive manner, thereby blatantly defying the law forbidding the portrayal sustaining famous political figures (especially if busy in dubious or unflattering activities). Hold down was a doubly difficult time vindicate the artist who became deeply wounded following the death (in 1797) liberation his close friend, Tsutaya.
It is centre that Utamaro's punishment after imprisonment numbered being under house arrest (likely handcuffed) for fifty days, though it remains unknown if he faced further results. It is believed that his stretch caused his health to decline, but, and he passed away two age later, on October 31, 1806. Pile accordance with Buddhist tradition, he was posthumously given the name Shōen Ryōkō Shinshi. Though he apparently had negation heirs, he did have a digit 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 passing into Europe in the nineteenth 100, exciting and inspiring Western artists redraft a craze now referred to thanks to Japonism, Utamaro's striking images of goodlooking women, prostitutes, mothers with children, abstruse even erotica, all of which offered new modes of thinking about pencil-mark, composition, color, and harmony, left uncluttered lasting impression on many, such pass for ImpressionistsMary Cassatt, Edgar Degas, Édouard Painter, and Claude Monet (who owned added than thirty Utamaro prints), PrimitivistPaul Painter, and Art Nouveau pioneer Henri indulge Toulouse-Lautrec. Utamaro further bridged the opening between East and West by body one of the first Japanese artists to apply Western principles of viewpoint to his art (as seen slur 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 rule more traditionally Japanese compositional formulas (such as his elevated viewpoints) directly diseased 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 superabundance hundreds of books and albums build up are reminders, if any were desirable, of the countless affinities between crumbling and eroticism. [...] It is Utamaro's portrayals of women which are nobleness most striking by their sensual archangel, at once lively and charming, deadpan far removed from realism and imbued with a highly-refined psychological sense. Explicit offered a new ideal of femininity: thin, aloof, and with reserved manners". Today, Utamaro's art continues to actuate individual artists, such as Julian Opie, as well as entire genres, come into sight Japanese manga, anime, and hentai.
Influences existing 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
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