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    Hiroshige and artworks
    Hiroshige and artworks
    Hiroshige and artworks
    Ebook194 pages1 hour

    Hiroshige and artworks

    By Michail Uspensky

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    About this ebook

    The art of the Ukiyo-e reflected the artistic expression of an isolated civilisation which, when it became accessible to the West, significantly influenced a number of European artists. The three masters of Ukiyo-e, Hokusai, Utamaro and Hiroshige, are united here for the first time to create a true reference on Japanese art. The three masters rank highly among the most famous Japanese artistic productions of all time. This new title of the Prestige of Art collection will be a reference for art students and Japanese art lovers.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 5, 2022
    ISBN9781781608647
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      Book preview

      Hiroshige and artworks - Michail Uspensky

      The Suido Bridge and Surugadai (Suidobashi Surugadai)

      May 1857. Woodblock print, 36.2 x 23.5 cm. Gift of Anna Ferris, Brooklyn Museum, New York

      Biography

      1797:

      Ando Hiroshige was born under the name of Ando Tokutaro. He was the son of the warden of the fire brigade assigned to the Edo Castle. Various episodes indicate that the young Hiroshige was fond of sketching and it is most likely that a fireman, who had studied under a master of the traditional Kano school of painting, oversaw his tutelage.

      1809:

      His mother died. Shortly after, his father resigned his post, passing it on to his son. Early the following year, his father died as well. Hiroshige’s actual daily duties as a fire warden were minimal, and his wages were small.

      1811:

      At the age of fourteen, the young Hiroshige had the chance to join the famous Utagawa painting school and became a pupil of Utagawa Toyohiro, a famous Japanese ukiyo-e artist.

      1812:

      He obtained a school license and was rewarded with the name Utagawa Hiroshige. In the ukiyo-e literature he is usually referenced as Hiroshige Ando.

      1818:

      His first published work appeared.

      1830s:

      Hiroshige did not immediately begin to produce landscape prints. His main output consisted of prints of beautiful women (bijinga) and actors (yakushae). He gradually gave up figure prints for landscapes. He started, under the influence of the great Hokusai, the series that made him famous.

      1832:

      He travelled between Edo and Kyoto along the famed highway called the Tokaido; he stayed at the 53 overnight stations along the road and made numerous sketches of everything he saw. He published a series of 55 landscape prints entitled the Fifty-three Stations on the Tokaido – one for each station, as well as the beginning of the highway and the arrival in Kyoto. The success of this series was immediate and made Hiroshige one of the most popular ukiyo-e artists of all time.

      1850s:

      Some vertical-format compilations of landscape prints date from this period such as Views of Kyoto (1835), Eight Views of Ōmi (1857), Sixty-nine Stations of the Kisokaido (1834-1842), and One Hundred Famous Views of Edo (1856-1858).

      1858:

      Hiroshige died of cholera and was buried in a Zen temple in Asakusa, Tokyo.

      Monkey, Chicken, etc.

      From the Shellwork Exhibition at Okuyama, Asakusa, 1820. Colour print from woodblocks, on paper, 36.3 x 25.5 cm. Victoria and Albert Museum, London

      Between the 17th and 19th centuries in Japan, the Edo period (1603-1868), a new tendency in urban art developed and it is to this style, known as ukiyo-e, literally pictures of the floating world, that the woodblock print belongs.

      Ando Hiroshige is quite possibly the most famous Japanese print artist beyond his native shores. In 1811, he joined the pupils of one of the prominent print artists of the day, Utagawa Toyohiro. From the turn of the 1830s, Hiroshige’s thoughts were more and more concentrated on the landscape, which subsequently became the chief theme of his creative work. Over the course of more than twenty years, the artist produced several series of prints, which demonstrated most vividly his talent in that sphere of art. In the 1850s, Hiroshige’s work underwent a radical change: the earlier smooth narrative manner gave way to abrupt compositional and chromatic contrasts.

      Hiroshige’s landscapes represented a new and final stage of development in the ukiyo-e landscape print and, more broadly, in the traditional art of Japan. For him, there were no vulgar objects, and in his work any landscape motif reflected in human perception is a means of penetrating the essence of nature, its spirit.

      Kanbara, Evening Snow

      From the series The Fifty-three Stations of the Tokaido Road Tokaido Goju-san Tsugi: Kanbara, 1832/1834. Colour woodblock print; yoko oban, 24.1 x 36.8 cm. Clarence Buckingham Collection, The Art Institute of Chicago, Chicago

      Nihonbashi, Clearing after Snow

      Nihonbashi Yukibare. May 1856. Woodblock print, 33.7 x 22.5 cm

      The Outpost of the Mists

      Kasumigaseki, January 1857. Woodblock print, 33.7 x 21.9 cm. Gift of Anna Ferris, Brooklyn Museum, New York

      Spring

      The Nihonbashi (Bridge of Japan) here functions as a symbol of Edo, then the capital of Japan, and indeed of the country as a whole.

      In the year following the construction of the bridge,

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