Poème No. 7: Landscape of May 1948

Curator: Welcome. Before us hangs "Poème No. 7: Landscape of May," a 1948 print by Koshiro Onchi, an important figure in the Sōsaku-hanga movement. Editor: My initial response is quite visceral; there’s an odd tension between the gentle washes of color and these somewhat confrontational black shapes. It feels unresolved, doesn’t it? Curator: Indeed. The composition utilizes a juxtaposition of amorphous, organic forms against more definite, geometric elements. It is also considered part of the Abstract Expressionist movement. I would argue, though, that there is no inherent contradiction. There is dynamic play. Note how Onchi uses layering and transparency to create depth, obscuring any stable understanding. Editor: The social and historical contexts would offer useful insights. Onchi was deeply influenced by the devastation of World War II. His exploration of form could be a reflection of a society grappling with a loss of identity. This print can be read, potentially, as symbolic for broader themes like trauma. How does a war shape not just landscapes, but how humans themselves create? Curator: Very interesting... though I still maintain that we can fully comprehend the artwork using a Formalist interpretation of it. Consider the color palette – primarily muted browns, grays, and creams, with those contrasting stark blacks. They don't quite harmonise, do they? The disquiet they create encourages an interesting visual tension. Editor: Well, it’s tempting to delve into biographical explanations, but I'll agree with the visual aspect, yes, and how those contrasts work together here. Looking back at how "Landscape of May" has shifted my focus from feeling to thought, there's something there to admire in how it presents this feeling to the user. Curator: It encourages that, yes. Thank you, Koshiro Onchi.