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Tôkyô meisho no uchi Ueno sannai ichiran no zu (Among Tokyo Famous Places: Ueno Paek Overview)
Tôkyô meisho no uchi Ueno sannai ichiran no zu (Among Tokyo Famous Places: Ueno Paek Overview)
Tôkyô meisho no uchi Ueno sannai ichiran no zu (Among Tokyo Famous Places: Ueno Paek Overview)

Tôkyô meisho no uchi Ueno sannai ichiran no zu (Among Tokyo Famous Places: Ueno Paek Overview)

Maker (Japanese, 1831-1889)
Date1877, 9th or 10th month
MediumColor woodblock print
Dimensions14 x 19 1/4 in. (35.6 x 48.9 cm)
Credit LineGift of Dr. and Mrs. Herman Pines in honor of Dr. Julius Steiglitz
Object number1989.14k.1-3
Status
Not on view
Description

In 19th-century Europe the organic chemical industry made possible the synthesis of water-soluble aniline dyes. At first used to dye cloth, the affordable yet intense colors soon found their way into the studios of Japanese printmakers, where they were applied to all genres of print. The new Western colors became synonymous with celebratory depictions of the new social and political landscape in Meiji-period Japan. This album epitomizes the association of bright colors with the pageantry and building projects of the new regime.

 Resource: Chelsea Foxwell and Anne Leonard, Awash in Color: French and Japanese Prints, exh. cat. (Chicago: Smart Museum of Art, 2012), p. 30.

Ôtsu-e oni (Demon Converted to Buddhism)
Kawanabe Kyōsai (河鍋暁斎)
late 19th century
Kawanabe Kyōsai (河鍋暁斎)
circa 1900
Dôke hyakumanben (Comic One Hundred Turns of the Rosary)
Kawanabe Kyōsai (河鍋暁斎)
1864, 3rd month
Tōkyō Tsukiji hoterukan (The Hotel at Tsukiji, Tokyo)
Utagawa Hiroshige III (広重三代)
1870, 6th month
Tôkyô meishi no uchi Sakurada zenzu (Full Picture of Sakurada in Tokyo's meisho)
Utagawa Kuniteru II (歌川 国輝 ニ代)
1869, 7th month