Leeuwendans
Über das Werk
In den Worten des Museums — auf Niederländisch
Straatscene met dansers en enkele mensen onder een doek met een leeuwenkop, en toeschouwers achter een raam. In boek met kyoka (komische gedichten) en afbeeldingen van Nieuwjaarsgebruiken.
Rijksmuseum Amsterdam
Angaben
- Inventarnummer
- RP-P-1960-11-3
Derweil im Leben von Kitagawa Utamaro
Das ganze Lebenc. 1783 – 1788
Years in the publisher Tsutaya's house
Probably from 1783, Utamaro lives for about five years in the house of Tsutaya Jūzaburō and becomes one of the principal artists of the Tsutaya firm. Evidence of his prints from these years is sporadic: he mostly illustrates books of kyōka, “crazy verse”, a parody of the classical waka form.
1790–1801
Tightening censorship: seals on prints
From 1790 prints can be sold only with a censor's seal of approval; over the following decades censorship grows stricter, and violators can receive harsh punishments. From 1799 even preliminary drafts need approval, and in 1801 the works of a group of Utagawa-school offenders, including Toyokuni, are repressed.
c. 1791
Giving up book prints for half-length portraits of beauties
Around 1791 Utamaro gives up designing prints for books and concentrates on single portraits of women shown half-length, rather than the group scenes favoured by other ukiyo-e artists. He was the first in Japanese woodblock printing to use half-length compositions for women's portraits; none of his work from 1790–1792 has survived.
1793
Recognition and the end of the arrangement with Tsutaya
In 1793 Utamaro achieves recognition as an artist, and his semi-exclusive arrangement with the publisher Tsutaya Jūzaburō ends. He then goes on to produce several well-known series featuring women of the Yoshiwara district, and becomes one of the few ukiyo-e artists to win fame throughout Japan in his lifetime.
