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Hiroshige, Andō Hiroshige completo , nomes profissionais Utagawa Hiroshige e Ichiyūsai Hiroshige, nome original Andō Tokutarō (nascido em 1797, Edo [agora Tóquio], Japão - faleceu em 12 de outubro de 1858, Edo), artista japonês, um dos últimos grandes ukiyo. -e (“imagens do mundo flutuante”) mestres do xilogravura colorido. Seu gênio pelas composições de paisagens foi reconhecido pela primeira vez no Ocidente pelos impressionistas e pós-impressionistas. Sua série impressa Cinquenta e três estações do Tōkaidō (1833-1834) é talvez a sua melhor conquista.
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Hiroshige era filho de Andō Genemon, diretor da brigada de incêndio Edo. Vários episódios indicam que o jovem Hiroshige gostava de desenhar e provavelmente tinha a tutela de um bombeiro que estudara sob um mestre da tradicional escola de pintura Kanō. Na primavera de 1809, quando Hiroshige tinha 12 anos, sua mãe morreu. Pouco tempo depois, seu pai renunciou ao cargo, passando para o filho. No início do ano seguinte, seu pai também morreu. Os deveres diários reais de Hiroshige como guardião do fogo eram mínimos, e seu salário era pequeno.
Sem dúvida, esses fatores, além de sua própria inclinação natural pela arte, acabaram por levá-lo a entrar, por volta de 1811, na escola do mestre de ukiyo-e Utagawa Toyohiro. Diz-se que Hiroshige se inscreveu pela primeira vez na escola do artista mais popular Utagawa Toyokuni, um confrade de Toyohiro. Se Hiroshige tivesse sido aceito como aluno por Toyokuni, ele poderia muito bem ter terminado seus dias como um imitador de segunda categoria das impressões berrantes desse artista de garotas e atores. Sem dúvida, foi o gosto mais modesto e refinado de Toyohiro que ajudou a formar o estilo de Hiroshige - e levou seu gênio a encontrar expressão plena no novo gênero da paisagem.
Although receiving a nom d’artiste and a school license at the early age of 15, Hiroshige was no child prodigy, and it was not until six years later, in 1818, that his first published work appeared. In the field of book illustration, it bore the signature Ichiyūsai Hiroshige. No earlier signed works are extant, but it is likely that, during this student period, Hiroshige did odd jobs (e.g., inexpensive fan paintings) for the Toyohiro studio and also studied, on his own, the Chinese-influenced Kanō style and the impressionistic Shijō style—both of which were to strongly influence his later work.
As soon as he was able, Hiroshige transferred to his own son the post of fire warden and devoted himself to his art. As is customary with artists of the plebeian ukiyo-e school, early biographical material regarding Hiroshige is scarce: he and his confreres were considered to be only artisans by the Japanese society of the time, and, although their works were widely enjoyed and sometimes even treasured, there was little interest in the personal details of their careers. Thus, Hiroshige’s adult years must be traced largely through his works.
Hiroshige’s artistic life may be characterized in several stages. The first was his student period, from about 1811 to 1830, when he largely followed the work of his elders in the field of figure prints—girls, actors, and samurai, or warriors. The second was his first landscape period, from 1830 to about 1844, when he created his own romantic ideal of landscape design and bird-and-flower prints and brought them to full fruition with his famed Fifty-three Stations of the Tōkaidō and other series of prints depicting landscape vistas in Japan. His last stage was his later period of landscape and figure-with-landscape designs, from 1844 to 1858, during which overpopularity and overproduction tended to diminish the quality of his work.
Hiroshige’s great talent developed in the 1830s. In 1832 he made a trip between Edo and Kyōto along the famed highway called the Tōkaidō; he stayed at the 53 overnight stations along the road and made numerous sketches of everything he saw. He published a series of 55 landscape prints titled Fifty-three Stations of the Tōkaidō—one for each station, as well as the beginning of the highway and the arrival in Kyōto. The success of this series was immediate and made Hiroshige one of the most popular ukiyo-e artists of all time. He made numerous other journeys within Japan and issued such series of prints as Famous Places in Kyōto (1834), Eight Views of Lake Biwa (1835), Sixty-nine Stations of the Kisokaidō (c. 1837), and One Hundred Views of Edo (1856–58).He repeatedly executed new designs of the 53 Tōkaidō views in which he employed his unused sketches of previous years.
It has been estimated that Hiroshige created more than 5,000 prints and that as many as 10,000 copies were made from some of his woodblocks. Hokusai, Hiroshige’s early contemporary, was the innovator of the pure landscape print. Hiroshige, who followed him, was a less-striking artistic personality but frequently achieved equivalent masterpieces in his own calm manner. Possessing the ability to reduce the pictured scene to a few simple, highly decorative elements, Hiroshige captured the very essence of what he saw and turned it into a highly effective composition. There was in his work a human touch that no artist of the school had heretofore achieved; his pictures revealed a beauty that seemed somehow tangible and intimate. Snow, rain, mist, and moonlight scenes compose some of his most poetic masterpieces.
Hiroshige’s life was his work, with neither peaks nor valleys. He leaves the impression of a largely self-taught artist who limited himself to the devices and capacity of his own nature. Hiroshige was fond of travel, loved wine and good food, and in his other tastes was a true citizen of Edo. He died in the midst of a cholera epidemic.
