The actors Sawamura Yodogoro II (R) as Kawatsura Hogen and Bando Zenji (L) as Onisadobo 1794

Editor: Here we have Sharaku's 1794 woodblock print, "The actors Sawamura Yodogoro II (R) as Kawatsura Hogen and Bando Zenji (L) as Onisadobo," at the Art Institute of Chicago. It strikes me as so theatrical, almost like a still from a Kabuki play, wouldn't you say? The expressions are larger than life! What do you see in it? Curator: The "large than life" aspect really speaks to the intent, doesn't it? Sharaku was known for his *okubi-e*, his large-head portraits. But it wasn't just about size. Look at those faces—he wasn’t just capturing likeness, he was capturing essence. He inflated details—exaggerated features—almost cruelly at times! What do you think it says about celebrity culture then versus now, if we’re willing to hang these exaggerated—and sometimes unflattering—portraits of performers on museum walls? Editor: It's definitely not the airbrushed celebrity we're used to! More like…warts and all, literally sometimes. The unforgiving realism makes it strangely compelling. Was it controversial at the time? Curator: Hugely! And perhaps why he disappeared after only about a year. The art world then…it just might not have been ready. Audiences were maybe used to slightly more idealized portraits and didn't appreciate what must have felt like these rather unkind caricatures. How does it change the way you see *ukiyo-e* and Japanese art in general now that you have considered Sharaku’s approach? Editor: It makes me appreciate the range and daring within the genre. It's not all graceful landscapes and beautiful women; there's an edge to it. Thank you for shedding light on Sharaku's unique perspective! Curator: And thank *you* for seeing beyond the pretty pictures! It is a rare experience to dive deeply into Sharaku's world with a fresh perspective like yours.