Young Man with Fishing Pole and Net c. 1769

Editor: We're looking at "Young Man with Fishing Pole and Net," a woodblock print made around 1769 by Suzuki Harunobu. What strikes me immediately is how delicate the lines are, and how muted the colors are, almost faded. What do you notice? Curator: What seizes my attention is the structural juxtaposition of the figure against the landscape. Note how the verticality of the young man and his garments provides a counterpoint to the implied horizontal expansion of the river or coastline in the background. The interplay of linear patterns in the clothing, in contrast with the implied movement in the landscape creates a complex relationship between the figure and ground. Do you see how that tension works? Editor: I see what you mean, especially how the stripes of the kimono play off against the suggested waves. But the "young man" looks quite feminine to me, with a small mouth and careful hair. How does that influence your interpretation? Curator: The representation of gender within the *ukiyo-e* tradition is often deliberately ambiguous. I'm more interested in how Harunobu manipulates formal elements to generate meaning. Note how the seemingly casual arrangement of the fishing pole bisecting the composition draws the eye towards a middle ground in the composition, and forces a closer reading of depth through the picture plane. Editor: That’s a new perspective! I hadn't considered how the composition and linear arrangement contributes to the viewing experience itself, but that totally makes sense. Curator: Exactly. By analyzing how Harunobu employed the visual language of form and color, we unlock new interpretative potentials beyond considerations of narrative. Editor: So it’s less about who he painted, and more about how he painted. Thanks, I learned a lot.