Koolmees op paulownia tak 1925 - 1936

Editor: Right, let's talk about this watercolour, "Koolmees op paulownia tak," by Ohara Koson, dated sometime between 1925 and 1936. It’s striking how the muted palette makes the blue of the bird almost pop off the toned paper. What strikes you about this piece? Curator: The immediate appeal is undeniable, but I am drawn to how this work engages with both "high" art and what might be considered the commercial sphere. Koson mass-produced these woodblock prints, and in doing so, democratized art by making it available for mass consumption. Consider the labor involved. Editor: So, the prints weren’t really unique works but more like designed objects intended for a wide market? Curator: Exactly! And this affects our perception. It challenges the Romantic notion of the solitary genius artist creating unique masterpieces. What kind of wood was used for the block, and how readily available was that in the areas these were sold, which also impacted the cost? Did the shift towards Western consumption influence material choices, perhaps a need for speed in production, and was cheap labor used to meet this rising demand? These are key factors for a more accurate understanding of the piece. Editor: That definitely adds a different dimension. I had viewed this through the lens of traditional Japanese art, with its emphasis on nature and beauty, not a commercial market designed for global circulation. Curator: Precisely. Ukiyo-e traditions meet the demands of Western consumption and the tools involved shift and the meaning of "art" along with them. It is a print, watercolour on toned paper... its value arises in its engagement with social and material structures, rather than something like just aesthetic form. Editor: That really makes me rethink my assumptions. Seeing it as a designed object of cultural consumption adds so much depth! Thanks for pointing that out.