Hokusai’s The Great Wave of Kanagawa is a staple of Japanese art. Made utilizing traditional woodblock printing techniques, the work typifies the ukiyo-e practice. Given its prominence and fame, you may imagine that The Great Wave that we know and love is the just a single of its sort. However, Katsushika Hokusai really portrayed this topic a few times throughout his life, finishing in a gathering of four comparably themed canvases.
Hokusai started investigating this theme in 1797, when he was 33 years of age. In Springtime in Enoshima, the water isn’t the main subject. He likewise places emphasis on a group of figures in the closer view. An early work of Hokusai, this piece is described by sensitive lines and an attention regarding minute detail.
Hokusai created his second antecedent of The Great Wave in 1803. View of Honmoku off Kanagawa feature a quieted colour palette and two focal point: the wave (which had extraordinarily expanded in scale) and a passing ship. In spite of the fact that stylized, the wave is additionally simplified; its form is suggested by moderate shapes and little adornment.
After two years, Hokusai finished Fast Cargo Boat Battling The Waves. Here, he held a portion of the attributes found in the past piece, including the noticeable presence of a boat and the simplified peak of the wave. Although, for this design, he reorganized the composition, moving the wave from the left side of the scene to right side. This choice at last stuck, characterizing the composition of his last and most well known Great Wave.
It is no surprise that this later work has proven to be Hokusai’s most successful—especially in the context of the artist’s own assessment of his art. “From the time I was six, I was in the habit of sketching things I saw around me,” he said. “Around the age of 50, I began to work in earnest, producing numerous designs. It was not until my 70th year, however, that I produced anything of significance.”