An Imperial Carriage - Kitagawa Utamaro
Archival giclée
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Description
A classic Ukiyo-e woodblock print by Kitagawa Utamaro, depicting three figures in a quiet, intimate moment beneath a flowering cherry tree.
This woodblock print by Kitagawa Utamaro captures a moment of quiet interaction between three figures beneath the boughs of a flowering cherry tree. Utamaro, a master of the Ukiyo-e genre, is recognised for his ability to convey psychological depth through the subtle positioning of his subjects. In this composition, the figures are arranged in a triangular formation, creating a sense of balance that draws the viewer into their shared space. The artist employs a refined line quality, characteristic of his mature period, to define the folds of the kimonos and the delicate features of the faces.
The colour palette is restrained, relying on soft earth tones, muted oranges, and deep blacks to create a sense of harmony. The cherry blossoms above provide a seasonal context, suggesting the fleeting nature of the moment. Utamaro often focused on the inhabitants of the pleasure districts, and his work frequently explored the nuances of human connection. Here, the interaction appears intimate, with one figure leaning forward while the others observe, suggesting a narrative that remains open to interpretation. The flat perspective, typical of Japanese prints of this era, allows the decorative patterns of the textiles to take on a life of their own, contrasting with the smooth, pale skin of the subjects.
As a practitioner of the Ukiyo-e style, Utamaro contributed to the popularisation of the 'bijin-ga' genre, which focused on images of beautiful women. This print demonstrates his technical skill in woodblock carving and printing, where the registration of colours is precise. The work serves as an example of the aesthetic values of the Edo period, where art was accessible to a wider public and often reflected the fashions and social customs of the time. The print remains a clear representation of Utamaro's approach to figure composition and his mastery of the medium.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
An Imperial Carriage - Kitagawa Utamaro
Artist Biography
Kitagawa Utamaro
Almost nothing is certain about his early life. He was born around 1753, possibly in Edo, possibly in Kyoto, possibly in Kawagoe. He began publishing prints in the 1770s under the guidance of the publisher Tsutaya Juzaburo, who recognised what Utamaro could do with a portrait of a woman.
What he could do was unprecedented. He invented the okubi-e format: large head-and-shoulders portraits of individual women, mostly from the Yoshiwara pleasure district, printed in close-up with minimal background. Before Utamaro, bijin-ga (pictures of beautiful women) showed groups of figures in full length. He isolated the face, the tilt of the head, the expression. The prints are psychologically specific in a way that had not existed in Japanese printmaking.
He also published books of insect studies and volumes of shunga (erotica), and he made portraits of ordinary town women, not just courtesans. Ohisa and Okita, two shopgirls who appeared in his Three Beauties of the Present Day, became famous across Edo because of his prints. He turned real people into celebrities, which may be the first documented instance of an artist functioning as a kind of media platform.
Tsutaya Juzaburo died in 1797. Utamaro was reportedly devastated. Some critics feel his work never reached the same level afterward. He produced over two thousand prints in his career.
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