COLLECTION NAME:
Louis Black Collection of Japanese Prints
mediaCollectionId
ConnColl~9~9
Louis Black Collection of Japanese Prints
Collection
true
Collection:
Louis Black Collection of Japanese Prints, Art History Dept, Cummings Arts Center, Connecticut College, New London
collection
Louis Black Collection of Japanese Prints, Art History Dept, Cummings Arts Center, Connecticut College, New London
Collection
false
Artist:
HIROSHIGE, Ando
artist
HIROSHIGE, Ando
Artist
false
Culture:
Japan
culture
Japan
Culture
false
Title:
100 Views of Edo [series] --
title
100 Views of Edo [series] --
Title
false
Medium:
Woodcut
medium
Woodcut
Medium
false
Dimensions (centimeters):
34 x 22 cm
dimensions__centimeters_
34 x 22 cm
Dimensions (centimeters)
false
Creation Date:
c.1856 - this is a 20c reproduction
creation_date
c.1856 - this is a 20c reproduction
Creation Date
false
Creation Century:
19th Century
creation_century
19th Century
Creation Century
false
Primary Creation Decade:
1850-1859
primary_creation_decade
1850-1859
Primary Creation Decade
false
Primary Subject:
landscape
primary_subject
landscape
Primary Subject
false
Secondary Subject:
water
secondary_subject
water
Secondary Subject
false
Tertiary Subject:
boats
tertiary_subject
boats
Tertiary Subject
false
Donor:
Louis Black, 1955
donor
Louis Black, 1955
Donor
false
Description:
river with several boats and water vegetation
One Hundred Famous Views of Edo furthered his popularity. The massive series contains one hundred nineteen prints, and Hiroshige considered
this set of prints his masterpiece. Japan was officially closed to the West until 1868, yet Hiroshige
managed to incorporate certain Western artistic techniques into One Hundred
Famous Views of Edo (completed in the 1850s) Hiroshige’s sense of perspective is more artistically Western in the
three prints from One Hundred Famous Views of Edo, as is evident in how he
portrays depth by varying the size of figures in the foreground and
background. In “Scattered Pines Beside the Tone River,” Hiroshige portrays depth
through the size of the boats and vegetation. The plants in the water located in
the immediate foreground juxtaposed against the concentrated wall of
greenery in the background show perspective, as well as the receding sizes of
the pine trees and yellow roofs in the distance. “Scattered Pines
Beside the Tone River” is one of his least-known.” --Sydney LaBlonde ‘08
One Hundred Famous Views of Edo furthered his popularity. The massive series contains one hundred nineteen prints, and Hiroshige considered
this set of prints his masterpiece. Japan was officially closed to the West until 1868, yet Hiroshige
managed to incorporate certain Western artistic techniques into One Hundred
Famous Views of Edo (completed in the 1850s) Hiroshige’s sense of perspective is more artistically Western in the
three prints from One Hundred Famous Views of Edo, as is evident in how he
portrays depth by varying the size of figures in the foreground and
background. In “Scattered Pines Beside the Tone River,” Hiroshige portrays depth
through the size of the boats and vegetation. The plants in the water located in
the immediate foreground juxtaposed against the concentrated wall of
greenery in the background show perspective, as well as the receding sizes of
the pine trees and yellow roofs in the distance. “Scattered Pines
Beside the Tone River” is one of his least-known.” --Sydney LaBlonde ‘08
description
river with several boats and water vegetation
One Hundred Famous Views of Edo furthered his popularity. The massive series contains one hundred nineteen prints, and Hiroshige considered
this set of prints his masterpiece. Japan was officially closed to the West until 1868, yet Hiroshige
managed to incorporate certain Western artistic techniques into One Hundred
Famous Views of Edo (completed in the 1850s) Hiroshige’s sense of perspective is more artistically Western in the
three prints from One Hundred Famous Views of Edo, as is evident in how he
portrays depth by varying the size of figures in the foreground and
background. In “Scattered Pines Beside the Tone River,” Hiroshige portrays depth
through the size of the boats and vegetation. The plants in the water located in
the immediate foreground juxtaposed against the concentrated wall of
greenery in the background show perspective, as well as the receding sizes of
the pine trees and yellow roofs in the distance. “Scattered Pines
Beside the Tone River” is one of his least-known.” --Sydney LaBlonde ‘08
Description
false