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Topic: Utamaro

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	Utamaro
		Utamaro Kitagawa is highly appreciated as the dominating ukiyo-e artist of the late eighteenth century.
		Nevertheless, Utamaro continued to produce prints until his death.
		The total number of Utamaro prints is estimated at over 2,000 prints, plus a number of paintings, surimono prints and illustrated books - among them more than 30 shunga books (images with erotic scenes).
	www.artelino.com /articles/utamaro.asp (747 words)

	Viewing Japanese Prints: Utamaro & Physiognomy
		The Utamaro design used on this website to demonstrate the Stages of Printing was part of a significant group of at least 8 prints from the early 1790s.
		Utamaro's playful, fashionable beauty and the other women depicted in these two series were among the earliest examples of half-length close-ups of women placed against mica backgrounds, probably dating from circa 1792-93.
		Utamaro and his contemporaries depicted their women according to typologies or idealized forms — their faces did not look literally as they do in the prints (see also the comparison in physiognomies between Goyô and Utamaro).
	spectacle.berkeley.edu /~fiorillo/texts/ukiyoetexts/ukiyoe_pages/utamaro_physiog4.html (667 words)

	Utamaro Art Paintings Print: PicassoMio.com Gallery
		Master printmaker Utamaro is highly appreciated as the dominating “ukiyo-e” artist of the late eighteenth century, famed for his beautiful portraits of women.
		Utamaro´s early known works are portraits of actors and theater programs, published under the name of Utagawa Toyoaki.
		Utamaro´s prints of women depict idealized physiques, portraying women with extremely tall and slender bodies, closer resembling the women of today´s fashion magazines.
	picassomio.com /Utamaro (310 words)

	Utamaro
		Utamaro Kitagawa, also known as Ichitaro, Yusuke, Katagawa Toyoaki, Sekiyo, Entaisai and Murasaki-ya, was born in 1753 and discovered in France during the second half of the 19th century by the Goncourt brothers.
		Utamaro was considered in the West as the greatest master of Japanese prints.
		Utamaro was highly talented in the representing women and was hailed as the portrait painter of feminine charm.
	www.kunstwissen.de /fach/f-kuns/weltkultur/w_japa03.htm (988 words)

	Utamaro's Okita the Naniwaya Tea-shop Waitress (Site not responding. Last check: )
		Utamaro is famed for his superbly conceived paintings and woodblock-print depictions of beautiful women from the shops, teahouses, and pleasure quarters of Edo (now Tokyo).
		Utamaro's creative efforts during the Kansei era (1789-1801), when he produced his most distinctive and memorable designs, were devoted mainly to exploring the compositional potentialities of single-sheet prints, most often in the standard ôban (38 by 25 cm; 15 by 10 in) size, vertically disposed.
		Utamaro's artistic evolution is marked by a persistent interest in scrutinizing these women from ever greater proximity, as shown by his taste for half-torso and ôkubi-e (bust-depiction) prints.
	www.trussel.com /ukiyoe/uki2.htm (559 words)

	Utamaro Summary
		The most outstanding of Utamaro's early works are his illustrated books, the finest of which are the albums of insects, shells, and birds published between 1787 and 1791 and reflecting the influence of the Dutch scientific publications which were entering Japan through the port of Nagasaki.
		Utamaro's most original contribution to the art of the Japanese print was his close-up pictures, or Okubi-e, which concentrated on the face.
		While Utamaro's subjects by and large were taken from the general repertoire of the Ukiyo-e school, it was in the style and design of his prints that he surpassed his contemporaries and followers.
	www.bookrags.com /Utamaro (1467 words)

	Kitagawa UTAMARO (Site not responding. Last check: )
		Due not least to the sheer volume and versatility of his work, Utamaro is considered by many connoisseurs to be the most important master of the Japanese woodblock print, which he might well be said to have perfected.
		Utamaro's predilection was for the use of bright, fresh colours, often on a mica-dust background, and strewn with gold dust or powdered mother-ofpearl.
		Shortly before his death Utamaro came into conflict with the censor as a result of a triptych published in 1804, whose historical motifs were suspected of satirizing life at the shoguns court.
	www.ukiyoe-reproductions.com /html/artists/Utamaro.html (529 words)

	ART:UTAMARO PRINTS SHOW COURTESAN LIFE - New York Times
		UTAMARO was one of the bright lights of the ''Golden Age'' of Edo culture.
		As with the prints of his great contemporary Hokusai, Utamaro's economy of means and unexpected points of view have been an inexhaustible notebook for Western artists since the middle of the last century.
		Although Utamaro's shapes and lines were always narrative devices, they have a geometric fullness and purity that could easily be put in the service of biomorphic sculpture or abstract art.
	query.nytimes.com /gst/fullpage.html?res=980DE1DF1439F93AA25753C1A962948260 (774 words)

	Biography - Utamaro (Site not responding. Last check: )
		Utamaro, in common with most Japanese, changed his name as he became mature, and took the name Ichitaro Yusuke as he became older.
		In about 1791 Utamaro gave up designing prints for books and concentrated on making half-length single portraits of women, rather than prints of women in groups, as favoured by other ukiyo-e artists.
		In 1797, Tsutaya Juzaburo died, and Utamaro apparently was very upset by the loss of his long-time friend and supporter.
	mywebpage.netscape.com /AAS8144/utamaro-biography.html (705 words)

	artist's profiles UTAMARO
		Born in a local province in 1753, Utamaro went to Edo(Tokyo) around 1775 where he became a pupil of Toriyama Sekien, making his debut in the Ukiyo-e world under the pseudonym Toyoaki Kitagawa.
		In 1781 he changed his pseudonym to Kitagawa Utamaro and at the same time his talent was noticed by the Ukiyo-e publisher Tsuta-ya Juzaburo, who became his patron.
		Considered by many to be the greatest of the Ukiyo-e artists, Utamaro's Okubi-e ("large head" close-up) portraits of beautiful women marked an epoch in the evolution of bijin-ga (pictures of beautiful women).
	www.adachi-hanga.com /hp_english/en_artists-profiles_utamaro.htm (212 words)

	Essays - Following the Gaze in 'Beauty and Sadness': Utamaro, O'Keeffe and Song by Lois Veber-Altman
		Utamaro’s era witnessed the decline of the Tokugawa shogunate that had defined a rigid social hierarchy for nearly three hundred years and which divided men and women into separate worlds, relegating women to the role of playthings who were unspiritual at best and vulgar at worst, or a necessary burden for propagating the race.
		Utamaro and his women may be taken as “an image of the ‘interstices,’ the in-between hydridity of the history of sexuality and race” (Bhabha 1341).
		Utamaro spoke for women who had no voice yet he left behind a enduring documentary of Edo’s ephemeral society and a tribute to its women who are named and remembered long after the men who used them.
	euphrates.wpunj.edu /faculty/parrasj/BurningLeaf/burning_files/essay_writing/essay_pg04.html (2859 words)

	Japanese Woodblock Prints
		Utamaro’s original name was Ichitaro Kitagawa, and like most artists in Japan during this time, Utamaro began his career as an apprentice to the painter Toriyama Sekien.
		Utamaro continued to do well with his prints until 1804 when he got into serious trouble with the law and was even imprisoned for one of his prints.
		Utamaro was reportedly so humiliated from this experience that he fell into a great depression from which he never recovered.
	www.asianartmall.com /utamaro.htm (506 words)

	Utamaro and His Five Women (1946)
		Having been recommended a print by the hottest ukiyo-e artist Utamaro, he takes a closer look only to discover that the painter has scribbled a rather immodest message on the picture, claiming that even his sketches have more life than the established school's paintings.
		When Utamaro improves on Seinosuke's painting, the latter decides to give up his life of privilege in order to become a true artist because (he believes) the rigid social milieu of his class will not permit free expression.
		Utamaro's main source of inspiration is the beautiful Okita (Tanaka Kinuyo, whom many would always remember for her role as Tamaki in Mizoguchi's Shansho, the Bailiff).
	www.gotterdammerung.org /film/mizoguchi-kenji/utamaro-and-his-five-women.html (935 words)

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