Kawarazaki Gonjuro I 1860 - 1864

Editor: This woodblock print, "Kawarazaki Gonjuro I," created between 1860 and 1864 by Utagawa Kunisada, is striking! It’s a bold portrait, almost a caricature. I'm intrigued by the materiality of the printmaking process itself. What stands out to you? Curator: The process of Utagawa Kunisada’s woodblock prints implicates multiple skilled laborers. Examining the "means of production" requires us to appreciate not just Kunisada’s design, but the block carver’s precision and the printer’s delicate inking and pressure techniques, typically performed by separate individuals in workshops. Editor: That's fascinating, so the final product wasn’t just from the artist, but from multiple skilled artisans. Does the socio-economic status of those craftsmen factor into how we view the print itself? Curator: Absolutely. These prints were created for a mass market, for urban consumers with disposable income. Understanding Ukiyo-e's popularity means acknowledging it wasn’t ‘high art’ initially, but rather a form of entertainment and advertisement deeply embedded in Edo-period urban culture. How does the caricature affect the meaning? Editor: I suppose it was designed to be humorous and approachable, more a popular image than a serious, stuffy portrait. Curator: Precisely! These mass-produced images fueled the celebrity of Kabuki actors like Kawarazaki Gonjuro I. And what about the materials: wood, ink, paper – how readily available were they? Considering their procurement and the distribution networks provides a richer understanding of Ukiyo-e’s cultural relevance. Editor: I hadn't considered that before, thinking about how the availability and cost of materials could democratize art forms like this. Thanks for expanding my understanding. Curator: And I thank you, your observations on how mass production changes meaning itself are truly incisive.