Who painted Ichikawa Monnosuke II Standing Beside a Stone Box?

Ichikawa Monnosuke II Standing Beside a Stone Box was painted by Katsukawa Shunjō in 1780.

Where can I see Ichikawa Monnosuke II Standing Beside a Stone Box?

Ichikawa Monnosuke II Standing Beside a Stone Box is held by Cleveland Museum of Art.

What movement is Ichikawa Monnosuke II Standing Beside a Stone Box?

Ichikawa Monnosuke II Standing Beside a Stone Box is associated with Romanticism.

Artwork

Ichikawa Monnosuke II Standing Beside a Stone Box

Katsukawa Shunjō , 1780

Ichikawa Monnosuke II Standing Beside a Stone Box is a print by the Romanticist artist Katsukawa Shunjō. It dates from 1780 and is held in the collection of the Cleveland Museum of Art.

About this work

Overview

Created around 1780 by the Edo‑period artist Katsukawa Shunjō, this woodblock print depicts a solitary figure in formal attire positioned beside a substantial stone container. The work is part of the collection of the Cleveland Museum of Art and exemplifies the genre of ukiyo‑e theater portraiture that flourished in late‑18th‑century Japan.

Subject & Meaning

The central figure, dressed in loose‑folded kimono, kneels on a plain wooden floor, holding a sword in one hand and a scroll in the other. His gaze is directed downward, conveying a solemn, contemplative mood that suggests a moment of preparation or ritual, possibly linked to a stage role or a narrative scene from kabuki.

Technique & Style

Shunjō employs strong, decisive line work to delineate the garment’s drapery and the stone’s rugged surface. Subtle gradations of ink wash create depth and texture, while the contrast between the dark outlines and lighter areas heightens the dramatic tension of the composition. The overall effect is dynamic yet restrained, characteristic of the Katsukawa school’s approach to theatrical subjects.

History & Provenance

The print entered the Cleveland Museum of Art’s holdings through acquisition in the mid‑20th century, reflecting the museum’s broader interest in Japanese prints. Its attribution to Shunjō is supported by stylistic analysis and comparison with other signed works from the same period, confirming its place within the artist’s prolific output of actor portraits.