Schetsboek van Hokusai - derde deel 1849

Editor: This is "Schetsboek van Hokusai - derde deel," from 1849, made with drawing and woodblock print on paper. It seems very unassuming at first glance; it has a well-worn, almost muted presence. What kind of stories might this book tell us? Curator: It's tempting to overlook the physicality of the book itself, but that worn quality is so important. It testifies to its use, its circulation. These sketchbooks, printed in multiple editions, allowed Hokusai’s style and vision to disseminate widely. The *Hokusai Manga*, as these sketchbooks are known, helped democratize art in Japan by making techniques and motifs accessible. How do you see its "unassuming" nature playing into that? Editor: I guess it wasn’t intended as a precious art object in itself, but as something functional? And by making it more affordable, it democratized access. Does this mass production impact how we consider Hokusai’s status as an artist? Curator: Absolutely. We must think critically about the Western art historical tendency to elevate the “unique” artwork. Ukiyo-e prints, like those found within this sketchbook, challenged that very notion. They were produced through collaborative workshop methods and printed in multiples, playing a critical role in shaping Japanese visual culture and influencing artists abroad. What does this imply about authorship? Editor: It's fascinating to consider how the intent of an artwork shapes its impact, not just the individual skill. Curator: Precisely! Consider also that collecting prints became a popular activity across different social classes during the Edo period. This speaks volumes about the burgeoning visual literacy and interest in artistic innovation amongst the wider population. It prompts a richer appreciation of art’s role in shaping society, wouldn’t you agree? Editor: Definitely. Thinking about its place within society is really important for understanding its artistic impact. Thanks for making me see that.