The Embankment at Mimeguri - Kitagawa Utamaro
Archival giclée
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Description
A classic ukiyo-e woodblock print by Kitagawa Utamaro, depicting figures by the Sumida River with characteristic grace and precise line work.
Kitagawa Utamaro is widely recognised for his contributions to the ukiyo-e genre, particularly his depictions of women in the Edo period. This print, The Embankment at Mimeguri, captures a quiet moment along the Sumida River. The composition features three figures interacting near a small boat, set against the backdrop of the Mimeguri embankment. The artist employs a balanced arrangement, where the verticality of the trees and the wooden pilings provides a structural contrast to the fluid postures of the figures.
Utamaro demonstrates his skill in line work and colour application through the subtle rendering of the kimono patterns and the delicate facial features of the subjects. The palette remains restrained, relying on soft earth tones and muted greens to convey the atmosphere of a riverside setting. The print reflects the aesthetic preferences of the time, focusing on the daily lives of urban residents rather than grand historical narratives. The figures are positioned in a way that suggests a narrative connection, with one individual leaning from the boat while another stands on the bank, holding a staff. The use of space is characteristic of the period, with the background elements providing context without overwhelming the primary subjects.
As a master of the bijin-ga style, Utamaro often focused on the grace and elegance of his subjects. In this work, he extends his observation to the environment, integrating the human element with the natural surroundings of the riverbank. The woodblock technique allows for clean, precise lines that define the forms of the clothing and the textures of the wooden structures. This piece offers a view into the social and visual culture of late eighteenth-century Japan, maintaining a focus on the interplay between human activity and the physical environment.
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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.
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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
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- 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
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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
The Embankment at Mimeguri - 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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