Penis opmetingen c. 1870 - 1880

Curator: Kawanabe Kyōsai’s ink drawing, dating from about 1870 to 1880, is titled “Penis opmetingen.” It’s currently held in the Rijksmuseum collection. My first reaction is definitely shock but I wonder if I'm supposed to laugh at it, perhaps. What strikes you foremost, given the composition? Editor: The clarity of line and the pale background that accentuates the chromatic vibrancy is remarkable. Notice how Kyōsai employs a controlled palette to highlight certain gestures, the drape of robes. There is an attention to the picture plane through these visual features. Curator: Absolutely, and if you delve into the history of Japanese art of this period you may find that what seems like a graphic and provocative scene actually taps into deep-seated folk traditions. It can perhaps be considered an exploration of social hierarchies and a commentary on anxieties of masculinity through satire. Consider the socio-political instability of Japan as it entered the Meiji Restoration during this era and how this piece functions as social commentary. Editor: While acknowledging its cultural roots, I find this genre painting to have undeniable qualities. Consider the balance Kyōsai achieves; it presents us a carefully constructed space where the placement of each figure contributes to a sense of both visual harmony and dynamic tension. The semiotic framework that Kyōsai builds here suggests much more. Curator: Semiotics aside, I think it’s also important to consider who would have been viewing this at the time, and what class or social position they held. Perhaps how access to it was limited? And, given what some scholars note regarding Kyōsai's rebellious personality, it perhaps could be his way to subvert societal norms by using this genre in ways never considered. Editor: But if we limit ourselves to such strict biographical and contextual constraints, we may risk overlooking the rich potential of this drawing to prompt philosophical considerations. How, through the formal manipulation of color and composition, Kyōsai has offered us both a striking and unsettling experience. The very structure invites a reevaluation of representation and erotic themes. Curator: But if this work is devoid of all these relevant contexts, what exactly remains beyond the formal elements that could really challenge us? Considering it's erotically charged content alone? Editor: It certainly is an artwork that continues to invite differing interpretations, proving Kyosai's unique perspective, doesn’t it? Curator: It does show us that understanding an artwork entails so much more than simply knowing the basic components that it’s built upon.