Who painted 「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki?

「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki was painted by Unknown in 1830.

Where can I see 「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki?

「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki is held by Metropolitan Museum of Art.

What movement is 「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki?

「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki is associated with Romanticism.

Artwork

「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki

Unknown , 1830

「ヲロシア人啚、文化元甲子年九月長崎渡来」|Russians at Nagasaki is an ink print by the Romanticist artist Unknown. It dates from 1830 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

This woodblock print, titled "Russians at Nagasaki," depicts an encounter between three Russian men and their Japanese surroundings in the month of September during the cultural year Gengen. Executed in the aiban format, it combines kappazuri (ink printing) with stencil-printed colors on paper.

Subject & Meaning

The print portrays three Russians in distinctive, vibrantly colored attire on a Nagasaki beach. Their clothing and accessories—a rifle, tall hats, striped jacket and pants, boots, a feather, and a flag—emphasize their foreignness. A Japanese sign above and a distant ship contextualize their presence as visitors.

Technique & Style

The work employs characteristic techniques of Japanese woodblock printing of its time, featuring bold colors, sharp outlines, and a mix of ink and stencil-printed colors. The stylization of the figures, with exaggerated features and attire, aligns with contemporary print aesthetics, achieving a near-cartoonish effect.

History & Provenance

The exact date and artist of "Russians at Nagasaki" are not specified in the provided information, though its style suggests it aligns with the woodblock print traditions of the Edo period (1603-1867), given the mention of 'cultural year Gengen' which would need further specification for precise dating.

Context

The print reflects the limited but documented interactions between Russians and Japanese during the Edo period, when Nagasaki was a primary point of foreign contact. The image may have served to inform or fascinate a Japanese audience with depictions of Westerners.

Legacy

While the print's direct influence or fame is not detailed, it contributes to the broader legacy of Japanese woodblock prints as windows into Edo-period cultural exchanges and perceptions of foreigners. Its style and technique are reminiscent of the era's popular prints, though its specific impact remains unspecified.