Utagawa KunisadaJapanese, 1786–1865Rood
May one see it?
Unknown: the museum keeps its counsel
Rijksmuseum
Amsterdam, Netherlands
The owner is known. Whether it is on view today, the museum does not say, and we were not trained to guess.
- Source
- The museum's own collection data
About the work
In the museum's own words — in Dutch
Vrouw met mes in rechter hand waarop plakjes vis; naast haar een pannetje en een blauw-witte sake fles; op de voorgrond plakjes vis en een blauw-witte schaal.
Rijksmuseum
Particulars
- Accession number
- RP-P-2008-258
What it shows
In the catalog
Sources
- Rijksmuseum: the museum's own open data · fetched 6 days ago
- Image: Rijksmuseum — public domain
Meanwhile, in the life of Utagawa Kunisada
The whole life1820–1860
Dominance in Sumo Wrestler Portraits
From 1820 to 1860 he dominated the market for printed portraits of sumo wrestlers.
1835–1850
Monopoly on Prints Based on "The Tale of Genji"
From 1835 to 1850 he held a near-total monopoly on the genre of prints connected with "The Tale of Genji"; only after 1850 did other artists begin producing similar sheets.
1844
Adopted the Name Toyokuni III
He adopted the name of his teacher Toyokuni; from 1844–1845 all his prints are signed "Toyokuni." He called himself Toyokuni II, but is counted as Toyokuni III.
mid-1840s – early 1850s
Collaboration with Hiroshige and Kuniyoshi
From the mid-1840s to the early 1850s he collaborated with Hiroshige and Kuniyoshi on three large series and a number of smaller projects; the cooperation was in large part a show of solidarity against the tightened censorship of the Tenpō reforms.
