Picking a Plum Branch c. 1767 - 1768

Curator: So delicate, isn't it? Like a fleeting dream… such gentle beauty. Editor: We’re looking at Suzuki Harunobu's "Picking a Plum Branch" from around 1767 or '68. This is an Ukiyo-e print, a woodblock print, housed here at The Art Institute of Chicago. What immediately strikes you about it? Curator: The serenity, definitely. There's this quiet grace in their reaching, almost like a shared secret. The colors too…muted, wistful… suggesting longing and… how do I say… nostalgia. Editor: I find it interesting that the women depicted here aren’t just figures; they’re embodying aspirations. The plum blossoms symbolize perseverance, renewal – potent symbols in Edo-period Japan. Curator: Absolutely. And that reaching… it speaks to me about capturing the ephemeral. Aren’t we all trying to hold onto something that’s destined to slip away? I love that tension. Editor: There’s also a layer of social commentary implicit within the work, even in its tranquil depiction. Ukiyo-e often represented courtesans and geishas, highlighting their roles, challenging the social restrictions of the time, pushing for visibility. Curator: Ah, I can almost feel the paper between my fingertips! The way those blossoms seem to hover… I bet the cutting of those woodblocks was pure artistry. Editor: Exactly, each color needs a separate block carved. Think about the meticulous layering, the precision...and the soft wash effect gives such lightness. How does contemplating Harunobu's “Picking a Plum Branch” change the way you perceive art today? Curator: It reminds me to slow down, really see. That beauty isn't just skin deep, but an echo of human yearning. I will keep seeking art that whispers like this. Editor: It prompts a call to acknowledge the complex threads that weave through artworks, how identities are framed and challenged. An understanding of the past informs our vision for the future.