Nihonbashi, Clearing After Snow (Nihonbashi yukibare), Number 1 from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei) Possibly 1856

Editor: Here we have Utagawa Hiroshige's woodblock print, "Nihonbashi, Clearing After Snow," part of the "One Hundred Famous Views of Edo." The cool blues and whites give it such a fresh, crisp feeling. What strikes you about its composition? Curator: The most compelling aspect is how Hiroshige employs the vertical format. Note how the bridge bisects the composition, creating distinct upper and lower registers. The upper register flattens perspective, while the lower emphasizes spatial depth through receding planes of rooftops and boats. Editor: So, the composition itself is creating a sense of space, even within the limitations of the printmaking process? Curator: Precisely. The bridge not only physically connects the space, but visually manipulates our perception of it. Editor: I see. I hadn't considered how the formal qualities create such a strong sense of depth. Curator: Paying attention to the intrinsic elements unlocks a deeper understanding of the work.