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Utagawa Kunisada (Toyokuni III)
Samurai Warriors Under Cherry Blossoms — 1850s Japanese Kabuki Woodblock

1849-53

About the Item

Utagawa Kunisada (Toyokuni III), 'Kabuki Actors as Two Samurai Warriors in Confrontation Under Cherry Blossoms', woodblock print, 1849-53. Signed in the left panel, lower left, and right panel with the artist’s seal in red, lower right. Good impressions with unfaded colors, apparently never previously framed, in overall good condition. Archivally sleeved, unmatted, unframed. Oban Diptych; sheet size approximately 15 x 10 inches each panel, 15 x 20 inches the two panels together. Published by Minatoya Kohei, Edo (Tokyo). ABOUT THE ARTIST “Kunisada became a leading artist of the ukiyo-e school at an early age thanks to his amazing skill in capturing the likeliness of kabuki actors, creating must-have souvenirs for their legions of fans.” — Sarah E. Thompson, Kuniyoshi x Kunisada, MFA Publications, Boston, 2017 Utagawa Kunisada (also Toyokuni III, 1786-1865) is considered the most popular, prolific, and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige, and Kuniyoshi, but a scholarly appreciation of his work has been long in coming. It was not until the early 1990s, with the appearance of Jan van Doesburg's overview of the artistic development of Kunisada and Sebastian Izzard's extensive study of his work, that this began to change, with Kunisada more clearly revealed as one of the 'giants' of the Japanese print that he was. Kunisada’s career spanned five decades, during which his work remained phenomenally popular, making him the all-time bestselling designer of Japanese woodblock prints. Almost from the first day of his activity, and even at the time of his death in 1865, Kunisada was a trendsetter in the art of Japanese woodblock printmaking. Always at the vanguard of his time and in tune with the public's tastes, he continuously developed stylistically, sometimes radically, and did not adhere to the formal constraints set by his contemporaries. His productivity was extraordinary—about 14,500 of his woodblock designs have been cataloged. Most of Kunisada's work was of actors portrayed in current popular plays; most of the balance was of women in the latest fashions. The works dated with quickly changing fashions, and there was a constant demand for new prints to replace the outdated ones. A well-known anecdote recorded in Biographies of the Utagawa School Artists by Iijima Kyoshin, written at the beginning of the 1890s, relates that the young Kuniyoshi, having languished for years as an artist, once observed Kunisada, ten years older and already an enormously popular artist, dressed in rich clothes and heartily enjoying himself with a beautiful geisha along the roads in Edo. Spurred by envy, Kuniyoshi vowed to renew his devotion to his art and later achieved the success he craved. Kunisada was so famous that, to help his friend Hiroshige promote the first edition of the Tokaido, he designed his own series of The fifty-three stations of the Tokaido, adding one of his popular beauties in the foreground of each of Hiroshige's landscapes. Kunisada’s woodblock prints are represented in numerous collections worldwide, including the Art Institute of Chicago; British Museum (London); Evansville Museum of Arts, History and Science; Honolulu Museum of Art; Indianapolis Museum of Art; The Israel Museum (Jerusalem); Los Angeles County Museum of Art; Minneapolis Institute of Art; Metropolitan Museum of Art; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; National Museum of Asian Art, Smithsonian Institution; Portland Art Museum; Tokyo Fuji Art Museum (Tokyo); University of California, Berkeley; Rhode Island School of Design Museum, Vanderbilt University Fine Arts Gallery; Van Gogh Museum (Amsterdam); Victoria and Albert Museum (London); and the Worcester Art Museum.
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