Artist – Utagawa KUNISADA (" 歌川 国貞"); also known as Utagawa Toyokuni III (三代歌川豊国) (1786 – 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi.

At the end of the Edo period (1603–1867), Hiroshige, Kuniyoshi and KUNISADA were the three best representatives of the Japanese color woodcut in Edo (capital city of Japan, now Tokyo). However, among European and American collectors of Japanese prints, beginning in the late 19th and early 20th century, all three of these artists were actually regarded as rather inferior to the greats of classical ukiyo-e, and therefore as having contributed considerably to the downfall of their art. For this reason, some referred to their works as "decadent".

KUNISADA's first known print dates to the year 1807; however this seems to have been an exceptional design, and further full-sized prints appear starting only in 1809–1810. As of 1808 he had already begun work as an illustrator of e-hon (woodblock print illustrated books) and his popularity rapidly increased. In 1809 he was referred to in contemporary sources as the "star attraction" of the Utagawa school, and soon thereafter was considered as at least equal to his teacher Toyokuni in the area of book illustration. KUNISADA's first actor portraits appeared in either 1808 or 1809. It is known that his first bijinga series and a series of pentaptychs of urban scenes of Edo, appear simultaneously in 1809. By 1813 he had risen as a "star" in the constellation of Edo's artistic world; a contemporary list of the most important ukiyo-e artists places him in second place behind Toyokuni I. KUNISADA remained one of the "trendsetters" of the Japanese woodblock print until his death in early 1865. Beginning around 1810 KUNISADA used the studio name "Gototei", which refers cryptically to his father's ferry-boat business. Until 1842 this signature appeared on nearly all of his kabuki designs. Around 1825 the studio name "Kochoro" appeared, and was often used on prints not related to kabuki. This name was derived from a combination of the pseudonyms of master painter Hanabusa Itcho, and that of his successor Hanabusa Ikkei, with whom KUNISADA had studied a new style of painting around 1824–1825. In 1844, he finally adopted the name of his master Toyokuni I, and for a brief time used the signature "KUNISADA becoming Toyokuni II". Starting in 1844-1845, all of his prints are signed "Toyokuni", partially with the addition of other studio names as prefixes, such as "Kochoro" and "Ichiyosai". Although KUNISADA referred to himself as "Toyokuni II", he must be regarded, however, as "Toyokuni III". The question is unsettled as to why he intentionally ignored Toyoshige, a pupil and son-in-law of Toyokuni I and who had borne the name "Toyokuni", as legitimate head of the Utagawa school, from 1825 until his own death in 1835.

Almost from the first day of his activity, and even at the time of his death in 1865, KUNISADA was a trendsetter in the art of the Japanese woodblock print. Always at the vanguard of his time, and in tune with the tastes of the public, he continuously developed his style, which was sometimes radically changed, and did not adhere to stylistic constraints set by any of his contemporaries. His productivity was extraordinary. Approximately 14,500 individual designs have been catalogued (multi-ptych sets counted as a single design) corresponding to more than 22,500 individual sheets. It seems probable based on these figures that KUNISADA actually produced between 20,000 and 25,000 designs for woodblock prints during his lifetime (i.e. 35,000 to 40,000 individual sheets). Following the traditional pattern of the Utagawa school, KUNISADA's main occupation was kabuki and actor prints, and about 60% all of his designs fall in this category. However he was also highly active in the area of bijin prints (comprising about 15% of his complete works), and their total number was far higher than any other artist of his time. From 1820 to 1860 he likewise dominated the market for portraits of sumo wrestlers. For a long time (1835–1850) he had an almost complete monopoly on the genre of prints related to "The Tale of Genji". It was only after 1850 that other artists began to produce similar designs. Noteworthy also are the number of his surimono, and although they were designed almost exclusively prior to 1844, few artists were better-known in this area. KUNISADA's paintings, which were privately commissioned, are little-known, but can be compared to those of other masters of ukiyoe painting. His activity as a book illustrator is also largely unexplored. He was no less productive in the area of ehon than he was in full-sized prints, and notable among his book prints are shunga pictures, which appeared in numerous books. Due to censorship, they are signed only on the title page with his alias "Matahei". Landscape prints and musha-e (samurai warrior prints) by KUNISADA are rare, and only about 100 designs in each of these genres are known. He effectively left these two fields to be covered by his contemporaries Hiroshige and Kuniyoshi, respectively. The mid-1840s and early 1850s, were a period of expansion when woodblock prints were in high demand in Japan. During this time KUNISADA collaborated with one of or both Hiroshige and Kuniyoshi in three major series as well as on a number of smaller projects. This co-operation was in large part politically motivated in order to demonstrate solidarity against the intensified censorship regulations of the Tenpo reforms.


Personal life -  KUNISADA was born in 1786 in Honjo, an eastern district of Edo. His given name was Sumida Shōgorō IX (角田庄五朗), and he was also called Sumida Shōzō (角田庄蔵). A small licensed and hereditary ferry-boat service belonged to his family, and the income derived from this business provided a certain basic financial security. His father, who was an amateur poet of some renown, died in the year after his birth. While growing up, he developed an early talent for painting and drawing. His early sketches at that time impressed Toyokuni, the great master of the Utagawa school and prominent designer of kabuki and actor-portrait prints. In the year 1800 or shortly thereafter KUNISADA was accepted by Toyokuni I as an apprentice in his workshop. One of his fellow disciples was Kuniyoshi. In keeping with a tradition of Japanese master-apprentice relations, he was then given the official artist name of "KUNI-sada", the first character of which was derived from the second part of the name "Toyo-KUNI".

He was married, and had at least one issue named "Osuzu" ("小鈴"). In 1864, his daughter "Osuzu" was married to KUNISADA's pupil and successor "Kunimasa III" ("Kunisada-II"). The date of Kunisada's death was the 15th day of the 12th month of the First Year of Genji. Most sources erroneously report this as having been in the year 1864, though this date in the Japanese calendar corresponds to the date January 12, 1865, in the Gregorian calendar. Kunisada died in the same neighborhood in which he had been born.


Aliases - born as Sumida Shōgorō IX (角田庄五朗);  Sumida Shōzō (角田庄蔵) as youth name; Utagawa KUNISADA (" 歌川 国貞"); Utagawa Toyokuni II (二代目歌川豊國), Utagawa Toyokuni III (三代歌川豊国); He used to sign with various epithets as Gepparô (月波楼), Kinraisha and Ichiyûsai (一雄斎) or Ichiyosai (一陽斎), but at the latest from 1810, he used the nickname Gototei (五渡亭) which can be found until 1842 on nearly all Kabuki Print. "Gototei" refers cryptically to his father's ferry-boat business. Around 1825 he studied traditional painting style Hanabusa Itchō's (英一蝶) and his successor Hanabusa Ikkei and used from there the nickname Kochoro on many pressures that are not related to kabuki area. But Kocho, Kōchōshi, Tōjuen and Hanabusa Ittai found occasionally as a nickname used. In 1844 Kunisada took the name of his master, and signed for a time his prints "Kunisada, which changed its name to Toyokuni II has changed". He ignored that after Toyokuni's death in 1825 his pupil, adopted son, and son-in-law Toyoshige had become the legitimate head of the Utagawa School and until his own death in 1835, already used the name Toyokuni II. In art and literature KUNISADA is now generally referred to as "Toyokuni III".

From 1844-45 Kunisada signed all his prints only with "Toyokuni" ("豊国"), some with different epithets such as Kôchôrô (香蝶楼), Kôchô and Kôchôshi. A small percentage of printings have different epithets like Bukiyo Matabei (不器用又平), Eishū, Fuchoan, Fucho Sanjin, Hanabusa Ittai, Hokubaiko, Ichiyū (一勇), Kinraisha (琴雷舎), Kio (喜翁), Shôzô, Sumida Shôgorô IX (角田庄五朗), Sumida Shôzô (角田庄蔵), Tôjuen, Tsunoda, and Yanagishima.

Beginning around the mid-1850s there are series in which individual parts of designs (and sometimes complete sheets) are signed by KUNISADA 's students; this was done with the intention of promoting their work as individual artists.


Disciples - Notable students of KUNISADA included Toyohara Kunichika (豊原 国周, 1835-1900), Utagawa Sadahide (歌川 貞秀, 1807-1873), Utagawa Kunisada II (二代 歌川 国貞, 1823-1880), Utagawa Sadafusa (歌川貞房 ative 2018-1850), Utagawa Fusatane (歌川房種)#, active 1854-1888), Utagawa Sadahiro(歌川 貞廣, since Osaka times also as Sadahide-II, 1838-1918) and Utagawa Kuniteru II (1830-1874).