#2 Shinagawa Gotenyama yori ekichū o miru (View of Shinagawa Station from Gotenyama), Utagawa Hiroshige

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Utagawa Hiroshige, #2 Shinagawa Gotenyama yori ekichū o miru (View of Shinagawa Station from Gotenyama)
Utagawa Hiroshige, #2 Shinagawa Gotenyama yori ekichū o miru (View of Shinagawa Station from Gotenyama)
Utagawa Hiroshige
#2 Shinagawa Gotenyama yori ekichū o miru (View of Shinagawa Station from Gotenyama)
1855–1857, Edo period (1600–1868)
Utagawa Hiroshige
1797–1858
#2 Shinagawa Gotenyama yori ekichū o miru (View of Shinagawa Station from Gotenyama), 1855–1857, Edo period (1600–1868)
Portfolio/Series title: Gojūsan tsugi meisho zukai (Collected Pictures of the Famous 53 Stations), popularly known as Tate-e Tōkaidō (Vertical Tokaido)
Where object was made: Japan
Material/technique: color woodcut
Dimensions:
Image Dimensions Height/Width (Height x Width): 341 x 224 mm
Image Dimensions Height/Width (Height x Width): 13 7/16 x 8 13/16 in
Sheet/Paper Dimensions (Height x Width): 368 x 248 mm
Sheet/Paper Dimensions (Height x Width): 14 1/2 x 9 3/4 in
Mat Dimensions (Height x Width): 19 x 14 in
Credit line: William Bridges Thayer Memorial
Accession number: 1928.7260
Not on display
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Label texts

Exhibition Label:
Installation related to "Tokyo: The Imperial Capital Woodblock prints by Koizumi Kishio, 1928-1940," Feb-2005, Hillary Pedersen
Gotenyama (”Palace Hill“) was the southernmost area of the Shinagawa heights region, and was a popular flower-viewing site. Here, the viewer is placed on top of the hill, able to see not only the site’s beauty, but its destruction as well. To the right, huge amounts of earth have been stripped away from the hill to construct a fortress, one of eight intended to protect Japan after Commodore Matthew Perry’s arrival. Hiroshige often used his prints to comment on the loss of Japan’s natural environment as it was gradually overtaken by industrialization. Three horizontal bands of color brighten the sky and water and provide the print with a certain dynamism, while the azure water in the center carries impressions of the printing block’s woodgrain.

Exhibitions

Tokyo: The Imperial Capital - Woodblock prints by Koizumi Kishio, 1928-1940 (complimentary prints from permanent collection)
2005