| Ando Hiroshige (1797-1858) is generally considered | | | | idyllic feel. |
| the greatest Ukiyo-e artist (together with the | | | | Plum Orchard in Kameido (a.k.a. Plum Garden) |
| great Hokusai) of the landscape genre. He was a | | | | (Print 30 in the series 'One-Hundred Views on Edo' |
| son of an Edo (today's Tokyo) firewarden and | | | | ) |
| although he succeeded at an early age to his | | | | Hiroshige's Plum Garden is a perfect example of |
| father's hereditary post the attraction of | | | | the symbiotic exchange between the artists of |
| becoming a woodblock designer dominated. He | | | | the East and the West. In this daring composition |
| became a student of Utagawa Toyohiro | | | | (and in many others in this series) Hiroshige applies |
| (1773-1828) and studied the classical tradition of | | | | the repoussoir device, which was a common |
| the Kano painting style. Hiroshige was also very | | | | technique in Western art, placing a large plum-tree |
| much interested and influenced by the Western | | | | to the foreground with the twigs dividing the |
| artists and their view on depicting the landscape | | | | image in seperate parts. The visitors in the |
| and the perspective. | | | | background, who enjoy the sight of these trees, |
| The following five woodblock designs are from | | | | almost look like little puppets. The red of the sky |
| two of Hiroshige's finest contributions to Japanese | | | | and the green of the landscape represent the |
| art, namely his series 'Fifty-three Stations of the | | | | two major contrasting hues and enhance the |
| Tokaido' (c.1833-34) and 'One Hundred Famous on | | | | impression of uniqueness expressed by the |
| Edo' (c.1856-59). | | | | picture. The print is probably best known as a |
| Nocturnal Snowfall in Kambara | | | | model for Vincent van Gogh's copy in oils. |
| (Station 16 in the series 'Fifty-three Stations of | | | | Sudden Shower at Ohashi (a.k.a. Sudden Shower) |
| the Tokaido' ) | | | | (Print 52 in the series 'One-Hundred Views on Edo' |
| A rather traditional scene depicting the town of | | | | ) |
| Kambara covered under a thick white blanket of | | | | Hiroshige was fascinated by the realism of |
| snow. On the right of the image two travellers | | | | photography and the possibilities of incorporating |
| walking uphill just passed by a local residant who's | | | | its compositions to his woodblock designs. One of |
| holding an umbrella. All three are trudging through | | | | his best known examples is the Sudden Shower |
| the snow leaving their footprints while large flakes | | | | print which along with his Plum Garden design |
| fall from the dark sky. What makes this design so | | | | inspired Van Gogh. Hiroshige depicts six |
| extraordinary is the minimal use of colour and the | | | | townspeople caught in a sudden downpour on the |
| skilful manner in which Hiroshige depicts snow | | | | Ohashi bridge. On the Sumida river a raftsman, |
| giving this scene a forceful poetic effect. | | | | wearing a straw raincoat, tries to control his raft |
| Strangely enough Kambara is situated near a | | | | through the fast running water. |
| warm stretch of coast, where it seldomly snows, | | | | The vertical lines of the rain accentuated by the |
| so this scene probably represents an ebullition of | | | | vertical format of the print are masterfully |
| Hiroshige's imagination. | | | | counterbalanced by the diagonal lines of the bridge |
| Sudden Rainstorm at Shono | | | | on the foreground and the riverbank in the |
| (Station 46 in the series 'Fifty-three Stations of | | | | background. In an earlier impression (most |
| the Tokaido' ) | | | | probably an earlier "proof" state!) two addtional |
| In this most famous of all Hiroshige's prints some | | | | rafts are depicted. |
| inhabitants of Shono are overtaken by a sudden | | | | Fox Fires on New Year's Eve at the Garment |
| downpour and are running for shelter. Two | | | | Nettle Tree at Oji (a.k.a. Fox fires) |
| palanquin bearers and their human freight are | | | | (Print 118 in the series 'One-Hundred Views on |
| running up the steep mountain accompanied by a | | | | Edo' ) |
| basket-seller. Running down the mountain are a | | | | The Foxfires design is the conclusive print |
| traveller and his servant with the latter one | | | | Hiroshige produced for his 'One-Hundred Views on |
| holding an umbrella. The countryside is heavily | | | | Edo'-series, published shortly before his death, and |
| veiled in rain with the town Shono barely visible. | | | | is the only one in the entire series that involves |
| In this dynamic composition Hiroshige has divided | | | | the fantasy theme. This mysterious design is |
| the space in audacious triangles of varying depth | | | | based on an old Japanese legend in which fox |
| with the two groups of figures running in opposite | | | | spirits (kitsune) gather around the Garment Nettle |
| directions out of the frame. Hiroshige creates a | | | | Tree on New Year's Eve. Hiroshige's terrific use of |
| perspective depth using different shades of black | | | | different shades of blue adds to the ominous |
| on the bamboo forest effectively contrasting with | | | | emanation. He often used Prussian blue in his work |
| the overall colour composition giving it an almost | | | | earning him the nickname "Blue Hiroshige". |