Renowned in Europe since the 19th century, and particularly in Japan, where it holds the status of the national Mona Lisa, The Great Wave by Katsushika Hokusai (1760–1849) continues to be the preeminent illustration of the potent simplicity found in Japanese prints.
Exhibiting remarkable efficacy, its structure and motion propel us into a turbulent ocean poised to swallow us.
Folded into several pointed appendages, the froth of the wave expels itself like a cascade of snowflakes. Captured in the midst of a storm, its stylized profile is so remarkable that it creates a lasting impact on people's minds: estimated to be 14 meters tall, this water monster will quickly overwhelm the unfortunate fishermen and even the icy cone of Mount Fuji, which is diminished in size by the perspective effect!
Key information to be aware of:
Authored by a highly esteemed ukiyo-e master, this artwork conveys the vulnerability of human life when confronted with the overwhelming might of nature.
Situated on the shore of Tokyo, the panorama is derived from the renowned collection of "Thirty-six Views of Mount Fuji" (1831–1833), consisting of 46 plates that vie in creativity to depict the revered top of Japan from various perspectives.
Each hue was meticulously etched into a wooden plate by the artist. To depict the sea, he employed Prussian blue, a pigment that had been recently imported from the Netherlands. White was achieved by intentionally keeping specific sections of the paper blank, resulting in a highly Japanese level of purity.
Where can it be seen?
Much admired by Van Gogh, Monet, and Debussy, and frequently redirected, this artwork, which even influenced the design of a renowned surfing company, is included in several copies within collections worldwide. The most lucid prints are found at the National Museum of Tokyo, the Guimet Museum in Paris, and the Metropolitan Museum of Art in New York.
ANALYSIS OF THE ARTWORK
Our position at the center of the action is the key strength of this image: To ensure our inclusion, Hokusai strategically positions the horizon line at a very low angle, aligning our perspective with that of the fisherman. The Western manner of representation in this artwork effectively emphasizes the contrast between the foreground of the wave and the backdrop of Mount Fuji. Furthermore, the precise focal point of the print is likewise that of the grand spiral, towards which the curves formed by the motion of the waves come together, captivating our attention...
The immense foam
Characterized by its length of fourteen metres, the foam of this wave dividing into tiny clawed hands and its humped shape, it is enticing to imagine a supernatural entity swiftly descending onto its victim. However, it is also the result of extensive study of the ocean's motions, its cyclic patterns that give rise to others, and the foam forming intricate fractal images. A concept of a harmonious world that can also be understood as the fusion of the void of the sky and the abundance of the sea, akin to the complementary forces of yin and yang.
Fishermen experiencing anguish
Cast in three delicate vessels, thirty fisherman engage in a struggle for their existence, assuming the role of actors in a catastrophic situation. Through this frozen moment of anguish and anxiety, Hokusai conveys the fleeting fragility of life when confronted with an all-powerful natural world. The conclusion of the scene is unequivocal. The boat on the left is already ascending perilously, and the little stature of the men suggests that they are merely insignificant individuals being offered as sacrifices to the ruthless aquatic creature.
The Indifference of Fuji
The mountain's pristine summit appears to seamlessly merge with the white outcrops of the sea. Hokusai derives pleasure from eliciting a reciprocal response from the forms, so establishing a potent symbolic juxtaposition: on one side, the tumultuous waves characterized by their dynamic and transient nature, and on the other, a revered, tranquil, perennial volcano. However, the tallest peak in Japan, just visible on the horizon, is insignificant compared to the escalating tidal wave, and its sight is devoid of any comfort.
The artistic signature
Within the white cartouche, the title of the print is inscribed: At the left side of the artwork titled "Thirty-six Views of Mount Fuji / Off Kanagawa / Under the Wave," the artist has inscribed the words "Hokusai aratame Iitsu hitsu," which translates to "with the brush of Hokusai changing his name to Iitsu". Indeed, the Iitsu period is the pinnacle of the artist's artistic expression, as highlighted by their groundbreaking transformation of landscape prints, particularly through the use of this iconic image.
In this work, Hokusai employed a limited color palette consisting of only three pigments. The color black, derived from Indian ink, and its various degrees of gray are employed solely to elicit the image of a turbulent horizon. Prussian blue is the predominant color, featured in several shades to symbolize the lake, the fishermen, and the foundation of Fuji. Ultimately, the yellow hue of the boats and the sky, even in its faintest form, establishes a striking juxtaposition with the encompassing blue. Concerning the whiteness of the foam and snow, it is directly related to the reserve of the paper. An inherent simplicity that renders every component easily comprehensible and impactful.
A sectarian religious work
Within the 1850s, The Great Wave had solidified its status as a symbol of great significance in Europe. The print of the artwork definitely served as a source of inspiration for Henri Rivière in 1892 when creating his Breton seascapes. Similarly, in 1905, Debussy explicitly used the motif on the cover of his score for La Mer. Subsequently, The Wave has proliferated globally, to the extent of permeating popular culture: reimagined in the form of comic books by Lichtenstein, replicated incessantly on subsequent merchandise, and even transformed into a logo by the Quiksilver brand. Seen in France www.vwart.com
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