Who painted 歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき?

歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき was painted by Utagawa Kunisada in 1858.

Where can I see 歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき?

歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき is held by Metropolitan Museum of Art.

What movement is 歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき?

歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき is associated with Impressionism.

Artwork

歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき

Utagawa Kunisada , 1858

歌川国貞（三代歌川豊国）画「源氏後集余情五十のまき is an ink print by the Impressionist artist Utagawa Kunisada. It dates from 1858 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created in 1858 by the prolific ukiyo‑e artist Utagawa Kunisada, this diptych of woodblock prints depicts a quiet encounter between two elegantly dressed figures beneath a striped canopy. The work forms part of a series that humorously reinterprets a scene from the classic tale of the Third Princess and Kashiwagi, titled “Chapter 50: A Hut in the Eastern Provinces.”

Subject & Meaning

The two characters, one clad in deep blue and purple, the other in vivid red and gold, are shown holding fans and small wrapped objects, suggesting a moment of polite exchange or private conversation. Their composed demeanor and the intimate setting evoke the refined courtly atmosphere of the original narrative while the parody tone invites a light‑hearted reading of the episode.

Technique & Style

Executed as a two‑panel woodblock print, the image combines bold, saturated pigments with crisp line work characteristic of mid‑nineteenth‑century ukiyo‑e. The patterned robes and the striped awning are rendered with flat areas of color, while the delicate detailing of hair and accessories demonstrates Kunisada’s skill in balancing decorative surface treatment with subtle narrative cues.

History & Provenance

The diptych belongs to the collection of the Metropolitan Museum of Art, where it is catalogued as part of their Japanese prints holdings. Acquired through the museum’s ongoing efforts to represent the breadth of Edo‑period popular art, the piece illustrates Kunisada’s role in producing both commercial and literary‑inspired works for a wide audience.