The Waitress Osen of the Kagiya Teahouse c. 1769 - 1770

Editor: We’re looking at Suzuki Harunobu’s print, "The Waitress Osen of the Kagiya Teahouse," from around 1769 or 1770, housed at the Art Institute of Chicago. The quietness of this work is what stands out initially. The figure's bowed head and subdued color palette give off a sense of contained grace, what's your perspective? Curator: Indeed. Let's consider the context in which these prints circulated. The demand for images of teahouse waitresses, particularly those who gained local celebrity, speaks to the burgeoning urban culture of Edo-period Japan. These weren't just aesthetic objects; they functioned as a form of popular media, circulating idealized images of women who occupied a specific social role. Do you think that impacted their appeal? Editor: Definitely. It’s interesting to consider them as early forms of celebrity endorsements, influencing trends and ideas about beauty and labor. But did the artist intend for them to serve as purely commercial products? Curator: Harunobu certainly aimed to capture a specific ideal of feminine beauty, further enhanced through woodblock printing. We should also consider who consumed these images. These prints circulated amongst affluent merchants and members of the burgeoning middle class, who saw value in these types of prints. What do you think of that context? Editor: That makes perfect sense. Understanding who bought and displayed these prints helps reveal the artwork’s connection to society. Seeing it as a record of public desire as much as individual artistic expression helps us to fully understand this artwork. Thanks! Curator: You’re welcome! Considering such imagery as embedded in wider social currents enables us to think deeply about its place within society and helps it spring to life.