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Utagawa HiroshigeMeishoe - Woodcut by Utagawa Hiroshige II - 1860s1860s
1860s
About the Item
Meishoe is an artwork realized in the 1865 by Utagawa Sadahide (1807 – c. 1878–1879).
Woodcut Print Oban Format.
From the series "Suehiro gojusan tsugi" (A fan with the 53 stations). A daimyo procession arrives in Hakone, Fuji on the right.
Signed: Gountei Sadahide ga. Publisher: Enshuya Hikobei. Censorship: Aratame.
Very good lifetime impression with bokashi, visible baren printing lines and wood grain, backed, one small fold, stain at left margin, margins partly trimmed.
Utagawa Sadahide (1807 – c. 1878–1879), also known as Gountei Sadahide, was a Japanese artist best known for his prints in the ukiyo-e style as a member of the Utagawa school. His prints covered a wide variety of genres; amongst his best known are his Yokohama-e pictures of foreigners in Yokohama in the 1860s, a period when he was a best-selling artist. He was a member of the Tokugawa shogunate's delegation to the International Exposition of 1867 in Paris.
- Creator:Utagawa Hiroshige (1797)
- Creation Year:1860s
- Dimensions:Height: 14.97 in (38 cm)Width: 10.01 in (25.4 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:Seller: T-1286541stDibs: LU65039379822
Utagawa Hiroshige
Utagawa Hiroshige (1797 - 1858) was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his horizontal-format landscape series The Fifty-three Stations of the Tōkaidō and for his vertical-format landscape series One Hundred Famous Views of Edo. The subjects of his work were atypical of the ukiyo-e genre, whose typical focus was on beautiful women, popular actors, and other scenes of the urban pleasure districts of Japan's Edo period (1603–1868). The popular series Thirty-six Views of Mount Fuji by Hokusai was a strong influence on Hiroshige's choice of subject, though Hiroshige's approach was more poetic and ambient than Hokusai's bolder, more formal prints. Subtle use of color was essential in Hiroshige's prints, often printed with multiple impressions in the same area and with extensive use of bokashi (color gradation), both of which were rather labor-intensive techniques. For scholars and collectors, Hiroshige's death marked the beginning of a rapid decline in the ukiyo-e genre, especially in the face of the westernization that followed the Meiji Restoration of 1868. Hiroshige's work came to have a marked influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists, such as Manet and Monet, collected and closely studied Hiroshige's compositions. Vincent van Gogh even went so far as to paint copies of two of Hiroshige's prints from One Hundred Famous Views of Edo.
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