Who painted Go Horen no zu|View of the Imperial Carriage?

Go Horen no zu|View of the Imperial Carriage was painted by Utagawa Kunitoshi in 1889.

Where can I see Go Horen no zu|View of the Imperial Carriage?

Go Horen no zu|View of the Imperial Carriage is held by Metropolitan Museum of Art.

What movement is Go Horen no zu|View of the Imperial Carriage?

Go Horen no zu|View of the Imperial Carriage is associated with Impressionism.

Artwork

Go Horen no zu|View of the Imperial Carriage

Utagawa Kunitoshi , 1889

Go Horen no zu|View of the Imperial Carriage is an ink print by the Impressionist artist Utagawa Kunitoshi. It dates from 1889 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created in 1889 by the Japanese printmaker Utagawa Kunitoshi, this woodblock work forms part of a three‑panel series. Executed on paper with ink and color, it depicts a bustling urban scene centered on an elaborately decorated red imperial carriage. The piece is part of the collection of the Metropolitan Museum of Art in New York.

Subject & Meaning

The image captures a ceremonial procession moving along a city street, the carriage flanked by mounted guards in striped uniforms and tall black hats. Architectural details such as tiled roofs and a stone bridge over a river suggest a formal, public setting, while the presence of a seated figure within the carriage underscores the imperial nature of the event.

Technique & Style

Kunitoshi employs the traditional ukiyo‑e woodblock method, combining fine line work with bold, saturated pigments. The composition balances a dense crowd of figures against open space, using swift brushstrokes to convey motion. Contrasting reds, gold trim, and dark outlines give the scene a vivid immediacy, reminiscent of a snapshot of contemporary life.

History & Provenance

The print was produced during the Meiji period, a time of rapid modernization in Japan, when such public ceremonies were frequently recorded in popular prints. It entered the Metropolitan Museum of Art’s holdings through acquisition in the early twentieth century, where it remains displayed as an example of late‑period ukiyo‑e.