The Sea at Tsukuda in Edo Possibly 1858

Editor: Right now we’re looking at “The Sea at Tsukuda in Edo,” a woodblock print possibly from 1858 by Utagawa Hiroshige, at the Minneapolis Institute of Art. There is an unexpected calmness about this piece that intrigues me. What catches your eye, in terms of its form? Curator: Immediately, it's the dynamic interplay between vertical and horizontal lines. The dominant verticals of the masts and reeds are offset by the strong horizontal bands of the sea, sky, and distant mountain. Notice how this push and pull creates a sense of depth and recession, guiding the eye through the composition. Editor: So, the composition is designed to lead your eye around? Curator: Precisely. Consider the use of color as well. The gradation of blue at the top creates a horizon line and then is reflected at the bottom of the artwork and grounds the piece. And what of the use of the unprinted portions, do they not offer depth through contrast? Editor: Yes, the sky! But those ships also dominate my focus. I'm curious why the artist included those. Is there anything significant about their placement or structure? Curator: From a Formalist viewpoint, their structures offer strong vertical forms balanced by the smaller, receding ships further in the distance. Note also that the repetition of those masts mimics the height and regularity of the distant reeds, strengthening the feeling of serenity you picked up on earlier. Did the birds, as part of the composition, also draw your eye around, and how? Editor: I hadn't really considered the birds and how they continue the horizontal emphasis. The more that I analyze, the more components I appreciate and notice the skill of the artist through their balance. Curator: Indeed, it is the carefully balanced arrangement of shapes, lines, and colors that elevates this print beyond mere depiction to a refined study of form and visual harmony. It shows a remarkable approach to the art-making process and not necessarily capturing an image, per se.