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Utagawa Kunisada (Toyokuni III) - Hatsuhana at Hakone

Hatsuhana at Hakone (1852)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1865 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Utagawa Kunisada (Toyokuni III)
About the Artist

Utagawa Kunisada, also known as Utagawa Toyokuni III (三代 歌川 豊国 Sandai Utagawa Toyokuni), was the most popular, prolific and commercially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.

At the end of the Edo period (1603–1867), Hiroshige, Kuniyoshi and Kunisada were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to their works as "decadent".

Beginning in the 1930s and 1970s, respectively, the works of Hiroshige and Kuniyoshi were submitted to a re-evaluation, and these two are now counted among the masters of their art. Thus, from Kunisada alone was withheld, for a long time, the acknowledgment which is due to him. With a few exceptions, such as actor portraits (yakusha-e) and portraits of beautiful women (bijin-ga), at the beginning of his career, and some series of large-size actor head-portraits near the end, it was thought that he had produced only inferior works. It was not until the early 1990s, with the appearance of Jan van Doesburg's overview of the artistic development of Kunisada, and Sebastian Izzard's extensive study of his work, that this picture began to change, with Kunisada more clearly revealed as one of the "giants" of the Japanese print that he was.

More Artworks by Utagawa Kunisada (Toyokuni III)

Act XI; Moronao is Dragged from Hiding and Identified by Yuranosuke, then Killed; Moronao’s Retainers Being Pursued (circa 1835)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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High-ranking Monk, Yasuhide Playing the Role of Nakamura Utaemon (19th century)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Viewing Plum Blossoms (1858)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Memorial Portrait of Hiroshige (1859)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Act VI; Kampei Signing the Roll of the Forty-Seven Rōnin; Okaru, after Being Sold, is Taken by Palanquin to Kyoto Brothel (circa 1835)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Woman Putting on Make-Up (ca. 1830–1843)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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The Actor Mimasu Gennosuke in the role of Genshichi, the Tobacco Seller (circa 1820s)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Woman Clasping Baby (ca. 1813–1833)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Scene from the Play Meiboku Sendai Hagi; The Prince Watching Tea Preparation (late 1840s)

Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)
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Ni Brigade, First Group; Ryōgoku Bridge; Actor Ichikawa Danjūrō VIII as Yokoyama no Yosaburō (1863)

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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
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