The Actor Matsumoto Koshiro IV as An no Heibei in the Play Edo no Fuji Wakayagi Soga, Performed at the Nakamura Theater in the First Month, 1789 c. 1789

Curator: Here we have Katsukawa Shunko’s woodblock print from around 1789, titled "The Actor Matsumoto Koshiro IV as An no Heibei in the Play Edo no Fuji Wakayagi Soga," currently residing here at the Art Institute of Chicago. Editor: Striking. There’s something about his averted gaze and stance that suggests intense introspection, or maybe defiance, set against the bright ground. I can sense he has purpose, that he’s deeply planted, ready. It's also difficult to see his face and determine how the character is supposed to feel, which I think is very impactful in adding to the mysterious feel to it. Curator: Precisely. Shunko was a master of capturing not just likeness, but the essence of kabuki actors in their roles. This is part of the ukiyo-e tradition, you know, the "pictures of the floating world"—depicting the ephemeral pleasures of life, and theatre was central to that. Shunko excelled in portraits and specialized in depicting Kabuki actors. His ability to record their individual personalities contributed significantly to his status in the world of Ukiyo-e printmaking. Editor: The formalism, of course, speaks volumes. Look at the linear energy in the kimono’s stripes, pulling the eye upward and the floral curtain overhead adding whimsy to an otherwise tense scene. And then you see the geometry in his hair, adding dimension to a 2D medium and a sense of complexity. The contrast with the soft color palette actually works. Curator: Absolutely, the stylized presentation contrasts perfectly with his expressive presence, capturing a raw glimpse into the emotions of this Kabuki character. Shunko was able to distill the dynamic performance down to its purest, most essential form, leaving it to speak in ways that transcends spoken narrative. Editor: The fact that the image has such clear-cut visual anchors speaks to its brilliance; the work almost appears sculptural, because of the way the composition uses his placement in a confined way and it adds such intense emotion. I have so much feeling coming from him even through what he is wearing and his limited color pallet. Curator: It truly allows us to think about the nature of our connection to performing arts, that have been long ago confined only to images and prints. Editor: Beautiful, an evocative glimpse into a time of expressive genius.