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Utagawa HiroshigeShin-machi Bridge at Hodogaya - Japanese Woodcut Print on Rice Paperc. 1833
c. 1833
About the Item
Shin-machi Bridge at Hodogaya - Japanese Woodcut Print on Rice Paper
Woodblock print of travelers on a bridge by Utagawa Hiroshige (Japanese, 1797-1858). Originally published c. 1833, this is scene number 5 from The 53 Stations of the Tokaido. Travelers carrying baggage are crossing the Shin-machi Bridge, headed towards a village. There is a soba noodle shop at the far side of the bridge, with a woman beckoning the travelers to come purchase a meal.
Presented in a black frame with a mat.
Frame size: 15.5"H x 19.25"W
Image size: 9.25"H x 14"W
Born in Edo as Tokutaro Ando, Hiroshige Utagawa grew up in a minor samurai family. His father belonged to the firefighting force assigned to Edo Castle. It is here that Hiroshige was given his first exposure to art: legend has it that a fellow fireman tutored him in the Kano school of painting, though Hiroshige’s first official teacher was Rinsai. Though Hiroshige tried to join Toyokuni Utagawa's studio, he was turned away. In 1811, young Hiroshige entered an apprenticeship with the celebrated Toyohiro Utagawa. After only a year, he was bestowed with the artist name Hiroshige. He soon gave up his role in the fire department to focus entirely on painting and print design. During this time he studied painting, intrigued by the Shijo school. Hiroshige’s artistic genius went largely unnoticed until 1832.
In Hiroshige Utagawa's groundbreaking series of Japanese woodblock prints, The 53 Stations of the Tokaido (1832-1833), he captured the journey along the Tokaido road, the highway connecting Edo to Kyoto, the imperial capital. With the Tokugawa Shogunate relaxing centuries of age-old restrictions on travel, urban populations embraced travel art and Hiroshige Utagawa became one of the most prominent and successful ukiyo-e artists. He also produced kacho-e (bird-and-flower pictures) to enormous success. In 1858, at the age of 61, he passed away as a result of the Edo cholera epidemic.
Hiroshige Utagawa’s woodblock prints continue to convey the beauty of Japan and provide insight into the everyday life of its citizens during the Edo period. The appeal of his tender, lyrical landscapes was not restricted to the Japanese audience. Hiroshige’s work had a profound influence on the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige’s daring diagonal compositions and inventive use of perspective, while Van Gogh literally copied two of Hiroshige's prints from the famous series, 100 Famous Views of Edo in oil paint.
- Creator:Utagawa Hiroshige (1797)
- Creation Year:c. 1833
- Dimensions:Height: 15.5 in (39.37 cm)Width: 19.25 in (48.9 cm)Depth: 1.25 in (3.18 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Overall good condition. Frame is used and has some minor signs of wear.
- Gallery Location:Soquel, CA
- Reference Number:Seller: DBH93241stDibs: LU54214631182
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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