Dimensions: 16 1/16 × 9 13/16 in. (40.8 × 24.92 cm) (image)23 × 19 × 1 1/2 in. (58.42 × 48.26 × 3.81 cm) (outer frame)
Copyright: No Copyright - United States
Curator: Ito Shinsui's "Early Summer Bath," likely from 1922, is a striking example of Shin-hanga. Editor: My first impression is of a very soft, delicate composition, mostly pastel colors, which makes the bright blue hair of the subject really pop. Curator: It's a color woodblock print on paper, showcasing a kneeling nude woman in profile. The medium itself is central. Shin-hanga, meaning "new prints," revitalized ukiyo-e techniques, relying on skilled artisans for carving and printing, thereby integrating labor into the art’s value. Editor: Focusing on the visual structure, observe how the lines gently suggest form rather than define it. The chromatic restraint contributes to the dreamlike quality, inviting us to engage with the figure's serene isolation. The artist's choices here create an atmosphere. Curator: Yes, and consider the consumption aspect. These prints were made for a growing middle class, who desired modern interpretations of traditional themes. This print facilitated the commercial exchange between traditional artistic skills and a new consumer base. Editor: While that context is fascinating, note the interplay between positive and negative space. The woman’s form almost emerges from the background, blurring the boundaries between figure and ground. Her expression is almost melancholic, but soft. It is an emotive approach to the subject, rendered through sophisticated color composition. Curator: Indeed, that emotive element fits well into the context of the Taisho era. Despite being modern, Shin-hanga continued the legacy of Ukiyo-e production methods, providing income for craftsmen and connecting them to patrons who sought Japanese aesthetics but with more modern subjects. Editor: Well, viewing this print from a structural point of view allowed me to consider the visual language at play and recognize its successful construction of mood and subtle tension through purely visual means. Curator: And I appreciated revisiting the commercial relationships which created a sustainable market for such fine work in that moment of transition.
This is an artist’s proof. It is on thinner paper than that generally used for prints, and there is no edition stamp on the back.
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