Who painted Orandajin no zu|Dutchman with Black Servant?

Orandajin no zu|Dutchman with Black Servant was painted by Ichiryūsai Yoshitoyo in 1.

Where can I see Orandajin no zu|Dutchman with Black Servant?

Orandajin no zu|Dutchman with Black Servant is held by Metropolitan Museum of Art.

What movement is Orandajin no zu|Dutchman with Black Servant?

Orandajin no zu|Dutchman with Black Servant is associated with Impressionism.

Artwork

Orandajin no zu|Dutchman with Black Servant

Ichiryūsai Yoshitoyo , 1

Orandajin no zu|Dutchman with Black Servant is an ink print by the Impressionist artist Ichiryūsai Yoshitoyo. It dates from 1 and is held in the collection of the Metropolitan Museum of Art. Orandajin no zu, also known as Dutchman with Black Servant, is a woodblock print executed in ink and color on paper.

About this work

Overview

Orandajin no zu, also known as Dutchman with Black Servant, is a woodblock print executed in ink and color on paper. The work is attributed to the Edo‑period artist Ichiryūsai Yoshitoyo and is part of the collection of the Metropolitan Museum of Art.

Subject & Meaning

The composition depicts a European visitor, identifiable by his black hat, dark coat and handheld fan, standing beside a woman dressed in a vivid red kimono. Her exaggerated facial expression and loose hair suggest a servile role, while her open mouth and forward lean convey a moment of interaction between the two figures.

Technique & Style

Yoshitoyo employs the bold, flat color areas and strong outlines characteristic of late‑eighteenth‑century ukiyo‑e prints. The use of a colorful banner and a red parasol behind the figures adds visual contrast against a darker background, emphasizing the print’s graphic clarity.

History & Provenance

The print was produced during a period when Japanese artists frequently portrayed foreign visitors and their attendants, reflecting growing curiosity about Western presence in Japan. It entered the Metropolitan Museum of Art’s holdings through acquisition, where it remains catalogued as a representative example of Yoshitoyo’s work.