See also:

• UTAMARO (1754-1806)

UTAMARO (1754-1806)  , one of the best known of the See also:

• JAPANESE

Japanese designers of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour-prints, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Kawayoye . His See also:

• FATHER

father was a well-known painter of the See also:

• KANO

Kano School, Toriyama Sekiyen (Toyofusa), a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Kano Chikanobu; and See also:

• UTAMARO (1754-1806)

Utamaro traced his descent from the old feudal clans of the Minamoto, whose See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war with the Taira See also:

• FAMILY

family belongs to the romantic See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of Japanese See also:

• HISTORY

history . Utamaro's See also:

• PERSONAL

personal name was Yusuke; and he first worked under the See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature Toriyama Toyo-aki; but after a See also:

• QUARREL

quarrel with his father substituted the name Kitagawa for the former appellation . His distinct See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style was the outcome of that of his father, tempered with the characteristics of the Kano school . As a painter, his landscapes and drawings of See also:

• INSECTS

insects are most highly considered by Japanese critics; but his fame will always See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest among Europeans on his designs for colour-prints, the subjects of which are almost entirely See also:

• WOMEN

women—professional beauties and the like . These were done for the most See also:

• PART

part while he lived, in a sort of bondage, in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of a publisher, Tsutaya Shigesaburo . His talents were wasted by an unbroken career of dissipation, culminating in a See also:

• TERM

term of imprisonment for a pictorial See also:

• LIBEL

libel on the See also:

• SHOGUN (Japanese for " generalissimo ")

shogun Iyenari, in 1804 . From this he never recovered, and died on the third See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of the fifth See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, 18o6 . The colour-prints of Utamaro are distinguished by an extreme See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace of See also:

• LINE

line and of colour . His See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition is superb; and even in his lifetimehe achieved such popularity among his contemporaries as to gain the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title Ukiyo-ye Chuko-no-so, " See also:

• GREAT

great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the Popular School." His See also:

• WORK

work has a considerable reputation with the Dutch who visited See also:

• NAGASAKI

Nagasaki, and was imported into See also:

• EUROPE

Europe before the end of the 18th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . His See also:

• BOOK

book illustrations are also of great beauty . Three portraits of him are known: two colour-prints by himself, and one See also:

• PAINTING

painting by Chobunsai Yeishi (in the collection of Mr See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur See also:

• MORRISON, ARTHUR (1863– )
• MORRISON, RICHARD JAMES (1795-1874)
• MORRISON, ROBERT (1782-1834)

Morrison) .

His prints were frequently copied by his contemporaries, especially by the first Toyokuni and by Shunsen; and many of those bearing his name are really the work of Koikawa Harumachi, who had been a See also:

• FELLOW

fellow-student, and afterwards married his widow . That artist is known by the name of Utamaro II . Most of these imitations were made between 18o8 and 182o . Utamaro II., who afterwards changed his name to Kitagawa Tetsugoro, died between 183o and 1843 . See E. de See also:

• GONCOURT, DE

Goncourt, Outamaro (1891); E . F . See also:

• STRANGE, SIR ROBERT (1721-1792)

Strange, Japanese See also:

• ILLUSTRATION

Illustration (1897) ; and Japanese Colour-Prints (See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum Handbook, 1904) . (E . F .