Who painted Gojin jūshin no hataraku|Five People Working Like Ten?

Gojin jūshin no hataraku|Five People Working Like Ten was painted by Ippōsai Yoshifuji in 3.

Where can I see Gojin jūshin no hataraku|Five People Working Like Ten?

Gojin jūshin no hataraku|Five People Working Like Ten is held by Metropolitan Museum of Art.

What movement is Gojin jūshin no hataraku|Five People Working Like Ten?

Gojin jūshin no hataraku|Five People Working Like Ten is associated with Impressionism.

Artwork

Gojin jūshin no hataraku|Five People Working Like Ten

Ippōsai Yoshifuji , 3

Gojin jūshin no hataraku|Five People Working Like Ten is an ink print by the Impressionist artist Ippōsai Yoshifuji. It dates from 3 and is held in the collection of the Metropolitan Museum of Art. Gojin jūshin no hataraku, translated as “Five People Working Like Ten,” is a Japanese woodblock print executed in ink and color on paper.

About this work

Overview

Gojin jūshin no hataraku, translated as “Five People Working Like Ten,” is a Japanese woodblock print executed in ink and color on paper. The work is attributed to the Edo‑period artist Ippōsai Yoshifuji and forms part of the Metropolitan Museum of Art’s collection of Japanese prints.

Subject & Meaning

The composition depicts five figures cramped together in a chaotic tangle, each dressed in distinct attire and equipped with assorted tools such as a hammer, an umbrella, and a hat. Their exaggerated facial features—large eyes and open mouths—convey a comic sense of over‑exertion, suggesting that the labor of a single individual has been divided among multiple bodies.

Technique & Style

Yoshifuji employs the traditional ukiyo‑e woodblock method, carving separate blocks for line work and each color. The palette is vivid, with striking reds, greens, and yellows set against a pale background, while the bold outlines emphasize the figures’ dynamic poses and the print’s humorous narrative tone.

History & Provenance

Created in the early 19th century, the print entered the Metropolitan Museum of Art’s collection through a 20th‑century acquisition of Japanese prints. Its provenance prior to museum ownership is not extensively documented, but it reflects the commercial publishing practices of Edo‑period printmakers.

Context

The image belongs to a genre of satirical prints that commented on the intense work ethic of urban laborers during the Edo era. By exaggerating the number of workers needed for a single task, the print offers a light‑hearted critique of overwork and the pressures of productivity in a rapidly growing city.