Who painted 忠臣蔵二段目|A Young Man at the Side of a House?

忠臣蔵二段目|A Young Man at the Side of a House was painted by Kitagawa Utamaro in 1780.

Where can I see 忠臣蔵二段目|A Young Man at the Side of a House?

忠臣蔵二段目|A Young Man at the Side of a House is held by Metropolitan Museum of Art.

What movement is 忠臣蔵二段目|A Young Man at the Side of a House?

忠臣蔵二段目|A Young Man at the Side of a House is associated with Romanticism.

Artwork

忠臣蔵二段目|A Young Man at the Side of a House

Kitagawa Utamaro , 1780

忠臣蔵二段目|A Young Man at the Side of a House is an ink print by the Romanticist artist Kitagawa Utamaro. It dates from 1780 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created in 1780 by the Edo‑period printmaker Kitagawa Utamō, this woodblock work—titled 忠臣蔵二段目 (A Young Man at the Side of a House)—is part of the Metropolitan Museum of Art’s collection. Executed with ink and color on paper, the piece presents a quiet genre scene that captures ordinary life in late‑18th‑century Japan.

Subject & Meaning

In the central panel, two women—one seated, one standing—assist each other with hair and garment adjustments, a customary act of intimacy and mutual care.

The composition divides into three vignettes. On the left, a man in striped kimono kneels while holding a small box, suggesting a moment of service or offering. In the central panel, two women—one seated, one standing—assist each other with hair and garment adjustments, a customary act of intimacy and mutual care. A modest interior with sliding doors and a thin branch frames the figures, emphasizing domestic routine.

Technique & Style

Utamō employs strong, clean outlines that define each figure, while the color fields remain flat, a hallmark of ukiyo‑e printing. Careful rendering of fabric folds conveys texture without resorting to shading, and the limited background detail focuses attention on the gestures and expressions of the characters, creating a snapshot‑like immediacy.

History & Provenance

The print was produced during Utamō’s mature period, when he was celebrated for his nuanced portrayals of everyday people. It entered the Metropolitan Museum of Art’s holdings as part of a larger acquisition of Japanese prints, where it remains on display as an example of late‑Edo genre imagery.