Hiroshige | Plum Garden at Kameido, Famous Places in Edo
歌川広重 Utagawa Hiroshige (1797-1858)
江户名所 龟户梅屋敷
Plum Garden at Kameido, from the series Famous Places in Edo
1848-49
木版画 | 横绘大判 | 24.5cm x 37.3cm
Woodblock-print | Oban yoko -e | 24.5cm x 37.3cm
早期版次;颜色鲜艳;品相非常好
Fine impression, color and condition
$2,200
对于广重而言,无论外面的世界有何种精彩,家乡江户城永远是心中的最难忘。至于江户城内的景致,他更是怎么也画不够,于是乎,同一题材不同构图的作品也越来越多,张张精彩,幅幅动人。
就像即使是面对描绘了无数次的最著名梅园——龟户梅屋铺时,广重依旧在一遍遍寻找着它的无限可能。相较于其他同题材作品,广重在本作中提高了人物形象占比,满满当当地画下了四十余人,或坐或立者,谈天说地者,默然赏花者皆生动可爱。背景中,冲天绽放的树树白梅点点星蕊摇曳,观景亭与茶屋的茅草房顶金黄,充满着旧时代的温暖气息。全图虽明显以焦点透视创作,但仍保留着东方画卷散点透视独有的浪漫色彩,无论着眼何处,皆可得丰盈美感。
Interested in purchasing?
Please contact us.
歌川広重 Utagawa Hiroshige (1797-1858)
江户名所 龟户梅屋敷
Plum Garden at Kameido, from the series Famous Places in Edo
1848-49
木版画 | 横绘大判 | 24.5cm x 37.3cm
Woodblock-print | Oban yoko -e | 24.5cm x 37.3cm
早期版次;颜色鲜艳;品相非常好
Fine impression, color and condition
$2,200
对于广重而言,无论外面的世界有何种精彩,家乡江户城永远是心中的最难忘。至于江户城内的景致,他更是怎么也画不够,于是乎,同一题材不同构图的作品也越来越多,张张精彩,幅幅动人。
就像即使是面对描绘了无数次的最著名梅园——龟户梅屋铺时,广重依旧在一遍遍寻找着它的无限可能。相较于其他同题材作品,广重在本作中提高了人物形象占比,满满当当地画下了四十余人,或坐或立者,谈天说地者,默然赏花者皆生动可爱。背景中,冲天绽放的树树白梅点点星蕊摇曳,观景亭与茶屋的茅草房顶金黄,充满着旧时代的温暖气息。全图虽明显以焦点透视创作,但仍保留着东方画卷散点透视独有的浪漫色彩,无论着眼何处,皆可得丰盈美感。
Interested in purchasing?
Please contact us.
歌川広重 Utagawa Hiroshige (1797-1858)
江户名所 龟户梅屋敷
Plum Garden at Kameido, from the series Famous Places in Edo
1848-49
木版画 | 横绘大判 | 24.5cm x 37.3cm
Woodblock-print | Oban yoko -e | 24.5cm x 37.3cm
早期版次;颜色鲜艳;品相非常好
Fine impression, color and condition
$2,200
对于广重而言,无论外面的世界有何种精彩,家乡江户城永远是心中的最难忘。至于江户城内的景致,他更是怎么也画不够,于是乎,同一题材不同构图的作品也越来越多,张张精彩,幅幅动人。
就像即使是面对描绘了无数次的最著名梅园——龟户梅屋铺时,广重依旧在一遍遍寻找着它的无限可能。相较于其他同题材作品,广重在本作中提高了人物形象占比,满满当当地画下了四十余人,或坐或立者,谈天说地者,默然赏花者皆生动可爱。背景中,冲天绽放的树树白梅点点星蕊摇曳,观景亭与茶屋的茅草房顶金黄,充满着旧时代的温暖气息。全图虽明显以焦点透视创作,但仍保留着东方画卷散点透视独有的浪漫色彩,无论着眼何处,皆可得丰盈美感。
Interested in purchasing?
Please contact us.
Utagawa Hiroshige (1797-1858)
Ando Hiroshige (1897-1858) revolutionized the art of landscape prints during the Edo era, building on the success of his senior, Hokusai, but taking a more poetic and naturalist approach to portraying the beauty of Japan.
The son of a low-level Samurai assigned to the fire brigade in Edo, Hiroshige became a student of the Utagawa school as a young man. His first prints focused on beautiful women (bijin), and views of Edo. But in 1833 he began work on his most famous early work, his first series depicting the Tokaido, the "Great Sea Road" between Edo and Tokyo.
Today there is some controversy about this series. Initially, it was believed that Hiroshige had travelled the route along with a local lord (Daimyo) who was making a gift of horses to the Emperor. But more recent scholarship suggests Hiroshige never travelled the road himself, at least not the entire way, and made his designs using published guidebooks.
Nonetheless, the prints were wonderful and revolutionary. They embraced the seasons with a gentle lyricism missing from Hokusai's striking but stylized depictions. In Hiroshige's work, nature is sacred -- but it is always mixed with humanity, with travelers or little inns or bridges. There is a magical harmony between man and the elements.
His depiction of the seasons and weather is especially evocative. Snow blankets some views with a hushed silence, while rain streaks down furiously in others. In some prints natured is agitated; in others, calm prevails. Produced in a horizontal oban yoko-e format, the series was a smash hit.
The Tokaido series made Hiroshige famous, and he became incredible prolific. In the 1840s he produced many strong designs, but many mediocre ones, too, including several subsequent Tokaido series of varying quality.
In 1853, however, he made a big step. He turned his landscapes sideways, embracing a bold vertical oban tate-e format. This gave his designs new energy and a modern feel. The first of these was Famous Views of the Sixty-Odd Provinces. From them on, most of his most noted series were executed in this format.
He saved his greatest for his last. In 1856 he began work on 100 Famous Views of Edo, which many consider his most exceptional work. Here his home city was portrayed with energy and passion, and in these 119 designs he created an incredible record of a vanished place. In addition to the striking vertical format, he developed exciting new compositions, often juxtaposing a strong foreground element with a distant background.
Among the many famous images in this series are Squall at Ohashi and the Plum Garden in Komeido. Both of these were copied by Vincent Van Gogh, a great admirer of Hiroshige. Thus, the great Japanese artist had a profound effect on Western art.
Alas, his beloved Edo ended his life. Hiroshige was claimed by a cholera epidemic that swept the city in 1958. His pupil Shigenobu, who took the name Hiroshige II, completed The Famous Views of Edo.