Yoshitora Utagawa, Washington, America, Comparisons of Famous Places of Foreign Countries

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Artist: Yoshitora Utagawa (Active in 1830-1880s)
Title: Washington, America
Series: Comparisons of Famous Places of Foreign Countries
Publisher: Morookaya Ihei
Date: 1862
Size: (L) 24.2 x 34.9, (C) 24.2 x 35.0, (R) 24.5 x 35.3 cm

Original Japanese woodblock print.

yoshitora utagawa, Washington, America, Comparisons of Famous Places of Foreign Countries
yoshitora utagawa, Washington, America, Comparisons of Famous Places of Foreign Countries yoshitora utagawa, Washington, America, Comparisons of Famous Places of Foreign Countries

Western culture proved a consistent fascination to Japanese woodblock artists. The limited contact with the West imposed by the Japanese regime in the Edo period created endless curiosity that artists were eager to satisfy, although the situations they imagined were sometimes far from being accurate. It is evident from these prints that the Japanese were fascinated by the clothing, the strange habits and the occupations of the foreigners.

Throughout the Edo Period (1603 - 1868), Japan adopted a sakoku (closed country) policy. Sakoku was a system in which strict regulations were placed on commerce and foreign relations by the shogunate and certain feudal domains. Trade was limited, except for the port of Nagasaki where the Dutch and Chinese were the only ones allowed to operate. In 1859 the port of Yokohama was opened to foreigners, and ukiyo-e artists, primarily of the Utagawa school, produced hundreds of woodblock print designs in response to a general curiosity about strangers.

More Information
Print Format Triptych
Artist Name Yoshitora Utagawa
Title Washington, America
Subject Landscapes, Yokohama-e/Nagasaki-e
Dimensions (L) 24.2 x 34.9, (C) 24.2 x 35.0, (R) 24.5 x 35.3 cm
Condition Report Tears and small wormholes, stains due to old glue, creases, thin areas.

Yoshitora Utagawa


Yoshitora Utagawa was a woodblock print artist active towards the end of the 19th century in Japan. Born in Edo (today’s Tokyo), neither his date of birth nor date of death is known. Yoshitora was a pupil of Kuniyoshi Utagawa (1798-1861), however, he was expelled due to artistic differences. He went on his own path and changed his artist name to Mosai, producing prints of warriors, kabuki actors, beautiful women, and foreigners in particular (Yokohama-e).

The limited contact with the West imposed by the Japanese regime in the Edo period (1603-1868) created endless curiosity that artists were eager to satisfy, although the situations they imagined were sometimes far from being accurate. It is evident from these prints that the Japanese were fascinated by the clothing, the strange habits and the occupations of the foreigners.

For much of the Edo period Japan adopted a sakoku (closed country) policy. Sakoku was a system in which strict regulations were placed on commerce and foreign relations by the shogunate and certain feudal domains. Trade was limited, except for the port of Nagasaki where the Dutch and Chinese were the only ones allowed to operate. In 1859 the port of Yokohama was opened to foreigners, and ukiyo-e artists, primarily of the Utagawa school, produced hundreds of woodblock print designs in response to a general curiosity about the newly arrived visitors.

Yoshitora was a leading designer of these prints and he also produced a number of landscapes derived from Western engraving. In the Meiji period that began in 1868 he also worked for newly established newspapers.

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