Hiroshige’s Evolution and Influences
The subject matter, technology, and cultural affects that influenced Hiroshige and the compositional choices that he made leading up to and including his 100 Famous Views of Edo.
The earliest surviving works done by Hiroshige were printed after the passing of his mentor Toyohiro. These paintings, when compared to Toyohiro’s most famous works, show a stunning resemblance in technique, subject matter, and style. Through highlighting these similarities through the images chosen, I hope to convince you that what Toyohiro’s influence on Hiroshige was quintessential for him to be the famous painter he is today, almost 200 years later.
Photographs being imported into Nagasaki as early as 1840 and the first camera set arriving shortly thereafter would have provided ample time for the new medium's physical transmission to Edo. As to whether Hiroshige actually held photographs in his hand is debatable but as a highly successful and notable artist in residence in Edo it seems possible. Given that by 1842 a photograph would have arrived in Edo with the bi-annual residence of the daimyos of Nagasaki and Satsuma there.
With the images that I have selected for this exhibition, what I hoped to do is to create the possibility of a compositional and visual connection between the photographic print and Hiroshige’s works. A connection that I believe becomes visible when you compare the prints and paintings that Hiroshige produced in the 1830’s, to those he produced leading up to and while he was working on his 100 Famous Views of Edo. When you take that comparison and look at the early photographs imported and produced in Japan at that same time I think the possibility that he was influenced by the print is undoubtable.
The prints of Hiroshige’s “100 Famous Views of Edo” by Henry Smith has put a view on the prints as a cinematic vision. Yet another perspective can be seen as a photography vision, composition, or view leading the eyes looking at dramatic to subtle instances of the woodblock prints of 100 Famous Views. The look of basic photography inputs into a woodblock print is a challenge to compare both analysis of a cinematic view or a photographer's view; they are the same and have different interpretations as well. They are the subtle clues of finding out the intentions of what influenced Hiroshige’s woodblock prints to look compostionly correct from a photography stand point.
One of the most important methods that Hiroshige used to achieve his goals was natural observation. To illuminate how observation plays a role in his visual compositions, this section of the exhibition makes a comparison between Utagawa Hiroshige and Itō Jakuchū. Both of these artists took on a profound fascination with natural observation, and were integrating this method into their work in order to capture some intangible element of life itself. However, each had their own more nuanced artistic goals, and these differences can be observed in the techniques and compositions of their work. While Jakuchū was focusing his observation on individual creatures to capture their life forces, Hiroshige was observing places as a whole to capture the experience of the moment.
We talked about the influences of Hiroshige such as his mentor, cameras, and the early photography of that time, as well as how Hiroshige captures a scene through similar techniques and composition of photography but we haven’t really discussed why Hiroshige would go through such lengths to depict the world of Japan. Through the images I have selected I would like to create the journey and evolution of Hiroshige as an artist. As well as how his progression culminated in his famous, “one hundred famous views of Edo” to fully capture the essence of reality and create the perfect set of “Meisho” landscape prints. Meisho was the concept of displaying legendary Japanese landscapes that held importance within Japanese society and culture, and how this was a driving force for his progression.
We’ve explored many perspectives and influences on Hiroshige, but we haven’t discussed the influence that Hiroshige has left behind. Famous for his color technique and being the first Ukiyo-e artist to utilize landscape composition, the name Hiroshige was well-known for his time. In times when the concept of domestic travel became more intriguing, and Japan was open to international trade, Hiroshige’s work and other established artists were able to get their work out of Japan. France was particularly influenced by the new style of art presented before them. A term was created for this new influence, “Japonisme”, meaning the study of art and genius of Japan. Many artists took their own takes on the Japonisme art style, but the artist Henri Riviere, took direct influence from Hiroshige’s work. The contrast and similarities between both artists will be discussed.
The Influences of Toyohiro on Hiroshige’s Early Art
Influence in Subject Matter
While Toyohiro's work extended to most of the different genre of painting at the time, from more Kano school inspired works to portraits, his most famous works were collections of ukiyo-e inspired landscapes, such as “Eight Views of Edo” and “Eight Views of Omi”. I find it no surprise that after working under the guidance of Toyohiro, Hiroshige would choose to pursue and eventually find success in this exact same style of work. His “53 Views of the Tokaido” can be seen as almost an homage to his late mentor with his own personal twist added. If you compare “No.32 Seba” from Hiroshige's “Sixty-Nine Stations of the Kisokaido” to the painting provided from Toyohiro’s “Eight views of Edo”, there is no doubt that Hiroshige is drawing inspiration from his predecessor. First we see the use of bold, bright, colors used to accentuate the subject matter. In Hiroshige’s work we see the loud yellow boat pressed firmly into a washed out blue that not only helps magnify the saturation of the boat but also the man operating the vehicle. In Toyohiro’s painting we see the red clouds clashing with the blue river and sky, this is done to pull the eye away from the people below and closer to the horizon. This theme of focusing on nature is seen repeatedly throughout Hiroshige’s work. Also, we see Hiroshige using the direction of the boat and the posture of the man to draw the eye to the trees, when following the arch of the boughs, we are brought to the full moon, the true subject of the painting. The same idea can be seen with Toyohiro’s bridge and clouds. First, the eye finds the people near the bottom of the frame and follows the bridge to its vanishing point where the cuts in the clouds bring the view back to the beautiful sunset. These strategies of forcing the audience to experience the art in the order Hiroshige intended was definitely taught to him by his mentor and used to great effect in this piece and other works where his goal appears to be taking the eye off people and enjoying the natural beauty of the horizon.
Technique
We can also see Toyohito’s influence in smaller details when comparing his “Owl and Two Swallows” with Hiroshige’s “Wild Cherry and Swallows”. Looking at Toyohiro’s work we can see him using the level of detail at various spots in the painting to tell the viewer what he wants you to look at. The branch itself is painted using broad strokes that allow it to be a necessary part of the scene without distracting from the subject matter. These broad strokes and lack of detail mute the impact of the branch on the scene. The real genius of this technique is how he puts the owl on the branch in excruciating detail with hundreds of small articulate strokes, and it’s this juxtaposition that forces the owl to pop in a way that couldn’t be achieved without this contrast. Then the intense stare of the owl comes into focus and takes ownership of the viewer's focus. The painting by Hiroshige uses the exact same technique. The limbs in the foreground, while being closer to the viewer are essentially out of focus and upon first viewing, nearly invisible due to the contrast of the detail of the birds. Using that same stare from the swallow in the upper region of the painting.We now start to unwrap what’s being presented, not 3 birds, but five. This is an observation that would easily be looked over and lost at first glance if not for the artist's use of direction to maintain focus in this specific area. I don’t believe that the similarities here are coincidental and can’t see this painting being as impactful as it is without borrowing the techniques and inspiration from his lessons with Toyohiro.
Hiroshige and the Still Image
The Technology Existed:
In the essay we read, “He frames a Shot” by Henry Smith, the author made a statement that the angles and forms of compositions Hiroshige undertook escaped the technology of photography at that time. These two images were produced at approximately the same time and feature nearly identical compositional structure. The Hiroshige print on the left is the one evidenced by Smith of what was not possible and the right one by Pierre Rossier in ca. 1853. Which shows that it was certainly technologically possible.
The Shift in Perspective
With these three images, what I hope to demonstrate is Hiroshige’s evolution in how he used and perceived perspective in his works. The two images below are from the early 1830’s and show a very flat use of perspective. Like looking through a window at a distance. They are essentially a very narrow field of view. The Tendro Hiroshige’s, done around 1850 are a series of diptych and triptych silk hanging scrolls done for the Tendro Clan at the same time he was beginning the 100 Famous Views of Edo. In them you can evidently start to see a more sophisticated use of perspective. Where the canvas is like how the eye sees; where it is how the camera sees. The frame of the print is an angle of view that feels familiar and represents the same degree of perspective that the peripheral vision of the eye has. Conceptually this is a major shift in how perspective is used and composed. When you compare it to Hodogaya (Shinkame Bridge) from The 53 Stations of the Tokaido Road the change in the use of perspective is notable. Between these two images you move from looking through a small window at a distance to standing in front of and looking out a floor to ceiling window. In Shiraito Waterfall at Hakone, done in the same style as the Tendro Hiroshiges and a few years before Hoyogaya, here again you see an even more rudimentary use of perspective than the later print. Where the painting is just a subtle bridge between the Shoguns preferred style and a westernization of perspective in Japanese art.
The Viewing Lens
In Within Hiroshige's woodblock prints, it's clear to a viewer's perspective that many photography-like compositions into a print he makes from shape, bird’s eye view, and repetition are seen in these prints as the photographic view rather than in a cinematic view. It's simple to feel a cinnamic event happen in a feeling of an image. Aside from Henry Smith’s ‘He Frames a Shot!’ He explains how Hiroshige structures his own prints from an outside cinematic view disregarding that photography existed during the making of “100 Famous Views of Edo”. Even with basic photography composition it is taken to account that a structure of a print can be viewed as capturing a moment and showing the true skill of an artist's perspective of a viewing lens. The views of handling a print are constantly seen in multiple of Hiroshige's prints that are the scenery of Edo period time. Overall The viewpoints of seeing it as a cinematic lens or a photographers lens are up to the viewers own perspective; submerging oneself into analyzing prints is what is to understand composition and decision of an image, but all reside into techniques and the history of time the print was created. It makes one wonder what influences Hiroshige had put into prints he made for “100 Famous Views of Edo”.
The Photography View
In the prints of “100 Famous Views of Edo” a couple prints stood out from the Sumiyoshi Festival and Suido Bridge and Surugadai it clearly shows the significance of the overbearing shape of a carp kite and white flag from festivals are significant to a print for the Edo period and beyond. While the Yoroi Ferry and Cotton-goods Lane are very similar in leading lines and replicating repetition within building that show a sense of what it means to train your eye to lead right to left photography just shows how helpful you can notice these instances within a print that can leave a lasting impression when looking at Hiroshige's prints.
Comparison of a Viewing Lens
The two familiar prints of a tree branch from Hiroshige are Moon Pine and Kiyomizu hall and Shinobazu Pond at Ueno shows a very recognizable spiral tree that somewhat signifies a lens. Moon Pine is very up close and personal; the shape of the giant tree shows its taking shape of a circle looking outwards towards the pond and town from far away. The tree could symbolize a physical lens looking outwards showing the little details of what it means to appreciate the print in its fullest. In the Kiyomizu hall and Shinobazu Pond at Ueno the tree is at a far off distance from the viewer's face the town from the far off distance still looks the same giving the viewer a chance to take in outer lens of the main focus which is now the building with cherry blossoms and pond. Overall the two prints in particular show how a lens can be multiplied in a print and to show the inner focus to outer focus of capturing a moment in time.
Observation: Hiroshige and Jakuchū’s responses to a radical new methodology
Both Utagawa Hiroshige and Itō Jakuchū had innovative styles that brought them to popularity. But foundational to each of their approaches was a deep fascination with natural observation, a new method that conflicted with the Japanese artistic tradition of painting models. There was no standard manifesto for the use of observation, and each artists’ use of it was shaped as a means to achieve their own artistic goals. Thus, a visual analysis and comparison of Hiroshige and Jakuchū’s use of observation can help to elucidate both the meaning of their work as well as their aims. In the images I have selected from Jakuchū’s Colorful Realm of Living Beings and Hiroshige’s Fifty-Three Stations of the Tokaido Road, the artists’ divergent enthusiasms become clear. The important aspect to note is not simply the signs of observation, but the limits of that observation.
Taking a look at a real photo of a Japanese fish market, with a colorful variety of sea life laid out flat on the ice, it is plain to see where the observation was done in Jakuchū’s Octopus and Fish. His painting uses a flat, two dimensional perspective, where no fish appears to be closer or farther from the viewer. Each creature is painted with excruciating detail, staying true to their accurate anatomical forms. Clearly, he is painting from his close observations of real fish in the market. However, it is just as clear that he is inputting his imagination to bring the fish to life and transport them from the ice to the water they would live in. The tentacles of the octopus, for example, seem particularly alive, and even have a tiny octopus baby clinging to them. The natural context, however, he spends significantly less of his attention on. Note the fine brush strokes and texturing on each of the fish’s scales, and compare that detailing to the flat wash of green color that makes up the water, and the simple strokes for the plants. Consider that Jakuchū has made a real attempt to show the viewer what they would really see if they poked their head under water, as evident by the flat, vertical arrangement of the fish, and the bright colors. Thus, Jakuchū’s aims are revealed, in that he is interested in capturing the life force of each individual creature, not in immersing the viewer in any kind of scene or experience. A similar effect can be seen with his painting, Insects by Pond Side, as described in the image caption.
Keeping this in mind, turn to Hiroshige’s Daimyo Procession. Here, he shows us the bustling bridge and the throng of people leaving Edo. We see a great diversity in travelers, from monks to daimyos to laborers and flower vendors. In this way, Hiroshige’s subject matter is oddly similar to Jakuchū’s: while the former is taking on the variety of people one might encounter in an urban setting, the latter takes on the variety of life in the ocean, or by the pond. Thus, the comparison allows us to expose the differences: namely, each artists’ use of observation and the resulting emphases of the images. In Daimyo Procession, we see the use of a one point perspective. The wooden walls framing the print draw our eye into the horizon line, and subsequently the bustle of people on the bridge. This perspective technology is helping the viewer to immerse themselves within the place that Hiroshige is observing. Of course, another major facet of this technique is showing the view from eye level. Hiroshige’s careful detailing of the setting and use of perspective reveal his natural observation of a real view. On the other hand, we see much less attention brought to each of the individuals themselves. His use of color desaturates the people themselves, while emphasizing in bright red and blue their garb (to clarify their social role) and their accessories. Where we saw painstaking brushstrokes and texturing in Jakuchū’s fish, Hiroshige’s face of the people appear more like approximations, or even caricatures. He briefly describes the facial features and expressions of his characters, but there is clearly no interest in any lofty conception of their “true essence” or “life force.” Instead, his message in this particular print is to convey the overall feeling of energy, chaos, and urban diversity while traveling on the Tokaido road. Thus, we see the differences in Jakuchū’s and Hiroshige’s responses to observation. While the former is using observation to capture the life force of individuals, the latter is using it to capture the life force of a moment.
Hiroshige: Capturing the Essence of Reality
Through the images I have selected, I hope to represent the evolution of Hiroshige’s landscapes and further show his development of reality. Manipulating the composition of his pieces to allow for more revealing images of landscapes held more grounded in the real world while seeking to confront the emotions these legendary Japanese landscapes/landmarks held within society. Through his previous series such as, “Famous Places in the Eastern Capital,” “fifty-three stations of the Tokaido,” as well as influences from other artists and the west, Hiroshige’s work all culminated in his one hundred famous views of Edo, showing the mature artist’s ability to capture the essence of reality onto his prints. I want to show Hiroshige’s ability to capture the essence of reality onto his prints and possibly explain why he would go through such lengths.
Nature: Climate and Atmosphere
Hiroshige was renowned for his subtle incorporation of climate into his work that would give them a real atmospheric feeling. Hiroshige’s style depicted a true sense of nature and the people living in it. Both of these prints were created for the series “fifty-three stations of Tokaido” during 1833-1834.
Shirasuka: View of Shiomi Slope:
- Gradient sky, showing an early morning. Slope creates elevation, creating a sense of levels between the foreground and the back. Blue ocean gradient as well as the small boat figures, shows depth in the piece. Parade of people, possible daimyo or royal company traveling from capitals
Mishima: Morning Mist:
- The mist creates dimension in the piece, having it separate what is in front to everything esle in the background. Background trees, homes, temples, create a lived-in world. Gradient fade in foreground. Workers carrying what seems to be higher status people in a carriage and on a horse, showing a lived in world of people and systems in place.
Influences: Hokusai and the West
Hokusai and Hiroshige were both innovative artists the played a lot with the perspective of pieces to create a dynamic between the environment and human activity that involve the viewers in their landscape work. Using weather and light as tools to achieve this dynamic.
Both pieces emphasize the sheer power of the waves. Oban format, a vertical format used by Hiroshige, tight vertical composition gives the viewer a more direct path to follow. Rocks in the middle are tall and dominant, the landscape is the main and only point of the piece there are no humans. Rough waves contrast the calm gradient background, gradience in the sky. Prussian Blue (bokashi printing)
Perspective
Both prints display tea houses and people within the environment, but the way they portray people interacting with the environment is very different and shows how Hiroshige changed his usage of perspective of landscapes as he progressed in his artistry creating more depth and space which allow for the viewer to feel more involved within the piece.
Grandpa's Teahouse, Meguro:
- Rice fields below the hill slope, elevation in the piece. Clouds clearly indicate depth, as it cuts the piece from below and up top. People slowly going through the windy path in the rice fields. The people in the piece aren’t the focus, instead, they flow within the piece, becoming a part of the landscape
Mariko: Famous Tea Shop:
- Tries to create space, but limited and narrow feeling. The people seem to catch most of the attention, taking away from the landscape. The background is second to the people, a little basic, less depth
Everything and Why
Notice the shadows from the full moon, a detail common to western art but relatively new to Japan. People stroll through the shop-filled street, feeling of movement. Generalized figures that are in the moment, part of the landscape. Crowded nightlife, capturing the essence of reality
Why? Why go to such lengths to express the world of Japan?
The concept of “Meisho” (Famous Place): a place that had a lot of importance in Japanese society/ history/culture. In Meisho the spirit or mood of the place was far more important in art than the place itself
Edo Japan was a time of peace, prosperity, and growth, for the most part, thus there was an ease of travel, with travel being more common people wanted to own a piece of that place, Images and writing became a way for that. Hiroshige was an artist that portrayed the world of Japan, he combined the landscapes of the countryside and the city, using techniques and inspiration that he would then use to capture the essence of these Meisho locations. Giving audiences prints that gave them pride in owning a piece of these legendary locations held of high importance within Japanese culture, but also bringing the audience to these locations with the emotions of the piece allowing for the viewer to feel as though they are a traveler going through the location.
Hiroshige’s Influence
Japonisme
After the Edo period, when the intrigue of domestic travel became more relevant, imports between nations were established. This began the spread of and influence of Hiroshige’s work in the west. The influence of Japanese art style became so popular that the term, “Japonisme”, was developed to categorize the influence.
One artist, Henri Riviere, was especially impacted by the Japanese influence. One of Henri’s earlier pieces, ‘Funeral Under the Umbrella’ was heavily influenced by the print made by Utagawa Hiroshige, ‘Travelers Surprised by Sudden Rain’. Taking inspiration from Hiroshige, Riviere captures a similar scene of his own experience. The pieces are relatively similar, other than the orientation and the environment, both are capturing the same atmosphere (Liu, pg.12). With obvious style differences, Riviere still recreates the scene of people protecting themselves from the heavy rain. Each artist has captured the harsh weather conditions of their own country and personal experiences.
After studying Japonisme, Riviere was able to take his own stance on the Japanese art style. Drawing from his experience and perspective, Hiroshige has inspired Reviere to do the same.
Importance of Composition
Riviere went on to produce a collection of images called, ‘36 Views of the Eiffel Tower’. Like, ‘100 Views of Edo’, by Hiroshige and, ‘36 views of Mount Fuji’, by Hokusai, Riviere was able to capture the symbol of Paris, the Eiffel Tower, and showcase its importance in a collection of prints just as Hiroshige and Hokusai.
Hiroshige was known for his color technique and landscape composition. Bleeding colors to show form, and the use of perspective to add depth to his images, Hiroshige was famous for his technique throughout Japan and in the West (Smith, pg.33). Composition was very important. Composition can be used to add significance to select aspects of each print. In the print by Hiroshige, ‘Fireworks at Ryogoku’, Hiroshige uses slightly over half of the composition for the fireworks. Considering the scene displayed by Hiroshige is a firework show, altering the composition enforces the importance of the display at Ryogoku.
Riviere takes this into consideration when making one print in his collection of, ‘36 Views of the Eiffel Tower’. ‘Celebration on the Seine, 14 July’ by Henri Riviere, uses inspiration from Hiroshige to show the importance of Bastille day, the National day of France. An annual holiday to exhibit the importance of the nation and its people, Riviere uses composition to showcase each importance. The composition is split evenly between the Eiffel tower and the people who are celebrating below. Signifying that the people of France are just as important as the nation. As well as, the perspective Riviere places the viewer into. From a first person perspective, the viewer can include themselves and experience the celebration first hand, thus adding significance to the viewer as well.
Riviere was able to study Hiroshige’s use of technique and composition to take his own stance on showcasing the importance of Bastille Day.
Bibliography
A collaborative exhibition by William Bossen, Josh Johnson, Vanessa Carlos, Oliver Jue, Jesus Gomez, and Aaliyah Garinga. All images and image descriptions used can be found here:
https://uw.manifoldapp.org/projects/arth309a/resource-collection/group-8
Hiroshige
Josh Johnson
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Hiroshige and the Still Image
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The Viewing Lens
Vanessa Carlos
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Smith, Henry “‘He Frames a Shot!’ Cinematic Vision in Hiroshige’s One Hundred Famous Views of Edo.” Columbia University, http://www.columbia.edu/~hds2/pdf/2000_Hiroshige%27s%20Cinematic%20Vision.pdf. Accessed 3 March. 2021.
“Cotton-Goods Lane, Odenma-cho, No. 7 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121622
“Moon Pine, Ueno, No.89 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121703
“Kiyomizu Hall and Shinobazu Pond at Ueno, No. 11 in One hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121626
“Sumiyoshi Festival, Tsukudajima, No.55 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121664
'Suido Bridge and Surugadai (Suidobashi Surugadai), No. 48 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121677
“Yoroi Ferry, Koami-cho (Yoroi no Wastahi Koami-cho) No. 46 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121659
Observation
Oliver Jue
Tsuji, Nobuo. “Itō Jakuchū.” Lineage of Eccentrics, Kaikai Kiki, Tokyo, 2012, pp. 76–103.
Smith, Henry “‘He Frames a Shot!’ Cinematic Vision in Hiroshige’s One Hundred Famous Views of Edo.” Columbia University, http://www.columbia.edu/~hds2/pdf/2000_Hiroshige%27s%20Cinematic%20Vision.pdf.Accessed 7 March. 2021.
“Tsukiji Fish Market.” Tsukiji: the Rise and…Relocation of a World-Famous Fish Market, https://sushisei.hu/en/tsukiji-the-rise-and-relocation-of-a-world-famous-fish-market/. Accessed 10 Mar. 2022.
Itō Jakuchū, Octopus and Fish. 1760. From the series Colorful Realm of Living Beings. Ink on Silk. 31 x 56 in. Retrieved from https://commons.wikimedia.org/wiki/File:%27Fish%27_from_the_%27Colorful_Realm_of_Living_Beings%27_by_Ito_Jakuchu.jpg
Itō Jakuchū, Insects by Pond Side. 1760. From the series Colorful Realm of Living Beings. Ink on Silk. 31x56 in. Retrieved from https://www.wikiart.org/en/ito-jakuchu/insects-by-pond-side
Utagawa Hiroshige, Nihonbashi (Daimyō Procession Setting Out). 1833-34. From the series the Fifty-Three Stations of the Tōkaidō Road. Color woodblock print on paper. 9 x 14 in. Retrieved from https://www.brooklynmuseum.org/opencollection/objects/3880
Capturing the Essence of Reality
Jesus Martinez Gomez
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“Night View of the Matsuchiyama and Sam'ya Canal (Matsuchiyama San'yabori Yakei), No. 34 from One Hundred Famous Views of Edo.” Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121648
“Shirasuka: View of Shiomi Slope (Shirasuka, Shiomizaka Zu), from the Series ‘Fifty-Three Stations of the Tokaido (Tokaido Gojusan Tsugi No Uchi)," Also Known as the Hoeido Tokaido.” The Art Institute of Chicago, https://www.artic.edu/artworks/25706/shirasuka-view-of-shiomi-slope-shirasuka-shiomizaka-zu-from-the-series-fifty-three-stations-of-the-tokaido-tokaido-gojusan-tsugi-no-uchi-also-known-as-the-hoeido-tokaido
“Mishima: Morning Mist (Mishima, Asagiri), from the Series ‘Fifty-Three Stations of the Tokaido Road (Tokaido Gojusan Tsugi No Uchi)," Also Known as the Hoeido Tokaido.” The Art Institute of Chicago, https://www.artic.edu/artworks/149126/mishima-morning-mist-mishima-asagiri-from-the-series-fifty-three-stations-of-the-tokaido-road-tokaido-gojusan-tsugi-no-uchi-also-known-as-the-hoeido-tokaido
“Under the Wave off Kanagawa (Kanagawa Oki Nami Ura), Also Known as The Great Wave, from the Series Thirty-Six Views of Mount Fuji (Fugaku Sanjūrokkei).” Metmuseum.org, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/45434.
“Naruto Whirlpool, Awa Province, from the Series Views of Famous Places in the Sixty-Odd Provinces.” Metmuseum.org, The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/53783
“No.21 ‘Mariko: Famous Tea Shop’ from the Series Fifty-Three Stations of the Tokaido.” Digital Collections: No.21, Free Library of Philadelphia, https://libwww.freelibrary.org/digital/item/51569
“Grandpa's Teahouse, Meguro, No. 84 from One Hundred Famous Views of Edo.” Brooklyn Museum, The Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121698
“Night View of Saruwaka-Machi (Saruwaka-Machi Yoru No Kei), No. 90 from One Hundred Famous Views of Edo.” Brooklyn Museum, The Brooklyn Museum, https://www.brooklynmuseum.org/opencollection/objects/121704
Hiroshige’s Influence
Aaliyah Garinga
Liu, Y.-H. (2021). Japonisme and Modernity in Thirty-Six Views of the Eiffel Tower by Henri Riviere. ProQuest. Retrieved March 13, 2022, from https://www.proquest.com/docview/2572537677?pq-origsite=primo
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Hiroshige, Ando (Japanese, 1797 - 1858). (1797-1858). Shono - Rain Storm [from 53 views of Tokaido], overall. [Woodcut, Print]. Retrieved from https://library.artstor.org/asset/SS36412_36412_31242844
Andō, Hiroshige, 1797-1858. (1858). Fireworks at Ryôgoku from the series One Hundred Famous Views of Edo, woodblock print, ink and color on paper. [Prints]. Retrieved from https://library.artstor.org/asset/27594080
Apr. 4 artminute: Henri Rivière, funeral under the umbrellas (l'enterrement aux parapluies). The Toledo Museum of Art. (2018, April 4). Retrieved March 14, 2022, from https://www.toledomuseum.org/art/artminute/apr-4-artminute-henri-rivi%C3%A8re-funeral-under-umbrellas-l%E2%80%99enterrement-aux-parapluies
Celebration on the Seine, 14 July (Fête sur la Seine, le 14 juillet) - van gogh museum. Henri Rivière - Celebration on the Seine, 14 July (Fête sur la Seine, le 14 Juillet) - Van Gogh Museum. (n.d.). Retrieved March 14, 2022, from https://www.vangoghmuseum.nl/en/prints/collection/p1985-012S2002