The actor Ichikawa Omezo as the manservant Ippei 1794

Curator: Here we have a striking ukiyo-e print by Tōshūsai Sharaku, created in 1794. It's entitled "The actor Ichikawa Omezo as the manservant Ippei" and currently resides here at the Art Institute of Chicago. Editor: Whoa. This print practically vibrates with tension! That sidelong glare, the sword… He looks like he's about to either burst into tears or a full-blown brawl. It's captivating, a raw nerve exposed. Curator: Sharaku was known for capturing very particular moments and expressions of Kabuki actors, pushing the boundaries of portraiture, and some might even argue, caricature. It is important to consider these portrayals in relation to the social hierarchies and theatrical traditions of the Edo period, in the late 18th century. This piece serves as a document of a complex social world. Editor: Yes, it's more than just a portrait, it's a distillation of emotion and commentary. He’s a powder keg of emotions ready to ignite. And I think it’s brilliant how Sharaku emphasizes that tension. He emphasizes the intensity through exaggeration. Those drawn-on eyebrows are ready to pop off his forehead! And look at the fingers wrapped tightly around that sword—you can almost hear his knuckles cracking. It makes you think of masculinity and the performance it entails, wouldn't you agree? Curator: Absolutely. And in terms of artistic decisions, it's not just the facial expressions but the bold lines and color choices typical of ukiyo-e that reinforce a sense of unease or intensity. It challenges any straightforward ideas of representation and identity within the constraints of artistic norms. Editor: I guess what strikes me most about this work is how incredibly relevant it feels despite being centuries old. That feeling of being perpetually on the verge, of having to perform a role while fighting back inner turmoil… that is a thoroughly modern feeling. Curator: Indeed. Considering the historical weight carried within these themes – the artist is making a valuable observation about representation. Editor: This definitely makes you want to learn more about the person beyond the artifice and stage, right?