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Eight Shadow Figures by Utagawa Hiroshige, 1842 - Postcard
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Drum Bridge at Meguro and Sunset Hill by Utagawa Hiroshige - 1857
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Eight Shadow Figures by Utagawa Hiroshige - c. 1842
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Ukifune, Utagawa Hiroshige, 1845 - Greeting Card
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Sudden Shower Over Shin-Ōhashi Bridge and Atake by Utagawa Hiroshige - 1857
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New Year's Eve Foxfires at the Changing Tree, Ōji by Utagawa Hiroshige - ca. 1857
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A White Cat Playing with a String by Utagawa Hiroshige II - 1863
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Shadow Figures of a Lantern and a Hawk, c. 1842 Utagawa Hiroshige; Publisher- Tsutaya Kichizō
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Okitsu, 8th month by Utagawa Hiroshige - 1854
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Horse-mackerel and prawns by Utagawa Hiroshige
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Kanbara-juku in the by Utagawa Hiroshige - 1830s
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Travellers on Horseback in the Snow by7 Utagawa Hiroshige - 1837
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The Taiko (Drum) Bridge and the Yuhi Mound at Meguro - 1857
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Fireworks at Ryōgoku, 1858, 8th month by Utagawa Hiroshige
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Collection: Utagawa Hiroshige
Utagawa Hiroshige, born Andō Hiroshige (安藤 広重; 1797 – 12 October 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 European painting towards the close of the 19th century as a part of the trend in Japonism. Western European 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: Plum Park in Kameido and Sudden Shower over Shin-Ōhashi bridge and Atake - Wikipedia
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 European painting towards the close of the 19th century as a part of the trend in Japonism. Western European 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: Plum Park in Kameido and Sudden Shower over Shin-Ōhashi bridge and Atake - Wikipedia