Stretching Cloth - Kitagawa Utamaro
Archival giclée
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Description
A classic Ukiyo-e woodblock print by Kitagawa Utamaro, capturing two women in a quiet moment of domestic labour.
This woodblock print by Kitagawa Utamaro depicts two women engaged in the domestic task of stretching cloth. The work belongs to the series 'Ten Physiognomic Types of Women' (Fujin sōgaku juttai), a collection that explores the subtle variations in female expression and character. Utamaro is known for his focus on the 'bijin-ga' genre, which translates to pictures of beautiful women, yet his approach here moves beyond simple idealisation. He employs a close-up composition, often referred to as 'okubi-e' or large-head pictures, to direct the viewer's attention to the facial features and the interaction between the figures.
The lines are fluid and precise, characteristic of the master's hand. The woman standing above leans forward with a gentle, focused gaze, while the woman seated below holds the fabric, her expression one of quiet concentration. The composition relies on the interplay of their postures and the diagonal lines of the cloth to create a sense of movement within a static scene. The colour palette is restrained, relying on soft tones and the natural texture of the paper to provide depth. This print demonstrates the artist's ability to capture a fleeting moment of daily life with economy and grace.
Utamaro was a central figure in the Edo period art scene. His work influenced many later artists, both in Japan and abroad. By focusing on the psychological state of his subjects, he brought a new level of realism to the woodblock medium. This print remains a fine example of his technical skill and his interest in the nuances of human behaviour. The work is printed on traditional washi paper, preserving the delicate ink lines that define the figures' hair and garments.
Return policy
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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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
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
Stretching Cloth - 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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