Van Gogh’s love of Hiroshige, the Japanese master of the landscape, is reflected in a British Museum exhibition – The Art Newspaper

The British Museum’s exhibition on the Japanese grasp printmaker Utagawa Hiroshige (1797-1858) contains Van Gogh’s personal copy of a print which he utilized in a portray in homage. Contemporary analysis reveals how he copied the Hiroshige.

Hiroshige: Artist of the Open Street (till 7 September) showcases the work of one of many Nineteenth-century’s best Japanese artists, with over 100 prints (many from the American collector Alan Medaugh). Though Van Gogh performs a secondary function within the London exhibition, the British Museum has secured uncommon loans which emphasise how Japanese artwork impressed avant-garde European artists.

It was whereas Van Gogh was dwelling in Paris in 1886-88 that he found Japanese artwork, shopping for over 600 prints from the famous vendor Siegfried Bing. Most of those survive on the Van Gogh Museum in Amsterdam, they usually embody no fewer than 78 by Hiroshige.

Van Gogh’s tribute to Hiroshige is expressed most dramatically in two work that had been primarily based on the Japanese artist’s prints. The primary was impressed by Hiroshige’s The Plum Backyard at Kameido (1857), an early morning view of blossom in a district in Edo (now Tokyo).

Van Gogh’s copy of the print of The Plum Backyard at Kameido is on show within the British Museum exhibition, on mortgage from Amsterdam. The Dutch artist’s personal surviving copies of Japanese prints are solely very sometimes lent by the Van Gogh Museum, for conservation causes, and this specific one has been loaned solely as soon as, when it went to Hamburg in 2002. 

Van Gogh’s copy of Hiroshige’s print has way back pale, however this displays the truth that through the Dutchman’s time in Paris Japanese prints had been cheap and handled casually. Van Gogh paid a median of 15 centimes—the French forex of the time—per print, not way more than the value of a espresso. Copies of The Plum Backyard at Kameido sometimes now promote for round £50,000.

Having acquired a duplicate of the print, Van Gogh made a tracing of the composition. He then fastidiously squared it up, enlarging it barely for his portray. This tracing can be on the British Museum.

Capucine Korenberg, a British Museum senior scientist, has simply made an necessary discovery. She seen a brief pencil line (5 centimetres lengthy) on the upper-right facet of the print, simply the place the background adjustments from pink to cream. It hyperlinks up precisely with the reduce a part of Van Gogh’s tracing. This confirms that this instance of the print was utilized by the Dutch artist for the composition—as a information to position his tracing paper over the print.

Within the ensuing portray, Van Gogh diverged from Hiroshige’s composition by including two outstanding vertical strips of Japanese characters on the edges. These are primarily based on actual Japanese phrases, however taken from different prints and are unrelated to the backyard scene. Van Gogh presumably wished to stress that his portray was a Japanese-inspired work.

It ought to come as no shock that Van Gogh selected to depict a blossom scene, since they’re frequent in Japanese artwork and he himself cherished flowering bushes in spring. Quickly after his transfer to Arles, in early 1888, he made greater than a dozen work of fruit blossom.

Van Gogh’s different portray straight impressed by Japanese artwork was primarily based on Sudden Bathe over Ohashi and Atake (1857), one other Edo view. Hiroshige has depicted the riverscape from three viewpoints: wanting down on the bridge, throughout to the other shore and as much as the darkish clouds.

The ensuing portray by Van Gogh, Bridge within the Rain (October-November 1887), additionally has a border with Japanese characters. This frame-like machine, in crimson and inexperienced, is in complementary colors which Van Gogh cherished to make use of. Sadly neither of the Van Gogh work primarily based on Hiroshige prints had been accessible for the British Museum exhibition (they had been final lent outdoors Amsterdam round 35 years in the past).

The inspiration continued after Van Gogh left Paris. He was most likely considering of Hiroshige’s streaks of falling water when be made considered one of his final work, Rain – Auvers (July 1890).

Hiroshige prints additionally function in Van Gogh’s portraits of Père Julien Tanguy, a good friend in Paris who bought paint provides. All of the works within the background of the portray are Japanese photographs. The blossom scene within the upper-right nook is Hiroshige’s Ishiyakushi: The Yoshitsune Cherry Tree close to the Noriyori Shrine (1855). The upper-centre picture of Mount Fuji is an amalgam of two Hiroshige prints: Yoshiwara: The Discipline of Floating Islands within the Fuji Marsh (1855), with its flock of birds, and The Sagami River (1858). Van Gogh owned copies of all three prints. In a drawing of Tanguy (October-December 1887), the Mount Fuji scene seems within the background.

The British Museum exhibition contains considered one of Van Gogh’s drawings from its personal assortment which was influenced by Japanese artwork, The Countryside seen from Montmajour (July 1888). Van Gogh wrote of this drawing: “It does NOT look Japanese, and it’s really probably the most Japanese factor that I’ve carried out.” 

Because the British Museum curator Alfred Haft explains, the drawing pulls the viewer by a “vary of viewpoints”, suggesting that “European perspective just isn’t the one strategy to endow a panorama image with a way of sweeping depth”.

Van Gogh was amongst many avant-garde artists to be impressed by Hiroshige within the late-Nineteenth century. Others included James Whistler, Auguste Rodin, Henri de Toulouse-Lautrec, Edgar Degas, Henri Rivière, Théo van Rysselberghe and Arthur Dow. Claude Monet owned no fewer than 48 Hiroshige prints, together with Sudden Bathe over Ohashi and Atake.

Gauguin’s early masterpiece Imaginative and prescient of the Sermon (1888) was most likely influenced by the cropped tree in The Plum Backyard at Kameido. He might nicely have seen Van Gogh’s copy of the Hiroshige—and the Dutchman’s portray in homage.

REVISED: Initially printed in April 2025, this weblog submit was up to date with new info on 1 August 2025.

Martin Bailey is a number one Van Gogh specialist and particular correspondent for The Artwork Newspaper. He has curated exhibitions on the Barbican Artwork Gallery, Compton Verney/Nationwide Gallery of Scotland and Tate Britain.

Martin has written quite a few bestselling books on Van Gogh’s years in France: The Sunflowers Are Mine: The Story of Van Gogh’s Masterpiece (Frances Lincoln 2013, UK and US), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, UK and US), Starry Night time: Van Gogh on the Asylum (White Lion Publishing 2018, UK and US) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln 2021, UK and US). The Sunflowers are Mine (2024, UK and US) and Van Gogh’s Finale (2024, UK and US) are additionally now accessible in a extra compact paperback format.

His different current books embody Dwelling with Vincent van Gogh: The Properties & Landscapes that formed the Artist (White Lion Publishing 2019, UK and US), which gives an summary of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, UK and US). My Pal Van Gogh/Emile Bernard gives the primary English translation of Bernard’s writings on Van Gogh (David Zwirner Books 2023, UKand US).

To contact Martin Bailey, please e-mail vangogh@theartnewspaper.com

Please notice that he doesn’t undertake authentications.

Discover all of Martin’s adventures with Van Gogh right here