Verzorgen van de chrysanten 1887 - 1896

Editor: This woodblock print by Ogata Gekko, "Verzorgen van de chrysanten" or "Tending Chrysanthemums," dates from around 1887 to 1896. It feels very tranquil, capturing this quiet domestic scene. What can you tell me about this piece? Curator: Immediately, I’m drawn to the production of this image itself. Consider the labour involved: the artist's design, the carver translating that into wooden blocks, the printer layering colour upon colour. Each impression involved repetitive physical work, highlighting the collaborative, and material nature of art creation. Editor: It's interesting to think of it in terms of labor rather than pure artistry. So, how does that relate to what's depicted? Curator: This work, while aesthetically pleasing, speaks volumes about gendered labour and social class. Two women, one tending chrysanthemums, the other seemingly at rest, highlight different kinds of work and the leisure available to different social strata within late 19th century Japan. What were the socio-economic forces at play? Ukiyo-e prints had moved from earlier mass consumption to targeted high-art audiences and were affected by shifts from mercantilism to new capital, which transformed Japan through new forms of consumption and labor. Editor: That makes me rethink the scene entirely! I initially saw it as simply a peaceful snapshot. Curator: Consider the wood itself – its sourcing, its preparation. These are not neutral materials; they are tied to specific locations, economies, and knowledge. The print invites us to explore how social class structures intersect with the very materials used to represent them. It allows us to re-examine these boundaries. Editor: I never really thought about it in those terms, but it brings a whole new dimension to it! Thank you. Curator: The beauty lies in uncovering those often unseen, unspoken layers of production and context. We’ve really challenged that initial serene perception, I think!