Who painted Nakasu no suzumi|Enjoying the Evening Cool at Nakasu?

Nakasu no suzumi|Enjoying the Evening Cool at Nakasu was painted by Torii Kiyonaga in 1782.

Where can I see Nakasu no suzumi|Enjoying the Evening Cool at Nakasu?

Nakasu no suzumi|Enjoying the Evening Cool at Nakasu is held by Metropolitan Museum of Art.

What movement is Nakasu no suzumi|Enjoying the Evening Cool at Nakasu?

Nakasu no suzumi|Enjoying the Evening Cool at Nakasu is associated with Romanticism.

Artwork

Nakasu no suzumi|Enjoying the Evening Cool at Nakasu

Torii Kiyonaga , 1782

Nakasu no suzumi|Enjoying the Evening Cool at Nakasu is an ink print by the Romanticist artist Torii Kiyonaga. It dates from 1782 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created around 1782, this woodblock print by Torii Kiyonaga depicts a quiet interior scene titled “Nakasu no suzumi” or “Enjoying the Evening Cool at Nakasu.” The composition shows three figures—a woman with a fan, a seated woman in red, and a kneeling man—arranged around a low table. The work is part of the Metropolitan Museum of Art’s collection.

Subject & Meaning

The print captures a moment of relaxed evening leisure. The woman on the left holds a fan bearing calligraphic text, suggesting a cultured pastime, while the seated woman leans on a stick, her loose garment indicating informal comfort. The kneeling man, crossed‑armed and dressed in dark attire with a red sash, adds a subtle sense of contemplation, together conveying a serene domestic atmosphere.

Technique & Style

Kiyonaga employs the ukiyo‑e tradition of clean, flowing lines and flat areas of color to delineate clothing and facial features. The limited palette—browns, reds, and muted golds—enhances the calm mood, while the precise carving of the woodblocks allows for delicate patterning on the garments and the fan’s surface.

History & Provenance

The print was produced in the late eighteenth century, during the peak of Edo‑period printmaking. It entered the Metropolitan Museum of Art’s holdings through acquisition in the twentieth century, where it remains displayed as an example of Kiyonaga’s mature work and the broader cultural life of the period.