(Persimmon) c. 1854 - 1859

Editor: This is Shunsei's "(Persimmon)," made sometime between 1854 and 1859. It's a print, with ink and watercolor on paper, currently at the Minneapolis Institute of Art. I'm struck by the simplicity of the composition. What formal elements stand out to you? Curator: The emphasis on line is undeniable. Notice how the delicate branches, rendered in thin, unwavering strokes, contrast with the more substantial, block-printed shapes of the fruit and leaves. This interplay creates a visual tension. Editor: Yes, I see what you mean! The flat, almost graphic quality of the leaves versus the more dimensional persimmon itself. Does that signify anything in terms of Japanese printmaking techniques of the time? Curator: Functionally, this division of labor exploits the strengths of the Ukiyo-e woodblock production process. The linear elements are incised directly by expert artisans. While planes of color are layered systematically to build tone. Note too the significance of negative space; its function is as vital as the marks themselves in activating a dialogue between forms. Editor: So, the blank areas aren't just "empty," they contribute to the composition's balance? Curator: Precisely. And consider the subtle asymmetry. The branch doesn't run directly through the center, it angles. Further, note the placement of the inscription. What sort of counter-rhythms do those contrasting angles offer the picture? Editor: Hmm, that makes sense, so this carefully planned tension brings an almost living quality to the arrangement of otherwise, simple items on the print. Thanks! I’m now much more appreciative of its structure. Curator: A refined approach to structural understanding reveals otherwise, subtle complexities of even seemingly, simple works!