Kintaro, Urashimataro, and Momotaro - Kitagawa Utamaro
Archival giclée
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Description
A classic ukiyo-e triptych by Kitagawa Utamaro featuring the legendary figures Momotaro, Urashimataro, and Kintaro in a refined, multi-panel composition.
This triptych by Kitagawa Utamaro depicts three legendary figures of Japanese folklore: Momotaro, Urashimataro, and Kintaro. The work is part of a series titled Set of Three Sake Cups for the First Month. Utamaro, a master of the ukiyo-e genre, is recognised for his ability to capture the grace and subtle expressions of his subjects. In this composition, each panel features a woman accompanied by one of the legendary boys, creating a balanced narrative across the three sheets.
The figures are rendered with the characteristic elegance of the period. The women are dressed in elaborate kimonos with detailed patterns, while the boys are shown in dynamic poses, reflecting their mythical origins. Momotaro, the peach boy, is shown on the left; Urashimataro, the fisherman, occupies the centre; and Kintaro, the golden boy, is on the right. The use of line is precise, defining the folds of the garments and the delicate features of the faces. The colour palette is restrained, relying on soft tones to unify the three panels.
Utamaro often focused on the beauty of the human form, and this print is no exception. The interaction between the adult figures and the children provides a sense of domestic harmony, despite the fantastical nature of the characters. The inclusion of musical instruments, such as the shamisen, adds a layer of cultural depth to the scene. This print serves as a fine example of the sophisticated woodblock printing techniques employed in Edo-period Japan. The composition is carefully arranged to guide the eye across the triptych, ensuring that each panel contributes to the overall visual narrative. Collectors of Japanese art will appreciate the attention to detail and the technical skill required to produce such a multi-sheet work.
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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
Kintaro, Urashimataro, and Momotaro - 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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