The Actors Arashi Ryuzo II and Ichikawa Komazo III, from a pentaptych of eleven actors celebrating the festival of the shrine of the Soga brothers 1788

Editor: This is "The Actors Arashi Ryuzo II and Ichikawa Komazo III" by Torii Kiyonaga, a woodblock print from 1788, and it's here at the Art Institute of Chicago. The composition is so interesting – the actors and the lanterns feel equally important. What formal elements stand out to you in this piece? Curator: Immediately, I observe the sophisticated interplay of line and flat color planes. Note the curvilinear rhythm established by the lanterns juxtaposed with the actors' more angular poses. It produces an appealing visual tension. What is the effect? Editor: I see what you mean. The strong verticals of the figures against the curve of the lanterns do create some tension. How do you interpret the use of color? Curator: The limited palette of red, grey, and yellow creates a harmonious effect. The repetition of the red in the lanterns and the actors' robes unifies the composition. And the subtle gradations in the grey kimonos, notice those, hint at volume without abandoning the flatness characteristic of ukiyo-e. Editor: I never thought about how much the flat color adds to the picture's structure. It seems essential in this kind of work. Does that emphasis on flatness impact the work? Curator: Precisely! It emphasizes the print’s two-dimensionality, its essential nature as a designed object rather than a mimetic representation. The graphic quality becomes paramount. We aren't seeking deep perspective. Editor: So, by focusing on the surface qualities – the lines, the colors, and the flatness – you can really unlock the key to this print? I’ll have to think about flatness more consciously when I'm viewing ukiyo-e prints from now on! Curator: Indeed. A closer formal analysis of line and color will allow the viewer to fully explore a variety of artwork.