Utagawa KunisadaGiappone, 1786–1865Sei Shônagon
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Rijksmuseum
Amsterdam, Paesi Bassi
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- Fonte
- I dati di collezione del museo stesso
Sull’opera
Con le parole del museo — in olandese
De verbannen Sugawara no Michizane, met achter zich zijn bewaker Terukuni, kijkt om naar de mand waarover een rode kimono ligt. In de mand zit zijn dochter verstopt, die op deze manier nog een laatste keer haar vader kan zien. Scene uit een kabukitoneelstuk. Gedicht door Sei Shônagon.
Rijksmuseum
Scheda
- Numero di inventario
- RP-P-2016-3-6
Che cosa raffigura
In catalogo
Fonti
- Rijksmuseum: i dati aperti del museo · acquisita 8 giorni fa
- Immagine: Rijksmuseum — public domain
Nel frattempo, nella vita di Utagawa Kunisada
Tutta la vita1820–1860
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.
