The Actor Iwai Hanshiro IV as Umegae Disguised as the Female Fortune-teller Omatsu in the Play Mukashi Otoko Yuki no Hinagata, Performed at the Ichimura Theater in the Eleventh Month, 1781 c. 1781

Editor: This woodblock print, "The Actor Iwai Hanshiro IV as Umegae…," dates from around 1781 and is by Katsukawa Shunko. The flat colors are so interesting, and I am curious to learn more about what influenced their use and application here. What stands out to you about this artwork? Curator: I am drawn to the processes inherent in Ukiyo-e prints like this. The registration marks, visible upon close inspection, speak to the labor involved and the collaboration between artist, block cutter, and printer. Each impression bears the marks of its making, a tangible record of collective production and distribution. How was art democratized via the technical ingenuity evident here? Editor: Democratized? Could you explain what you mean by that? Curator: Certainly. Ukiyo-e prints made art more accessible, breaking down the barriers between the elite and the everyday consumer. The materiality of the print – the paper, ink, and wood – all contribute to understanding how these images were circulated and consumed. Editor: That makes a lot of sense, seeing how affordable prints could become... I never thought about it that way. So much about the piece can be revealed through understanding production. Curator: Precisely. Also consider how it blurs the lines between “high” art and commodity, questioning the role of artistic skill and manual labor. Consider it – the materiality challenges us to re-evaluate traditional hierarchies within the art world. Editor: Thinking about the historical context helps me appreciate all the different levels on which this portrait can be appreciated. Thank you for helping me better appreciate the materiality!