Hiroshige: Thirty-Six Views of Mt. Fuji

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Since you are here, we would like to share our vision for the future of travel - and the direction Culture Trip is moving in. Uprisings', 2018". www.artsy.net. Archived from the original on 20 May 2022 . Retrieved 20 May 2022.

The next period, beginning in 1834, saw Hokusai working under the name "Gakyō Rōjin" ( 画狂老人; "The Old Man Mad About Art"). [25] It was at this time that he produced One Hundred Views of Mount Fuji, another significant series, [26] generally considered "the masterpiece among his landscape picture books". [10] Gray, Basil, 'The Work of Hokusai-Woodcuts, Illustrated Books, Drawings and Paintings: A Catalogue of an Exhibition held on the Occasion of the Centenary of his Death', British Museum, London, 1948, no. 62. Take the bus departing for Soka University Main Gate / Tokyo Fuji Art Museum (SOKA DAIGAKU / TOKYO FUJI BIJUTSUKAN) For comprehensive discussion of this print design, see Timothy Clark, Hokusai's Great Wave (BMP, 2011) Goncourt, Edmond de (2014). Essential Hokusai. Bournemouth, Parkstone International. ISBN 978-1-78310-128-3.Letter 676: To Theo van Gogh. Arles, Saturday, 8 September 1888". Van Gogh Museum. Archived from the original on 5 December 2016 . Retrieved 17 January 2017. Toyoharu's work greatly influenced Japanese landscape painting, which evolved with the works of Hiroshige– an indirect student of Toyoharu through Toyohiro– and Hokusai. Hokusai became acquainted with Western perspective in the 1790s through Shiba Kōkan's investigations, from whose teaching he benefited. Between 1805 and 1810, Hokusai published the series Mirror of Dutch Pictures– Eight Views of Edo. [46] Hokusai: the influential work of Japanese artist famous for "the great wave" – in pictures". The Guardian. 20 July 2017. Archived from the original on 21 May 2022 . Retrieved 21 May 2022.

In 1839, a fire destroyed Hokusai's studio and much of his work. By this time, his career was beginning to fade as younger artists such as Andō Hiroshige became increasingly popular. At the age of 83, Hokusai traveled to Obuse in Shinano Province (now Nagano Prefecture) at the invitation of a wealthy farmer, Takai Kozan where he stayed for several years. [31] During his time in Obuse, he created several masterpieces, including the Masculine Wave and the Feminine Wave. [31] Between 1842 and 1843, in what he described as "daily exorcisms" ( nisshin joma), Hokusai painted Chinese lions ( shishi) every morning in ink on paper as a talisman against misfortune. [32] [33] Hokusai continued working almost until the end, painting The Dragon of Smoke Escaping from Mt Fuji [34] and Tiger in the Snow in early 1849. [35] This series is also celebrated for its particular blue color, called “Berlin indigo” (bero-ai), a pigment that had been newly introduced by Dutch merchants to Japan. Rainstorm Beneath the Summit The snow at the peak of the mountain contrast with the dark shadows of the forest at its base. The delicate clouds balance Mt. Fuji’s solid symmetrical shape on the right half of the image to the left. The Wave" by Hokusai and "The Jingting Mountains in Autumn" by Shitao". CNDP.fr (in French). Archived from the original on 3 October 2009. Zelazny, Roger (1985). "24 Views of Mount Fuji". In "Cthulu 2000: Stories" (1995). Arkham House, Sauk City, WI. ISBN 978-0345422033Hokusai has produced an image in which the awesome forces of nature are conveyed with equivalent graphic power. And through the hollow of the wave - as if seen through a telescope - sits Mount Fuji, the unperturbable, its graceful curves echoed by boats and waves alike.

Thompson, Sarah E. (2019). Hokusai's landscapes: the complete series (Firsted.). Boston: MFA publications Museum of fine arts. pp.151–165. ISBN 978-0-87846-866-9. Nagata, Seiji (1995). Hokusai: Genius of the Japanese Ukiyo-e. Tokyo: Kodansha International. ISBN 978-4-770-01928-8If you look through the prints that comprise Thirty-six Views of Mount Fuji, you obviously find the volcano in all of them. While Fine Wind, Clear Morning is a breathtaking rendering of Mount Fuji, many of the other prints focus on specific settings in Edo Japan. For example, there is an image of Nihonbashi Bridge, which depending on your travel direction formed the starting or ending point of the important Tōkaidō road. A True Mirror of Chinese and Japanese Poetry ( Shika shashin kyo), produced in about 1833 to 1834, was printed in extra-long vertical formats resembling the form of Chinese hand scrolls. Prints in this series include poems by Chinese and Japanese poets combined with scenes in those countries, and scenes from Noh plays (a form of dance theater predating kabuki). Ten designs in this series survive. [28]