Women Hanging Laundry to Dry on a Balcony - Kitagawa Utamaro
Archival giclée
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Description
A classic ukiyo-e woodblock print by Kitagawa Utamaro, depicting three women in a domestic setting on a balcony.
This woodblock print by Kitagawa Utamaro captures a quiet, domestic moment within the Edo period. Utamaro, a master of the ukiyo-e genre, is recognised for his depictions of women, often focusing on their daily activities and personal interactions. In this composition, three women occupy a balcony space, engaged in the mundane task of managing laundry. The artist employs his characteristic elongated figures, which lend a sense of grace to the subjects as they move through the architectural frame of the balcony.
The scene is structured by the linear elements of the wooden structure, which contrast with the soft, flowing lines of the women's kimono. Utamaro uses a muted colour palette, relying on subtle tones to define the forms and textures of the fabric. The composition balances the verticality of the standing figure with the seated posture of the woman to the right, creating a sense of natural movement. The background offers a glimpse of the surrounding urban environment, providing context to the private setting of the balcony.
Utamaro’s work often explored the lives of women in various social strata, moving beyond the idealised portraits common in his time. By focusing on a domestic chore, he brings a human quality to the print, inviting the viewer to observe a fleeting moment of everyday life. The technical execution, from the precise carving of the woodblocks to the application of colour, reflects the high standards of Japanese printmaking during the late eighteenth century. This piece provides a clear example of the artist's ability to combine formal composition with a narrative sensibility, capturing the atmosphere of a domestic interior with economy and poise.
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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
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
Women Hanging Laundry to Dry on a Balcony - 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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