Geese in flight 1900 - 1930

Editor: This is "Geese in Flight," a woodblock print by Ohara Koson, placing it sometime between 1900 and 1930. There's a lovely, quiet feeling to it, a very serene scene of these geese flying in the night. The moon’s presence seems to watch over their journey. How do you interpret this work? Curator: What interests me is how this print participates in the Meiji era's shift in printmaking, particularly its relationship with international markets and the development of "Shin-hanga," or "New Prints." Before this period, Ukiyo-e were largely created and intended for Japanese consumption. What do you notice about the perspective or composition? Editor: Well, it's a very simple composition, but also elegant. The use of negative space really draws your eye to the geese and the moon. Is this tied into export markets somehow? Curator: Exactly! Artists like Koson recognized a demand in the West for bird-and-flower prints. These "kacho-ga" prints often simplified traditional compositions, emphasizing naturalism but adapting traditional subject matter, meeting Western expectations while remaining identifiably Japanese. How do you think the subject matter—geese in flight—contributes to this interplay between Japanese and Western tastes? Editor: Perhaps the focus on nature transcends cultural boundaries? Birds in flight could represent freedom or travel, universally relatable themes. It’s amazing how aware the artist was of his audience! Curator: Precisely. Prints like "Geese in Flight" represent a fascinating dialogue between cultural identity and global market demands, impacting the development of modern Japanese printmaking, demonstrating an interesting cross-cultural fertilization. Editor: It makes me appreciate how much intentionality went into its creation, beyond just artistic expression. Thanks for showing me that!