No. 62 c. 1835 - 1838

Editor: We're looking at Utagawa Hiroshige's woodblock print, *No. 62*, created sometime between 1835 and 1838. The colors are so vibrant, especially the greens and blues. It feels like a peaceful snapshot of everyday life. What catches your eye when you look at this work? Curator: I'm immediately drawn to the composition. Hiroshige masterfully uses the landscape—particularly that dominant tree—to frame the human activities within. Consider the historical context. The Edo period, while relatively peaceful, maintained a strict social hierarchy. Does this image reinforce or challenge that? Look at the workers; what might their expressions or positioning suggest? Editor: I hadn’t thought about the social commentary aspect. I was focused on the aesthetic appeal. Do you think Hiroshige was trying to make a specific statement? Curator: Perhaps not overtly, but ukiyo-e prints like this were consumed by a broad audience. These prints democratized art, making it accessible to those outside the elite circles. The landscape becomes a stage where different classes interact, their roles subtly defined within the composition. What is the role of gender here? Does it play in defining the societal roles and interactions within the scene? Editor: Interesting. I see the person working near the hut; it's hard to tell their gender or status. It really does add another layer. Curator: Exactly! It prompts questions about labor, class, and even gender roles. This idyllic scene, therefore, is also a carefully constructed commentary. Editor: I'll never look at a landscape print the same way again! It’s so much more complex than just a pretty picture. Curator: And that's the beauty of engaging with art from a critical, historical perspective. It reveals the stories and the power dynamics embedded within.