Vrouwen maken prenten by Utagawa Kunisada

1796 - 1865

Vrouwen maken prenten

Utagawa Kunisada's Profile Picture

Utagawa Kunisada

1786 - 1865

Location

Rijksmuseum

Listen to curator's interpretation

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Curatorial notes

Editor: So this is "Women Making Prints" by Utagawa Kunisada, dating from 1796 to 1865. It's a woodblock print from the Ukiyo-e tradition, currently residing at the Rijksmuseum. The division into three panels creates almost a comic-book effect to me. What strikes you most about the piece? Curator: The triptych format, or three-panel structure, immediately commands attention. Note the organization of the pictorial space. The composition invites a lateral reading, but consider, too, how the artist has manipulated perspective. Where does the foreground truly begin, and how is your eye guided through the multiple planes of action? Editor: That's a good point. The eye definitely jumps around a bit. So you're suggesting it’s about how he plays with spatial arrangements, rather than what the women are actually doing? Curator: Precisely. Let us not be seduced by narrative. Examine how the lines both define and confine the figures, anchoring them within their distinct zones. Notice the use of contrasting colors, from the cool blues of the floor to the warmer tones of the wood and paper. What affect do they have? Editor: I see. The blues kind of unify the whole image despite the panel divisions, and the warm colours pop against them, emphasizing the actions taking place. So it’s all carefully calibrated, is what you're suggesting? Curator: Indeed. Kunisada meticulously constructs a visual architecture wherein each element serves a purpose within the overall aesthetic design. Observe the balance between positive and negative space, the interplay of light and shadow. Even the textures of the various materials, wood, paper, and fabric, contribute to the work's intrinsic dynamism. The women's postures mirror each other, but what's changed from each panel to the next? Editor: Wow, that's fascinating! I was so caught up in the subject matter, I didn't notice the structural elements at play. Thanks for pointing them out! Curator: You're welcome! The surface tells you a lot about what is deeper within the artistic language.