A Woman’s Perspective: Prints by Ikeda Shōen

Ikeda Shōen (1886–1917; formerly known as Sakakibara Yuriko) was one of the first female artists of the late 19th and early 20th centuries to be recognized for her contributions to the fields of Japanese painting (Nihonga) and traditional printmaking. 

She subtly reveals in those works indications that, in Japan during the early 20th century, the concept of femininity was gradually evolving and that the social restrictions placed upon women were slowly easing. Some of Shōen’s characters, for example, wear hakama skirts, uniforms that reflect the Ministry of Education’s decision—first proposed in 1872 and enforced through a 1907 mandate—that all children irrespective of gender must attend school for at least six years. 

Preceded by other accomplished women artists such as Katsushika Ōi (c. 1800–c. 1866), Utagawa Yoshitori-jo (b. 1839), and Utagawa Yoshijo (b. 1842), Shōen was successful and on equal footing with the men in her artistic community. Her imagery was distinct from that of both painter/printmaker Ikeda Terukata (1883–1921), to whom she was married, and Mizuno Toshikata (1866–1908), under whom she studied printmaking.  

Alongside Mary Cassatt at Work, on view June 21 through Oct 12, this print rotation underscores the contributions by pioneering female artists throughout the world during this time. 

Funding for this exhibition is provided by the Robert F. Lange Foundation. 

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Ikeda Shōen (1886–1917). One Morning in Summer (detail), from the series Thick Mist. Japan, 1906. Woodblock print; ink and color on paper. Purchase, Richard Lane Collection, 2003 (2005.0684)