No. 19 c. 1835 - 1838

Editor: So, we're looking at Utagawa Hiroshige’s woodblock print "No. 19", created around 1835-1838. It's part of the "Sixty-nine Stations of the Kisokaidō" series, and it's held at the Minneapolis Institute of Art. What strikes me immediately is this intense visual contrast - almost theatrical with the stark fire. What do you make of it, thinking about its original audience? Curator: The intensity you observe points us directly to its popular appeal at the time. Ukiyo-e prints, like this one, were mass-produced, reaching a broad audience. The dramatic scene of fire and travelers isn't just aesthetic; it reflects the lived experiences, and the anxieties of journeying along the Kisokaidō road. Editor: So it was intentionally dramatic to engage a large audience? Curator: Exactly! Hiroshige was very aware of his market. He understood what sold. Consider the prominent placement of the travelers – what do you think their presence signifies within this potentially dangerous scene? Editor: They seem to almost ignore the fire, perhaps suggesting it's a common occurrence or an unavoidable element of travel? Curator: Precisely! Or, perhaps it implies their economic need outweighed potential risks, forcing people to undertake risky, arduous journeys for subsistence or trade. How does the composition contribute to conveying this duality, the allure and danger of the road? Editor: The stark contrast does it – darkness versus light. One path burning fiercely, another still blanketed by dusk. It visually echoes a risky venture. I hadn't considered how profoundly these prints depicted society before. Curator: Ukiyo-e wasn't high art, it was social commentary accessible to many. Remember that as a vital historical insight, it shapes how we now regard such imagery. Editor: Definitely, a new perspective. It wasn't simply beautiful art, it served a real social purpose. Thanks!