Who painted The Courtesan Shiratama of the Tamaya?

The Courtesan Shiratama of the Tamaya was painted by Utagawa Kunisada in 1814.

Where can I see The Courtesan Shiratama of the Tamaya?

The Courtesan Shiratama of the Tamaya is held by Cleveland Museum of Art.

What movement is The Courtesan Shiratama of the Tamaya?

The Courtesan Shiratama of the Tamaya is associated with Romanticism.

Can I buy a print of The Courtesan Shiratama of the Tamaya?

Museum-quality prints of The Courtesan Shiratama of the Tamaya are available made-to-order from Artifact World Gallery.

Artwork

The Courtesan Shiratama of the Tamaya

Utagawa Kunisada , 1814

The Courtesan Shiratama of the Tamaya is a print by the Romanticist artist Utagawa Kunisada. It dates from 1814 and is held in the collection of the Cleveland Museum of Art.

Accession no.: 1916.1168
Credit line: Gift of Mr. and Mrs. J. H. Wade

About this work

Overview

Created around 1814 by the prolific ukiyo‑e artist Utagawa Kunisada, this woodblock print portrays a courtesan known as Shiratama of the Tamaya. The work is part of the collection of the Cleveland Museum of Art and exemplifies the popular print formats of early‑nineteenth‑century Japan.

Subject & Meaning

The figure is shown in profile, poised with a fan in one hand. She wears a long kimono patterned with stark black‑and‑white clouds over a pink underlayer, while a wide green sleeve and layered skirt reveal a decorative underskirt. Her coiffure is elevated and adorned with flowers, conveying the elegance and status associated with high‑ranking courtesans of the period.

Technique & Style

Kunisada employed the traditional multicolor woodblock method, layering pigments to achieve the contrasting cloud motif and the subtle pink hue beneath. The fan’s honeycomb‑like pattern adds a textural counterpoint, and the composition relies on clean lines and restrained facial features, hallmarks of the artist’s late Edo‑period aesthetic.

History & Provenance

The print entered the Cleveland Museum of Art’s holdings through acquisition in the twentieth century, joining a broader assemblage of Japanese prints that illustrate the era’s commercial art market. Its attribution to Kunisada is supported by stylistic analysis and documented signatures typical of his workshop.

Context

During the early 1800s, ukiyo‑e prints depicting courtesans were in high demand, serving both as popular souvenirs and as visual records of contemporary fashion. This piece reflects the cultural fascination with the pleasure districts of Edo, where courtesans like Shiratama were celebrated for their refined attire and artistic patronage.