Hara c. 1840 - 1842

Editor: Here we have Hiroshige's woodblock print, "Hara," dating from about 1840 to 1842. It's a lovely scene with Mount Fuji in the background and a small town in the foreground. The colours are quite muted, almost like a faded memory. I’m curious, looking at the materiality and technique, how do you interpret this work? Curator: I see a fascinating commentary on production and labour. Woodblock prints, unlike singular paintings, were made through collaborative efforts. Think about the artist’s design, the block carvers, and the printers. "Hara" highlights the station as a site of transit and labour, servicing the movement of people and goods. Editor: So you're saying it’s not just a pretty landscape? Curator: Precisely. Consider the consumption aspect too. Ukiyo-e prints were relatively affordable, making art accessible to a wider audience beyond the elite. Hiroshige created a product intended for widespread circulation and consumption, reflecting a developing urban culture. Editor: It’s interesting to think about how the means of production and consumption shaped the artwork itself. How does plein-air fit into this? Curator: Good question. While Hiroshige certainly made sketches en plein air, the final prints involved a calculated industrial process, mediated through artisans. This contrast reflects a tension between direct observation and the demands of mass production, wouldn’t you agree? Editor: Absolutely. Thinking about it as a commodity really changes my perspective. Thanks for pointing out the interplay of labour and consumption. Curator: Indeed, examining "Hara" through a materialist lens enriches our appreciation. It moves beyond aesthetics to reveal the complex relationship between art, industry, and society.