The actors Ichikawa Tomiemon (R) as Kanisaka Toma and Sanogawa Ichimatsu III (L) as the Gion Prostitute Onayo 1794

Editor: Here we have a vibrant woodblock print from 1794 by Tōshūsai Sharaku, residing here at The Art Institute of Chicago. It's titled "The actors Ichikawa Tomiemon (R) as Kanisaka Toma and Sanogawa Ichimatsu III (L) as the Gion Prostitute Onayo." I'm immediately struck by the…well, almost exaggerated features. What's your take on it? Curator: Exaggerated indeed! Sharaku wasn't just painting pretty faces. He was a master of *nigao-e* – caricature portraits meant to capture the very essence, the spirit, even the gossip, of Kabuki actors. Forget flattering – he wanted to show you their stage personas, amplified! The intense stare, the pursed lips…it’s as if we’re peering into a theatrical world of hidden emotions. Do you feel that intensity as well? Editor: Definitely! Especially the actor on the right—that fixed stare is pretty powerful. But why exaggerate like this? Curator: Precisely! Now, imagine this print hanging not in a hushed museum, but in a bustling Edo-era shop, pinned up alongside playbills. Sharaku’s portraits were fleeting glimpses into the celebrity culture of the time. He wasn’t creating timeless masterpieces for stuffy galleries, darling, but disposable snapshots, meant to be consumed and discussed. His short career itself adds to the mystery! Editor: A snapshot—that’s such a great way to put it. It feels so modern! But ephemeral too; it’s almost a shame we don’t know much about him. Curator: Isn't it just? I think that it speaks to how art can be of a time but simultaneously transcendent. I love how even now, after centuries, these striking characters can draw us in. Editor: So true. Thanks, this was incredibly insightful; it gives me a whole new perspective on Sharaku.