Onoe Matsusuke IV as Komori Yasu 1917

Editor: Here we have "Onoe Matsusuke IV as Komori Yasu," a 1917 woodblock print by Yamamura Toyonari. What strikes me is the expressiveness achieved with such limited color. What do you see in this piece? Curator: This portrait pulls us into the complex social world of Japanese Kabuki theatre. The stark makeup is key; it’s not merely cosmetic, but rather a visual language, a powerful tool of representation. Komori Yasu, the character, would likely be from the lower echelons of society. What might this exaggerated portrayal, this caricature, suggest about societal perceptions of class at the time? Editor: So the makeup acts as a class marker, communicating something specific to the audience? Curator: Precisely! Consider how ukiyo-e prints circulated – mass-produced and consumed by a wide audience. This image engages with broader questions of representation: who gets to be seen, and how? The artist isn't just depicting a character; they are contributing to a social commentary. This form of actor portrait became highly sought after, signaling changing cultural tastes, and what sectors of society could suddenly express agency. Editor: That's fascinating! So, it's less about the individual actor and more about the statement the character makes within society? Curator: Exactly. The artist employs the actor's painted face, attire, and posture as key components to tell the story. How does this relate to similar uses of identity today? The artwork's caricature then performs intersectional meanings—gender, class, societal power structures. What new thoughts does this understanding provoke within you? Editor: I hadn’t thought of it that way. It highlights how art, even something seemingly simple like a portrait, can reflect deeper social power dynamics and become such a useful means of expressing resistance. Thanks! Curator: Indeed! Art allows us a portal into alternative understandings and ways of experiencing cultural histories.