Editing Utamaro (section)

==Analysis==

[[File:Kitagawa One Hundred Stories of Demons and Spirits.jpg|thumb|''One Hundred Stories of Demons and Spirits'']]

{{Blockquote
|text   = [Utamaro] created an absolutely new type of female beauty.  At first he was content to draw the head in normal proportions and quite definitely round in shape; only the neck on which this head was posed was already notably slender ... Towards the middle of the tenth decade these exaggerated proportions of the body had reached such an extreme that the heads were twice as long as they were broad, set upon slim long necks, which in turn swayed upon very slim shoulders; the upper coiffure bulged out to such a degree that it almost surpassed the head itself in extent; the eyes were indicated by short slits, and were separated by an inordinately long nose from an infinitesimally small mouth; the soft robes hung loosely about figures of an almost unearthly thinness.
|author = [[Woldemar von Seidlitz]]
|source = ''Geschichte des japanischen Farbenholzschnittes'', 1897{{sfn|Stewart|1922|p=44}} }}

What little information about Utamaro's life that has been passed down is often contradictory, so analysis of his development as an artist relies chiefly on his work itself.{{sfn|Collia-Suzuki|2008|p=10}}  Utamaro is known primarily for his ''[[bijin-ga]]'' portraits of female beauties, though his work ranges from ''[[kachō-e]]'' "flower-and-bird pictures" to landscapes to book illustrations.{{sfn|Stewart|1922|p=45}}

Utamaro's early ''bijin-ga'' follow closely the example of [[Kiyonaga]].  In the 1790s his figures became more exaggerated, with thin bodies and long faces with small features.{{sfn|Stewart|1922|p=44}}  Utamaro experimented with line, colour, and printing techniques to bring out subtle differences in the features, expressions, and backdrops of subjects from a wide variety of class and background.  Utamaro's individuated beauties were in sharp contrast to the stereotyped, idealized images that had been the norm.{{sfn|Kobayashi|1997|p=88}}

By the end of the 1790s, especially following the death of his patron [[Tsutaya Jūzaburō]] in 1797, Utamaro's prodigious output declined in quality.{{sfn|Kobayashi|1997|pp=88–89}}  By 1800 his exaggerations had become more extreme, with faces three times as long as they are wide and [[body proportions]] of eight heads length to the body.  By this point, critics such as Basil Stewart consider Utamaro's figures to "lose much of their grace";{{sfn|Stewart|1922|p=44}} these later works are less prized amongst collectors.{{citation needed|date=December 2016}}

Utamaro produced more than two thousand prints during his working career, amongst which are over 120 ''bijin-ga'' print series.  He made illustrations for nearly 100 books and about 30 paintings.{{sfn|Marks|2012|p=76}}  He also created a number of paintings and ''[[surimono]]'', as well as many illustrated books, including more than thirty ''shunga'' books, albums, and related publications. Among his best-known works are the series ''Ten Studies in Female Physiognomy'', ''A Collection of Reigning Beauties'', ''Great Love Themes of Classical Poetry'' (sometimes called ''Women in Love'' containing individual prints such as ''Revealed Love'' and ''Pensive Love''), and ''Twelve Hours in the Pleasure Quarters''.{{citation needed|date=December 2016}}  His work appeared from at least 60 publishers, of which Tsutaya Jūzaburō and [[Izumiya Ichibei]] were the most important.{{sfn|Marks|2012|p=76}}

He alone, of his contemporary ''ukiyo-e'' artists, achieved a national reputation during his lifetime. His sensuous beauties generally are considered the finest and most evocative ''bijinga'' in all of ''ukiyo-e''.<ref>{{cite book|last1=Harris|first1=Frederick|title=Ukiyo-e: The Art of the Japanese Print|date=2010|publisher=Tuttle Publishing|isbn=978-4805310984|page=65}}</ref>

He succeeded in capturing the subtle aspects of personality and the transient moods of women of all classes, ages, and circumstances. His reputation has remained undiminished since. Kitagawa Utamaro's work is known worldwide, and he generally is regarded as one of the half-dozen greatest ''ukiyo-e'' artists of all time.<ref>{{Cite web|url=https://www.artelino.com/articles/ukiyo-e_artists.asp|title=Ukiyo-e Artists - artelino|website=www.artelino.com|language=en-us|access-date=26 November 2018}}</ref>