Japanese Woodblock

Technique: Giclée quality print
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More about this artwork

The painting portrays a vibrant and dynamic scene set in a snowy landscape. Two samurai warriors clad in elaborate traditional armor are engaged in a fierce confrontation with another warrior, who seems to be defending himself with a fan. The samurai in the forefront wears a blue robe with gold embellishments and holds a drawn sword, poised for attack. The other, in red armor and a large blue cape, stands slightly behind him. The defending warrior, dressed in a striking costume adorned with yellow feathers, contrasts vividly against the other figures and the snow. The background features bare, snow-covered trees and a small bridge, enhancing the drama of the confrontation. Above the scene, there's a significant amount of written text in Japanese characters, suggesting a narrative or a context to the depicted moment, alongside a red seal that indicates the artist's signature.

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Utagawa Hiroshige (/ˌhɪərˈʃɡ/also US: /ˌhɪərəˈ-/; Japanese: 歌川 広重 [ɯtaɡaɰa çiɾoɕiɡe]), 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 painting towards the close of the 19th century as a part of the trend in Japonism. Western 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.