Courtesan and Attendant

Provenance

Purchased by Langdon Warner [1881–1955], as agent of the Cleveland Museum of Art (1917); The Cleveland Museum of Art, Cleveland, OH (1917–)

Courtesan and Attendant

Kaigetsudō Ando

c. 1730–1868

Accession Number

1917.1001

Medium

hanging scroll: ink and color on paper

Dimensions

Overall: 99.3 x 43.4 cm (39 1/8 x 17 1/16 in.)

Classification

Painting

Museum

The Cleveland Museum of Art

Cleveland, United States

Credit Line

Gift of the John Huntington Art and Polytechnic Trust

Tags

Painting Baroque (1600–1750) Ink Paper Japanese

Background & Context

Background Story

Kaigetsudo Ando (active c. 1700-1714) was a Japanese ukiyo-e painter and print designer known for the large-scale paintings of courtesans that are his most distinctive works. Courtesan and Attendant depicts a courtesan with her attendant in the bold, linear manner that distinguishes Kaigetsudo's best work from the more detailed ukiyo-e painting of his contemporaries. The bold outlines and simplified forms of Kaigetsudo's courtesan paintings represent a distinctive moment in ukiyo-e—the moment when the bold, linear manner of early ukiyo-e painting was at its most accomplished, before the more detailed manner of the mid-18th century would become dominant.

Cultural Impact

Courtesan and Attendant is important in the history of Japanese ukiyo-e because it demonstrates the bold, linear manner that distinguishes Kaigetsudo's best work from the more detailed ukiyo-e of the mid-18th century. Kaigetsudo's large-scale paintings of courtesans represent a distinctive moment in ukiyo-e—the moment when the bold, linear manner of early ukiyo-e painting was at its most accomplished—and his influence on the development of ukiyo-e painting and print design was profound.

Why It Matters

Courtesan and Attendant is Kaigetsudo's bold ukiyo-e: a courtesan with her attendant rendered in the bold outlines and simplified forms that distinguish his most distinctive work. The painting represents a distinctive moment in ukiyo-e when the bold, linear manner of early ukiyo-e painting was at its most accomplished, before the more detailed mid-18th century manner became dominant.