Mosquito Net, from the series "A Collection of Contemporary Beauties of the Pleasure Quarters (Tosei yuri bijin awase)" c. 1784

Editor: This print, “Mosquito Net,” comes from Torii Kiyonaga’s series "A Collection of Contemporary Beauties of the Pleasure Quarters," around 1784. It's currently held at the Art Institute of Chicago. It has such an intimate, quiet feel, but what stands out to me most is how Kiyonaga plays with the horizontal and vertical lines. What do you see in this piece, from a formal point of view? Curator: Indeed, the manipulation of line is key here. Note how the verticals of the mosquito net’s supports and the standing figure are starkly contrasted with the horizontality of the net’s frame. The print medium lends itself to linear precision, yet Kiyonaga uses subtle color gradations to model the forms, disrupting any sense of rigid geometry. Observe also the relationship between the flat planes of color—the green of the net, the various kimono patterns—and the implied three-dimensionality achieved through line and shadow. Where does this contrast take us? Editor: The planes and colors almost flatten the figures, while the shadowing and overlapping shapes add a spatial complexity. It makes it slightly disorienting. Curator: Precisely! There’s a deliberate tension. The composition isn’t aiming for realistic depth but something more evocative, wouldn't you agree? It's about the tension and balance created on a two-dimensional surface through careful distribution of color and line. The subdued palette, moreover, enhances the feeling of tranquility. And what do you think the function of the emptinesses might be? Editor: Perhaps the emptiness works in concert with that goal. I appreciate now how Kiyonaga uses formal elements to create a particular mood. Thanks. Curator: And I see how approaching this image solely through form and technique illuminates the artist’s deliberate construction of its visual space. The limitations and liberties of such planes makes the message so very delicate and clear.