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"Kitagawa Utamaro"
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    Your search results for "Kitagawa Utamaro" (7 images)
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    'Woman at her morning toilette', Japan, Edo period, c1800. Hanging scroll painting of a married woman engaged in her morning toilette. Her gaze is caught by the beauty of a potted morning glory. Her straight back topped by the rounded marumage hairdo forms a strong triangular composition with the plant, the copper water bowl and porcelain dish with toothbrush and mouthwash to the right. Utamaro was particularly skilled at using the patterns of textiles to indicate the shapes of bodies beneath; the lines of the checked blue outer-kimono suggest convincingly the woman's bended knee. The rougher blue and white checks of the under-kimono and towel give variety to the range of textures. The touches of red, especially around the naked knee, give a sensuality that is rarely missing from the works of Utamaro, a master at catching the moods of his female subjects, often in the more private moments of their lives. JA, JP ADD380 (1965.7-24.04)


    Women sewing, Edo period, Japan, c1795-c1796. A group of respectable married women, surrounded by their children and even a pet cat are working together on a hot summer's day folding and mending obi sashes. On the right, two of them stretch and fold a red silk sash tie-dyed with a white 'starfish' pattern. On the left, the sewing equipment scattered on the floor suggests that this woman is holding up the sash to check a mend she has just made in the fine gauze. A teenage girl examines an insect, perhaps a firefly, in its tiny cage. A little boy teases a cat with its reflection in a mirror, while a baby plays with its mother's fan. Utamaro depicted more types of women, in various activities, than any other Ukiyo-e artist. JA, 1912.4-16.0220


    Ohisa of the Takashima tea-shop, Edo period, Japan, c1792-c1793. Ohisa turns to glance questioningly at someone just outside the picture. Her black gauze kimono has a pattern of yellow and white flashes, and the neck line is carefully arranged to reveal the back of her neck. Her obi (sash) has a design of a plover wheeling above stylized waves. The fan bears the triple oak leaf family crest (mon) of the Takashima family. She was one of the favourite subjects of several Ukiyo-e print artists in the 1790s, especially Utamaro. She was the daughter of the proprietor of the Takashima chain of cake-shops and tea shops in Edo and seems to have made her reputation serving tea at the family shop near Ryōgoku Bridge. Her beauty is celebrated in the poem in the top right, by Karabana Tadaaya. JA, 1927.6-13.06


    Geisha of the House of Sumiyoshi before a mirror.

    33-01-08/ 4

    Woman weaving.

    33-01-08/ 6

    Sugawara no Michizane in Chinese dress, Muromachi period, Japan, late 15th century. Holding a small branch of plum blossom, the badge of a Chinese scholar-gentleman. His Chinese appearance may be a reference to the legend that he studied Zen in China after his death. One of his poems is inscribed at the top of the painting. A cultural figure of the Heian period (794 -1185), he is still widely regarded in Japan as the patron of scholarship. He was a scholar of Chinese and also a politician who rose to be Minister of the Right, one of the highest ranks in the government of the time. After his death in exile there were several disasters in the capital of Kyoto which people believed were caused by his angry spirit. He was therefore raised to the rank of a Shintō deity (renamed Karai Tenjin). In the Muromachi period (1333-1568) there was a revival of interest in kambun (Chinese-style writing) and Michizane's reputation was re-established as the greatest Japanese poet who had written in the Chinese language.Creator: Kitagawa Utamaro JA, JP 1 (1913.5-1.038)


    Lovers in an upstairs room, from "Uta makura" - Poem of the Pillow. Edo period, 1788. JA, OA+133.06