Kitagawa Utamaro日本, 1754–1806Takashima Ohisa
見られますか？
はい、現在展示中
『Takashima Ohisa』は今どこに？ シカゴ美術館, 展示室 107, シカゴ. はい、現在展示中. 確認 2026年9月29日.
シカゴ, アメリカ合衆国
閉館· 11:00に開館
一般公開されています。
- 確認
- この状態になった日
- 出典
- 美術館
作品データ
- 収蔵番号
- 1928.1038
カタログ収録
出典
- シカゴ美術館
- 画像： シカゴ美術館 — CC0
その頃、Kitagawa Utamaroの人生では
生涯をすべて見る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.
