Sea Bass and Splendid Alfonsino c. 1840 - 1842

Editor: This woodblock print, "Sea Bass and Splendid Alfonsino," was created by Utagawa Hiroshige around 1840-1842. The stark realism of the fish is somewhat unsettling. What’s your read on this seemingly simple composition? Curator: It's unsettling because Utagawa is engaging in the Ukiyo-e tradition but subverting it. Ukiyo-e, “pictures of the floating world,” often idealized pleasure and beauty, especially regarding landscapes or idealized figures. But here, Hiroshige is portraying food – a still life in essence - which speaks volumes about the burgeoning urban culture of Edo (present-day Tokyo) and the increasing commodification of even the natural world. It also points to a shift in societal values. What do you notice about the placement of the fish? Editor: The sea bass is sort of looming, overshadowing the Alfonsino, and almost threatening to slide out of the frame. It’s hardly a flattering portrait. Curator: Precisely! Utagawa presents the fish almost as specimens. The rigid arrangement, the plant sprigs providing a kind of visual tension…it pulls us away from simply admiring the aesthetic. Instead, it confronts us with the increasing disconnect between nature and the increasingly urban consumer. There’s a subtle political commentary woven into this seemingly mundane scene. How do you think this work might have been received by the public at the time? Editor: I imagine it might have been a stark contrast to other popular Ukiyo-e prints, prompting a mix of curiosity and perhaps even discomfort amongst viewers used to idealized portrayals. It really makes you think about the artist's role in shaping perceptions and challenging social norms, even through a seemingly simple still life. Curator: Exactly. And understanding its place within the wider artistic and social landscape of the time gives us a richer appreciation for the artist’s intentions.