ONE HUNDRED FACES OF THE FLOATING WORLD
Utamaro's 100 essential works
Famous beauties, attentive mothers, courtesans, readers and walkers: Utamaro makes a portrait of every gesture. One hundred works to discover an artist who knew that a closed fan can sometimes say more than a long speech.
Kitagawa Utamaro (c. 1753 -1806) took the female portrait of ukiyo-e to a new intensity. Bold close-ups, mica backgrounds, expertly described hairstyles and barely sketched expressions make up an art where physical resemblance counts less than character.
This journey begins with his iconic works, then broadens the gaze to maternal scenes, professions, festivals and landscapes. Utamaro not only painted the beauties of Edo: he observed everything that happens when they stop posing.
KITAGAWA UTAMARO
Three Beauties of the Present Day
Utamaro brings together Tomimoto Toyohina, Naniwaya Okita and Takashima Ohisa in a composition that has become the emblem of bijin-ga. The faces seem close, but hairstyles, gestures and temperaments prevent this trio from being reduced to a simple beauty catalog.
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KITAGAWA UTAMARO
Courtesan Takigawa
Takigawa, a leading courtesan of the Ōgiya house, appears in elaborate finery that immediately conveyed her rank to Edo audiences. Utamaro describes the fabrics without letting costume overwhelm the person: luxury remains a frame rather than a mask.
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KITAGAWA UTAMARO
Mother and child
Utamaro depicts a mother and her child in tender proximity, far from official poses. The hands and looks construct a domestic scene where affection can be read even before the subject.
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KITAGAWA UTAMARO
Woman wiping her face
A woman has just wiped perspiration from her face, an ordinary gesture Utamaro turns into a psychological portrait. The mica background and curve of her arm give this fleeting moment a monumental presence.
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KITAGAWA UTAMARO
Naniwaya Okita
Okita served in a tea house in Asakusa and became a celebrity in the capital thanks to Utamaro's portraits. The artist here mixes advertising, fashion and observation of character - the Edo influencer had simply replaced the telephone with a fan.
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KITAGAWA UTAMARO
Snow in Fukagawa
In a Fukagawa house open to the snow, the figures continue their activities sheltered from the cold. The horizontal format combines domestic intimacy and winter landscape, offering Utamaro a calm theater where white almost plays the leading role.
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KITAGAWA UTAMARO
Takashima Ohisa observing her hairstyle in two mirrors
“Takashima Ohisa observing her hairstyle in two mirrors” depicts an intimate moment of grooming. In “Takashima Ohisa observing her hairstyle in two mirrors”, the tight framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Bust portrait of a beauty
“Bust portrait of a beauty” depicts an exchange of restrained gestures. In “Bust portrait of a beauty”, the oblique framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Pearl Divers
“Pearl Divers” depicts active figures in the landscape. In “Pearl Divers”, the airy framing echoes the kimono patterns.
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KITAGAWA UTAMARO
Courtesans under the cherry trees in front of the Daikokuya tea house
“Courtesans under the cherry trees in front of the Daikokuya tea house” depicts the elegant codes of Yoshiwara. In “Courtesans under the cherry trees in front of the Daikokuya tea house”, the frontal framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Cherry blossoms in Mimeguri
“Cherry blossoms in Mimeguri” depicts a walk marked by the season. In “Cherry blossoms in Mimeguri”, the asymmetrical framing makes you guess an interrupted conversation.
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KITAGAWA UTAMARO
Mother holding her child playing with a fish
“Mother holding her child playing with a fish” depicts family tenderness through gestures. In “Mother holding her child playing with a fish”, the panoramic framing measures the distance between the figures.
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KITAGAWA UTAMARO
Abalone Divers
“Abalone Divers” depicts active figures in the landscape. In “Abalone Divers”, the vertical framing shows the accessories without distraction.
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KITAGAWA UTAMARO
Moonrise on the Nihon and Yoshiwara dike
“Moonrise on the Nihon and Yoshiwara dike” depicts the elegant codes of Yoshiwara. In “Moonrise on the Nihon and Yoshiwara dike”, the close framing makes an ordinary moment last.
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KITAGAWA UTAMARO
Courtesan dreaming of a wedding procession
“Courtesan dreaming of a wedding procession” depicts the elegant codes of Yoshiwara. In “Courtesan dreaming of a wedding procession”, the theatrical framing contrasts movement and immobility.
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KITAGAWA UTAMARO
Firefly Hunting beneath a Willow
“Firefly Hunting beneath a Willow” depicts the faint lights of the night. In “Firefly Hunting beneath a Willow”, the silent framing makes the scene’s calm almost audible.
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KITAGAWA UTAMARO
Evening Cool along the Sumida
“Evening Cool along the Sumida” depicts active figures in the landscape. In “Evening Cool along the Sumida”, the fluid framing follows the flexible lines of the bodies.
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KITAGAWA UTAMARO
Woman powdering her neck
“Woman powdering her neck” depicts an intimate moment of grooming. In “Woman powdering her neck”, the slender framing reveals the character behind the fashion.
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KITAGAWA UTAMARO
Woman resting after bathing
“Woman resting after bathing” depicts an intimate moment of grooming. In “Woman resting after bathing”, the offset framing balances the solid areas and contours.
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KITAGAWA UTAMARO
The lips
“The lips” depicts an intimate moment of grooming. In “The lips”, the tight framing brings together the intimate and the spectacular.
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KITAGAWA UTAMARO
Tomimoto Toyohina reading a letter
“Tomimoto Toyohina reading a letter” depicts the concentration aroused by writing. In “Tomimoto Toyohina reading a letter”, the oblique framing gives the fabrics an active presence.
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KITAGAWA UTAMARO
Young woman with a comb
“Young woman with a comb” depicts an intimate moment of grooming. In “Young woman with a comb”, the airy framing holds the expression on the verge of a smile.
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KITAGAWA UTAMARO
Courtesan Ichikawa of House Matsuba
“Courtesan Ichikawa of House Matsuba” depicts the elegant codes of Yoshiwara. In “Courtesan Ichikawa of House Matsuba”, the frontal framing transforms the wait into a small theater.
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KITAGAWA UTAMARO
Mother and child around 1793
“Mother and child around 1793” depicts family tenderness through gestures. In “Mother and child around 1793”, the asymmetrical framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Mother breastfeeding her child in front of a hairdresser
“Mother breastfeeding her child in front of a hairdresser” depicts family tenderness through gestures. In “Mother breastfeeding her child in front of a hairdresser”, the panoramic framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Woman breastfeeding a baby
“Woman breastfeeding a baby” depicts family tenderness through gestures. In “Woman breastfeeding a baby”, the vertical framing echoes the kimono patterns.
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KITAGAWA UTAMARO
Two women with a baby playing on the ground
“Two women with a baby playing on the ground” depicts family tenderness through gestures. In “Two women with a baby playing on the ground”, the close framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Mother and child looking at a hand mirror
“Mother and child looking at a hand mirror” depicts family tenderness through gestures. In “Mother and child looking at a hand mirror”, the theatrical framing makes us guess an interrupted conversation.
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KITAGAWA UTAMARO
Yamauba and Kintoki
“Yamauba and Kintoki” depicts an exchange of restrained gestures. In “Yamauba and Kintoki”, the silent framing measures the distance between the figures.
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KITAGAWA UTAMARO
The bath
“The bath” depicts an intimate moment of grooming. In “The bath”, the fluid framing lets us examine the accessories without distraction.
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KITAGAWA UTAMARO
Beauty after bathing with a cat
“Beauty after bathing with a cat” depicts a lively encounter with the animal. In “Beauty after bathing with a cat”, the slender framing makes an ordinary moment last.
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KITAGAWA UTAMARO
A woman and a cat
“A woman and a cat” depicts a lively encounter with the animal. In “A woman and a cat”, the off-center framing contrasts movement and immobility.
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KITAGAWA UTAMARO
In front of the dressing table
“In front of the dressing table” depicts an exchange of restrained gestures. In “In front of the dressing table”, the tight framing makes the scene’s calm almost audible.
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KITAGAWA UTAMARO
Woman threading a needle
“Woman threading a needle” depicts daily work without solemnity. In “Woman threading a needle”, the oblique framing follows the flexible lines of the bodies.
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KITAGAWA UTAMARO
Woman Measuring a Man’s Robe
“Woman Measuring a Man’s Robe” depicts daily work without solemnity. In “Woman Measuring a Man’s Robe”, the airy framing reveals the character behind the fashion.
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KITAGAWA UTAMARO
Women drying laundry on a balcony
“Women drying laundry on a balcony” depicts daily work without solemnity. In “Women drying laundry on a balcony”, the frontal framing balances the flat areas and contours.
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KITAGAWA UTAMARO
Women preparing sashimi
“Women preparing sashimi” depicts daily work without solemnity. In “Women preparing sashimi”, the asymmetrical framing brings together the intimate and the spectacular.
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KITAGAWA UTAMARO
Calligraphy lesson
“Calligraphy lesson” depicts the concentration aroused by writing. In “Calligraphy lesson”, the panoramic framing gives the fabrics an active presence.
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KITAGAWA UTAMARO
Young woman reading while an elderly woman writes
“Young woman reading while an elderly woman writes” depicts the concentration aroused by writing. In “Young woman reading while an elderly woman writes”, the vertical framing holds the expression on the verge of a smile.
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KITAGAWA UTAMARO
Two women with letters
“Two women with letters” depicts the concentration aroused by writing. In “Two women with letters”, the close framing transforms the wait into a small theater.
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KITAGAWA UTAMARO
Two women
“Two women” depicts an exchange of restrained gestures. In “Two women”, the theatrical framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Two women near bamboo blind
“Two women near bamboo blind” depicts an exchange of restrained gestures. In “Two women near bamboo blind”, the silent framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Two women and a lacquered mirror case
“Two women and a lacquered mirror case” depicts an intimate moment of grooming. In “Two women and a lacquered mirror case”, the fluid framing echoes the kimono patterns.
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KITAGAWA UTAMARO
Geisha walking in the snow at night
“Geisha walking in the snow at night” depicts Yoshiwara’s elegant codes. In “Geisha walking in the snow at night”, the slender framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Two geishas and a tipsy customer
“Two geishas and a tipsy customer” depicts Yoshiwara’s elegant codes. In “Two geishas and a tipsy customer”, the off-center framing makes you guess an interrupted conversation.
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KITAGAWA UTAMARO
Woman representing good fortune
“Woman representing good fortune” depicts an exchange of restrained gestures. In “Woman representing good fortune”, the tight framing measures the distance between the figures.
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KITAGAWA UTAMARO
Serenade
“Serenade” depicts an exchange of restrained gestures. In “Serenade”, the oblique framing lets us examine the accessories without distraction.
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KITAGAWA UTAMARO
Yoshiwara woman reading a scroll
“Yoshiwara woman reading a scroll” depicts the elegant codes of Yoshiwara. In “Yoshiwara woman reading a scroll”, the airy framing makes an ordinary moment last.
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KITAGAWA UTAMARO
Yoshiwara woman with a young girl
“Yoshiwara woman with a young girl” depicts the elegant codes of Yoshiwara. In “Yoshiwara woman with a young girl”, the frontal framing contrasts movement and immobility.
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KITAGAWA UTAMARO
Yoshiwara women looking at the street in spring
“Yoshiwara women looking at the street in spring” depicts the elegant codes of Yoshiwara. In “Yoshiwara women looking at the street in spring”, the asymmetrical framing makes the scene’s calm almost audible.
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KITAGAWA UTAMARO
Karagoto from Chôjiya House
“Karagoto from Chôjiya House” depicts the elegant codes of Yoshiwara. In “Karagoto from Chôjiya House”, the panoramic framing follows the flexible lines of the bodies.
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KITAGAWA UTAMARO
Courtesan Shinohara of House Tsuruya
“Courtesan Shinohara of House Tsuruya” depicts the elegant codes of Yoshiwara. In “Courtesan Shinohara of House Tsuruya”, the vertical framing reveals the character behind the fashion.
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KITAGAWA UTAMARO
Hitomoto from the Daimonjiya house
“Hitomoto from the Daimonjiya house” depicts an exchange of restrained gestures. In “Hitomoto from the Daimonjiya house”, the close framing balances the solid areas and contours.
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KITAGAWA UTAMARO
Karagoto of Chōjiya in 1805
“Karagoto of Chōjiya in 1805” depicts the elegant codes of Yoshiwara. In “Karagoto of Chōjiya in 1805”, the theatrical framing brings together the intimate and the spectacular.
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KITAGAWA UTAMARO
Hinazuru of Chōjiya and Her Attendants
“Hinazuru of Chōjiya and Her Attendants” depicts the elegant codes of Yoshiwara. In “Hinazuru of Chōjiya and Her Attendants”, the silent framing gives the fabrics an active presence.
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KITAGAWA UTAMARO
Shinahara from Tsuruya with Shinobu kamuro
“Shinahara from Tsuruya with Shinobu kamuro” depicts an exchange of restrained gestures. In “Shinahara from Tsuruya with Shinobu kamuro”, the fluid framing holds the expression on the verge of a smile.
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KITAGAWA UTAMARO
Wakana and Wakano'ura from the Wakana house
“Wakana and Wakano'ura from the Wakana house” depicts an exchange of restrained gestures. In “Wakana and Wakano'ura from the Wakana house”, the slender framing transforms the wait into a small theater.
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KITAGAWA UTAMARO
Takikawa of the Ōgiya House and Her Kamuro
“Takikawa of the Ōgiya House and Her Kamuro” depicts an exchange of restrained gestures. In “Takikawa of the Ōgiya House and Her Kamuro”, the off-center framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Kasugano from Ogiya House in procession
“Kasugano from Ogiya House in procession” depicts the elegant codes of Yoshiwara. In “Kasugano from Ogiya House in procession”, the tight framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Hinazuru of Chojiya on a pile of futons
“Hinazuru of Chojiya on a pile of futons” depicts the elegant codes of Yoshiwara. In “Hinazuru of Chojiya on a pile of futons”, the oblique framing echoes the kimono patterns.
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KITAGAWA UTAMARO
Kasugano under the cherry blossoms
“Kasugano under the cherry blossoms” depicts the elegant codes of Yoshiwara. In “Kasugano under the cherry blossoms”, the airy framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Takihashi from Ogiya House
“Takihashi from Ogiya House” depicts the elegant codes of Yoshiwara. In “Takihashi from Ogiya House”, the frontal framing makes you guess an interrupted conversation.
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KITAGAWA UTAMARO
Midorigi from the Wakamatsuya house
“Midorigi from the Wakamatsuya house” depicts an exchange of restrained gestures. In “Midorigi from the Wakamatsuya house”, the asymmetrical framing measures the distance between the figures.
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KITAGAWA UTAMARO
Tsukasa from Ogiya House
“Tsukasa from Ogiya House” depicts an exchange of restrained gestures. In “Tsukasa from Ogiya House”, the panoramic framing lets us examine the accessories without distraction.
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KITAGAWA UTAMARO
Takigawa from Ogiya House
“Takigawa from Ogiya House” depicts the elegant codes of Yoshiwara. In “Takigawa from Ogiya House”, the vertical framing makes an ordinary moment last.
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KITAGAWA UTAMARO
Yosoi from Matsubaya House
“Yosoi from Matsubaya House” depicts Yosoi’s own posture. In “Yosoi from Matsubaya House”, the close framing contrasts movement and immobility.
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KITAGAWA UTAMARO
Segawa from Matsubaya House
“Segawa from Matsubaya House” depicts Segawa’s own posture. In “Segawa from Matsubaya House”, the theatrical framing makes the scene’s calm almost audible.
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KITAGAWA UTAMARO
Yoyotose and Yoyoginu from Matsubaya
“Yoyotose and Yoyoginu from Matsubaya” depicts Yoyotose’s distinctive bearing. In “Yoyotose and Yoyoginu from Matsubaya”, the silent framing follows the flexible lines of the bodies.
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KITAGAWA UTAMARO
Somenosuke from Matsubaya House
“Somenosuke from Matsubaya House” depicts Somenosuke’s own posture. In “Somenosuke from Matsubaya House”, the fluid framing reveals the character behind the fashion.
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KITAGAWA UTAMARO
Waitress at Matsu Higashiya tea house
“Waitress at Matsu Higashiya tea house” depicts an exchange of restrained gestures. In “Waitress at Matsu Higashiya tea house”, the slender framing balances the solid colors and contours.
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KITAGAWA UTAMARO
Hanaōgi Walking with Her Two Young Attendants
“Hanaōgi Walking with Her Two Young Attendants” depicts an exchange of restrained gestures. In “Hanaōgi Walking with Her Two Young Attendants”, the off-center framing brings together the intimate and the spectacular.
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KITAGAWA UTAMARO
Three courtesans under a wisteria
“Three courtesans under a wisteria” depicts Yoshiwara’s elegant codes. In “Three courtesans under a wisteria”, the tight framing gives the fabrics an active presence.
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KITAGAWA UTAMARO
Three drunken courtesans
“Three drunken courtesans” depicts Yoshiwara’s elegant codes. In “Three drunken courtesans”, the oblique framing holds the expression on the verge of a smile.
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KITAGAWA UTAMARO
A Courtesan’s Retinue at the New Year Festival
“A Courtesan’s Retinue at the New Year Festival” depicts the elegant codes of Yoshiwara. In “A Courtesan’s Retinue at the New Year Festival”, the airy framing transforms the wait into a small theater.
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KITAGAWA UTAMARO
Courtesans of the Green House
“Courtesans of the Green House” depicts the elegant codes of Yoshiwara. In “Courtesans of the Green House”, the frontal framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Coolness in a Garden
“Coolness in a Garden” depicts a walk marked by the season. In “Coolness in a Garden”, the asymmetrical framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Evening scene in a tea house
“Evening scene in a tea house” depicts the faint lights of the night. In “Evening scene in a tea house”, the panoramic framing echoes the kimono patterns.
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KITAGAWA UTAMARO
Pleasure boats near the Ryôgoku bridge
“Pleasure boats near the Ryôgoku bridge” depicts active figures in the landscape. In “Pleasure boats near the Ryôgoku bridge”, the vertical framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Night net fishing on the Sumida
“Night net fishing on the Sumida” depicts active figures in the landscape. In “Night net fishing on the Sumida”, the close framing suggests an interrupted conversation.
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KITAGAWA UTAMARO
Fishing on the Flat Rock at Enoshima
“Fishing on the Flat Rock at Enoshima” depicts active figures in the landscape. In “Fishing on the Flat Rock at Enoshima”, the theatrical framing measures the distance between the figures.
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KITAGAWA UTAMARO
Enoshima Beach Games
“Enoshima Beach Games” depicts active figures in the landscape. In “Enoshima Beach Games”, the silent framing lets us examine the accessories without distraction.
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KITAGAWA UTAMARO
On the shore of Enoshima
“On the shore of Enoshima” depicts active figures in the landscape. In “On the shore of Enoshima”, the fluid framing makes an ordinary moment last.
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KITAGAWA UTAMARO
Procession at the foot of Mount Fuji
“Procession at the foot of Mount Fuji” depicts a movement punctuated by the landscape. In “Procession at the foot of Mount Fuji”, the slender framing contrasts movement and immobility.
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KITAGAWA UTAMARO
Young falconers in front of Mount Fuji
“Young falconers in front of Mount Fuji” depicts a lively encounter with the animal. In “Young falconers in front of Mount Fuji”, the off-center framing makes the scene’s calm almost audible.
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KITAGAWA UTAMARO
Travelers looking at Mount Fuji
“Travelers looking at Mount Fuji” depicts a movement punctuated by the landscape. In “Travelers looking at Mount Fuji”, the tight framing follows the soft lines of the bodies.
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KITAGAWA UTAMARO
Futamigaura
“Futamigaura” depicts active figures in the landscape. In “Futamigaura”, the oblique framing shows the character behind the fashion.
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KITAGAWA UTAMARO
Elegant pleasures in Takanawa at the end of summer
“Elegant pleasures in Takanawa at the end of summer” depicts active figures in the landscape. In “Elegant pleasures in Takanawa at the end of summer”, the airy framing balances the solid colors and contours.
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KITAGAWA UTAMARO
Winter Scene Based on Romance of the Three Kingdoms
“Winter Scene Based on Romance of the Three Kingdoms” depicts silhouettes isolated by winter. In “Winter Scene Based on Romance of the Three Kingdoms”, the frontal framing brings together the intimate and the spectacular.
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KITAGAWA UTAMARO
Parody of an imperial procession
“Parody of an imperial procession” depicts a movement punctuated by the landscape. In “Parody of an imperial procession”, the asymmetrical framing gives the fabrics an active presence.
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KITAGAWA UTAMARO
Parody of the Treasure of Faithful Servants
“Parody of the Treasure of Faithful Servants” depicts an exchange of restrained gestures. In “Parody of the Treasure of Faithful Servants”, the panoramic framing holds the expression on the verge of a smile.
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KITAGAWA UTAMARO
The Four Elegant Accomplishments
“The Four Elegant Accomplishments” depicts an exchange of restrained gestures. In “The Four Elegant Accomplishments”, the vertical framing transforms the wait into a small theater.
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KITAGAWA UTAMARO
Still life with flowers
“Still life with flowers” depicts a walk marked by the season. In “Still life with flowers”, the close framing gives the white areas of the paper room to breathe.
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KITAGAWA UTAMARO
Couple in a boat
“Couple in a boat” depicts an exchange of restrained gestures. In “Couple in a boat”, the theatrical framing circulates the gaze between the figures.
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KITAGAWA UTAMARO
Cleaning combs
“Cleaning combs” depicts an intimate moment of grooming. In “Cleaning combs”, the silent framing echoes the kimono patterns.
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KITAGAWA UTAMARO
One hundred stories of demons and spirits
“One hundred stories of demons and spirits” depicts a fantastic burst of irony. In “One hundred stories of demons and spirits”, the fluid framing makes you feel the weight of a gesture.
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KITAGAWA UTAMARO
Fuji, falcon and eggplant
“Fuji, falcon and eggplant” depicts a lively encounter with the animal. In “Fuji, falcon and eggplant”, the slender framing makes you guess an interrupted conversation.
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KITAGAWA UTAMARO
Owl on a branch
“Owl on a branch” depicts a lively encounter with the animal. In “Owl on a branch”, the off-center framing measures the distance between the figures.
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KITAGAWA UTAMARO
The Doll Festival
“The Doll Festival” depicts the rites of a seasonal festival. In “The Doll Festival”, the tight framing lets us examine the accessories without distraction.
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KITAGAWA UTAMARO
Cormorant and white heron
“Cormorant and white heron” depicts a lively encounter with the animal. In “Cormorant and white heron”, the oblique framing makes an ordinary moment last.
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KITAGAWA UTAMARO
Picking persimmons
“Picking persimmons” depicts daily work without solemnity. In “Picking persimmons”, the airy framing contrasts movement and immobility.
See the workAfter the hundredth portrait
In Utamaro’s work, a sideways glance, busy hand or fold in a kimono can bring an entire story into the picture.
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