Hiroshige. One Hundred Views of Edo.
Hazan| N° d'inventaire | 23150 |
| Format | 17 x 25 |
| Détails | 288 p., 50 p., leporello and fascicle, in slipcase. |
| Publication | Paris, 2020 |
| Etat | Nine |
| ISBN | 9782754111553 |
One of Hiroshige's most famous collections of prints, the last published during his lifetime, reproduced in facsimile with a Japanese-style binding, in the form of a prestigious box set, accompanied by an explanatory booklet describing each of the prints in the series by the great Japanese master. In 1855, a terrible earthquake devastated the city of Edo (later renamed Tokyo), and about ten years later, Hiroshige (1797-1858) undertook to draw the hundred faces of his hometown. While he restores the very real changes in the city, he also introduces the projection of his own dreams, imbued with nostalgia. The famous landscape painter thus lyrically presents the most renowned sites, sometimes their recent reconstruction, but he also accurately describes the daily life of the inhabitants, their customs and their environment. Although landscapes are traditionally presented in horizontal format, Hiroshige boldly chose verticality for this collection – the last published during his lifetime –, playing with close-ups and original compositions, and thus confirming his status as a master of ukiyo-e prints.
One of Hiroshige's most famous collections of prints, the last published during his lifetime, reproduced in facsimile with a Japanese-style binding, in the form of a prestigious box set, accompanied by an explanatory booklet describing each of the prints in the series by the great Japanese master. In 1855, a terrible earthquake devastated the city of Edo (later renamed Tokyo), and about ten years later, Hiroshige (1797-1858) undertook to draw the hundred faces of his hometown. While he restores the very real changes in the city, he also introduces the projection of his own dreams, imbued with nostalgia. The famous landscape painter thus lyrically presents the most renowned sites, sometimes their recent reconstruction, but he also accurately describes the daily life of the inhabitants, their customs and their environment. Although landscapes are traditionally presented in horizontal format, Hiroshige boldly chose verticality for this collection – the last published during his lifetime –, playing with close-ups and original compositions, and thus confirming his status as a master of ukiyo-e prints.