Toneelspeler Ichikawa Danjûrô II c. 1830 - 1835

Editor: This is “Toneelspeler Ichikawa Danjūrō II”, a woodblock print made around 1830-1835 by Utagawa Toyokuni I. I’m struck by the intense expression on the actor’s face and how flat the image feels. How would you interpret this work? Curator: I immediately look at the labor embedded within this Ukiyo-e print. Think about the division of labor involved. Toyokuni designed the print, but skilled block cutters and printers brought it to life. Each impression required meticulous hand-printing. The materials themselves – the wood, the pigments – were sourced and processed by yet another layer of artisans. Editor: That’s fascinating! I hadn’t considered the number of hands involved. So, it’s less about individual artistic genius and more about collaborative production? Curator: Precisely! And consider the social context: these prints were not high art. They were popular, consumable objects, reflecting the tastes and interests of a broad audience. What does the actor's elaborate costume and make-up suggest about performance and spectacle during that time? Editor: It makes me think about how costume and persona were constructed, literally built from layers of fabric and paint bought and applied as stagecraft. What a contrast to how we see celebrity now! Curator: Indeed. The print isn't just a representation; it’s a product deeply embedded in the socio-economic conditions of its time. Each stage in crafting, producing and even selling it says much more than just how pretty the man looks in his role. Editor: So, understanding the materials and the making process gives us insight into the wider cultural landscape. I had assumed ‘fine art’ meant a completely different method of work. Thanks for broadening my understanding! Curator: The lines are always blurred. Art lives within a structure of patronage, labor and materials. I'm glad that our conversation led to more critical view.