Kitagawa UtamaroGiappone, 1754–1806Bewonderen van bloemstukken
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Amsterdam, Paesi Bassi
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- Fonte
- Il museo
Sull’opera
Con le parole del museo — in olandese
Courtisane Hanaogi, met waaier patroon op kimono, kijkend naar twee bloemstukken, terwijl haar kamuro achter haar zit. Op de voorgrond een derde vrouw, op handen en voeten; Daizaburo.
Rijksmuseum
Scheda
- Numero di inventario
- RP-P-2008-170
Che cosa raffigura
In catalogo
Fonti
- Rijksmuseum
- Immagine: Rijksmuseum — public domain
Nella vita di Kitagawa Utamaro
Tutta la vita1790–1801
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.
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.
1797
The death of his friend and patron Tsutaya Jūzaburō
In 1797 Utamaro's long-time friend and supporter, the publisher Tsutaya Jūzaburō, dies; the artist is apparently very upset by the loss, and some commentators feel that his work never reached its former heights afterwards. He later lives in Kyūemon-chō, then Bakuro-chō, and finally near the Benkei Bridge.
