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Toyokuni then went on to produce privately commissioned ''[[surimono]]'', illustrations for ''[[kibyoshi|kibyôshi]]'' fiction volumes, and calendars, among other works. Beginning in the Kansei era (1789-1801) he produced numerous ''[[bijinga]]'' (images of beautiful women). He also produced a great many kabuki prints, including triptychs of the interior of the [[Nakamura-za]] in which the center print could be swapped out for any number of variants, changing the play or scene being performed while keeping the left and prints (showing the audience members) the same. Toyokuni produced many polyptychs of scenes elsewhere in and around Edo as well.
Toyokuni then went on to produce privately commissioned ''[[surimono]]'', illustrations for ''[[kibyoshi|kibyôshi]]'' fiction volumes, and calendars, among other works. Beginning in the Kansei era (1789-1801) he produced numerous ''[[bijinga]]'' (images of beautiful women). He also produced a great many kabuki prints, including triptychs of the interior of the [[Nakamura-za]] in which the center print could be swapped out for any number of variants, changing the play or scene being performed while keeping the left and prints (showing the audience members) the same. Toyokuni produced many polyptychs of scenes elsewhere in and around Edo as well.
In [[1804]]/5, Toyokuni fell afoul of the authorities and was sentenced to fifty days of manacles and house arrest for his involvement in an ''[[Ehon Taikoki|Ehon Taikôki]]'' ("Illustrated Record of [[Toyotomi Hideyoshi|Hideyoshi]]") project; [[Katsukawa Shun'ei]] was arrested and sentenced similarly for his involvement in the project as well. Unlike [[Utamaro]], however, whose arrest and manacling around this same time is said to have broken his spirit and contributed to his death, Toyokuni survived the sentence and returned to active involvement in publishing.
Utagawa Kunisada took the name Toyokuni (III) in [[1844]].
Utagawa Kunisada took the name Toyokuni (III) in [[1844]].