Who painted Sumo no homane|Sumo Wrestler Tossing a Foreigner?

Sumo no homane|Sumo Wrestler Tossing a Foreigner was painted by Utagawa Yoshiiku in 1.

Where can I see Sumo no homane|Sumo Wrestler Tossing a Foreigner?

Sumo no homane|Sumo Wrestler Tossing a Foreigner is held by Metropolitan Museum of Art.

What movement is Sumo no homane|Sumo Wrestler Tossing a Foreigner?

Sumo no homane|Sumo Wrestler Tossing a Foreigner is associated with Impressionism.

Artwork

Sumo no homane|Sumo Wrestler Tossing a Foreigner

Utagawa Yoshiiku , 1

Sumo no homane|Sumo Wrestler Tossing a Foreigner is an ink print by the Impressionist artist Utagawa Yoshiiku. It dates from 1 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Sumo no homane, also known as Sumo Wrestler Tossing a Foreigner, is a woodblock print executed in ink and color on paper by the Japanese artist Utagawa Yoshiiku. The work, dated to the mid‑19th century, is part of the collection of the Metropolitan Museum of Art in New York.

Subject & Meaning

The image captures a sumo wrestler in the act of hurling a smaller, foreign‑clad figure over his shoulder. The larger athlete, bare‑torso and wrapped in a red loincloth, dominates the composition, while the startled man in blue garments, a hat and striped sash, displays a contorted expression of surprise, emphasizing the wrestler’s strength and the comic clash of cultures.

Technique & Style

Created using traditional ukiyo‑e woodblock methods, the print combines bold outlines with vivid pigments that delineate the figures and the surrounding scenery. The artist employs dynamic diagonal lines and a limited yet striking color palette to convey motion, while the flat areas of color and stylized details reflect the genre’s characteristic blend of realism and decorative abstraction.

History & Provenance

Utagawa Yoshiiku, a prolific member of the Edo‑period Utagawa school, produced this work as part of a series depicting humorous or exaggerated scenes. The print entered the Metropolitan Museum of Art’s collection through a 20th‑century acquisition, where it remains catalogued as an example of mid‑nineteenth‑century popular print culture.

Context

The composition reflects a period when sumo wrestling was a popular subject for mass‑produced prints, often infused with satire or commentary on foreign presence in Japan. By juxtaposing a traditional Japanese athlete with a Western‑dressed figure, the image engages contemporary anxieties and curiosities surrounding the opening of Japan to external influences.