Verzameling ontwerpen 1900 - 1901

Editor: We are looking at 'Verzameling ontwerpen'—'Collection of Designs'—dating from 1900-1901 by Tsuda Seifū, housed here at the Rijksmuseum. These appear to be several small books, created with ink, watercolor, and print on paper. The neutral colors give a serene feeling. What do you make of it? Curator: From a materialist perspective, the printing and production methods employed here are fascinating. These designs weren't conceived in a vacuum. How were they produced, distributed, and consumed? Were these mass-produced designs aimed at a broader market or intended for more exclusive clientele? What was the social status of Tsuda Seifu, and what access did he have to different printing technologies? Editor: So, the process is more important than the aesthetic outcome? Curator: Not more important, but inextricably linked. Consider the labor involved. These weren’t spontaneously generated images. Think of the artisans involved in papermaking, ink production, the physical printing itself. These processes reflect larger economic structures. Were the artisans who created these objects fairly compensated? What did their working conditions look like? Editor: That really reframes the piece. I was focused on the gentle color palette, but the labor behind it... Curator: Exactly! Think about how the rise of industrial printing in Japan at the time affected traditional craftspeople, blurring the lines between "high art" and "craft." What can these “designs” tell us about cultural consumption and evolving aesthetic tastes at the turn of the century? Editor: I guess I had never considered the implications behind artistic creation so deeply. It brings a fresh meaning to "Collection of Designs" by questioning design for whom, and under what conditions? Curator: Precisely. Now you're looking beyond the surface, investigating the socio-economic network that gives these designs their true weight.