Nummer vier: de poort decoraties van Togaeri uit het Matsubaya c. 1827

Editor: This is "Nummer vier: de poort decoraties van Togaeri uit het Matsubaya," a woodblock print by Yashima Gakutei, around 1827. The detail in the fabrics and hairstyles is incredible. How do you see this artwork? Curator: What strikes me is the emphasis on process embedded within the print. Ukiyo-e, translated as "pictures of the floating world," gained popularity through mass production, making art accessible. Consider the skilled labor and collaboration required for each impression – the artist, the wood carver, and the printer. Each one a craftsperson in their own right, whose skills contributed to the value of this art. Editor: That’s fascinating. It’s easy to forget the actual labor when we look at it now. Do you think the commercial aspect cheapens it in any way? Curator: Not at all! It democratizes art, pulling it away from solely aristocratic patronage. We should remember that these prints functioned as advertisements and souvenirs, tied to a burgeoning consumer culture. This challenges conventional art historical narratives centered on individual genius and originality. We can view the artist as an integral component of a production chain. Editor: So you’re saying the materials and the means of production are integral to understanding the artwork’s significance? Curator: Precisely! Consider the wood itself, the pigments used to create these colours. Thinking about materiality shifts our focus to the tangible world of production, commerce, and consumption that supported ukiyo-e. It underscores how the art is inextricably bound to its time. Editor: I hadn't really considered that before – the way it connects to labour and broader society. Curator: Exactly, and understanding that connection enhances our appreciation and awareness of it.