Courtesans of Maruebiya, from the book "Mirror of Beautiful Women of the Pleasure Quarters (Seiro bijin awase sugata kagami)," vol. 2 1776

Editor: So, here we have Kitao Shigemasa’s woodblock print, "Courtesans of Maruebiya," created in 1776. It's currently housed at the Art Institute of Chicago. There's a real sense of intimacy here, almost a voyeuristic glimpse into a private moment. What are your initial thoughts when you look at this piece? Curator: Oh, that's such a lovely way to put it. You've nailed the intimacy – and it’s more layered than you might think at first blush! Shigemasa wasn't just capturing a scene, he was giving a knowing nod to a whole culture of beauty, performance, and, dare I say, survival. See how each figure occupies her own distinct space, yet their garments and gazes intertwine them? It feels like… gossip overheard, doesn't it? Do you get a sense of how deliberately stylized it all is? Editor: Yes, I do. I notice the elaborate kimonos, and the way their hair is styled... it feels like a theatrical performance, even in this intimate setting. Are there specific details in the print that highlight that performative aspect? Curator: Absolutely. Consider the almost impossibly pale skin – a marker of high status and meticulous beauty practices. And the complex patterns on the kimonos – each a carefully chosen symbol of wealth and taste. Then there's the composition itself. We are allowed in – we shouldn't be, and that tension is… well it tickles my curiosity, makes me smile. Do you ever feel that way? Editor: It's like peeking behind the curtain! I hadn't quite picked up on the class signifiers in the clothing and makeup before, so thanks. It adds so much more depth. Curator: My pleasure. Each of us carries a secret garden of feelings that shape how we see art – I always feel like there’s something there just waiting for me to grab hold and tumble through a story! Editor: Definitely. It’s made me realize there's so much more to ukiyo-e than just pretty pictures; there's this whole social commentary baked in. Curator: Exactly! Never judge a woodblock print by its cherry blossoms, eh?