Who painted Chushingura: Act XI of The Storehouse of Loyalty?

Chushingura: Act XI of The Storehouse of Loyalty was painted by Kitagawa Utamaro in 1794.

Where can I see Chushingura: Act XI of The Storehouse of Loyalty?

Chushingura: Act XI of The Storehouse of Loyalty is held by Cleveland Museum of Art.

What movement is Chushingura: Act XI of The Storehouse of Loyalty?

Chushingura: Act XI of The Storehouse of Loyalty is associated with Romanticism.

Can I buy a print of Chushingura: Act XI of The Storehouse of Loyalty?

Museum-quality prints of Chushingura: Act XI of The Storehouse of Loyalty are available made-to-order from Artifact World Gallery.

Artwork

Chushingura: Act XI of The Storehouse of Loyalty

Kitagawa Utamaro , 1794

Chushingura: Act XI of The Storehouse of Loyalty is a print by the Romanticist artist Kitagawa Utamaro. It dates from 1794 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Chushingura: Act XI of The Storehouse of Loyalty is a Japanese woodblock print executed around 1794 by the Edo‑period artist Kitagawa Utamaro. The image is part of a series that dramatizes the famous tale of the forty‑seven rōnin, and it is currently in the collection of the Cleveland Museum of Art.

Subject & Meaning

The central scene depicts a woman in a vivid red kimono confronting a kneeling male figure, brandishing a candlestick as if to strike. The man, bare‑chested and clad only in a green loincloth, clutches a broom, suggesting a defensive posture. The tension between the two figures evokes the moral conflict at the heart of the Chushingura narrative.

Technique & Style

Utamō employs the ukiyo‑e woodblock technique, combining fine line work with bold color blocks to render the figures’ gestures and clothing. The composition is heightened by a smaller inset panel in the background, where two men in traditional dress converse, a device that adds narrative depth and visual contrast.

History & Provenance

Created in the late 18th century, the print reflects Utamō’s mature period, when he was renowned for his nuanced portrayals of women. The work entered the Cleveland Museum of Art’s collection through acquisition in the mid‑20th century, joining a broader assemblage of Japanese prints.