AUDIO TRANSCRIPT

Sarah Thompson: 

Hello, and welcome to the exhibition “Hokusai: Inspiration and Influence.” I’m Sarah Thompson, the curator in charge of Japanese prints at the Museum of Fine Arts, Boston. In this show, we’ll be focusing on the most famous and influential of all Japanese artists: the painter, book illustrator, and print designer Katsushika Hokusai. Even if his name is new to you, you probably already know his most famous work, the woodblock print that has been given the nickname the Great Wave and has become one of the best-known visual images in the world. You will see a number of works based on it in this show, which looks at Hokusai in terms of the many other artists that he interacted with, both directly and indirectly. The works in the exhibition include about one-third by Hokusai himself; about one-third by other artists in Japan during his lifetime, from 1760 to 1849; and about one-third by other artists around the world, from the 1850s right up to the present, who learned about Hokusai’s work later on and found inspiration for their own work in it. For works of contemporary art related to Hokusai, I’m lucky to have the help of my colleague Kendall DeBoer of our Contemporary Art department, and I’ll ask her to introduce herself now. 

Kendal DeBoer: 

Hi, I’m Kendall DeBoer, and I’m a curatorial assistant in the Department of Contemporary Art here at the MFA Boston. I specialize in contemporary craft and unconventional materials, and I’ve been delighted to work alongside Sarah on this show as a collaborator, bringing in contemporary artworks influenced by Hokusai. You’ll be hearing from me later on in this tour. 

Sarah Thompson:

Now I’d like to look at one of Hokusai’s most famous images after the Great Wave, the woodblock print that has been nicknamed the Red Fuji. It’s from the same series of prints as the Wave—which you will see later in the show— called Thirty-six Views of Mount Fuji and published in the early 1830s, when Hokusai was already in his seventies. These prints were commercial products, mass produced, and sold in stores. Hokusai did the drawings, and other people then carved the wooden printing blocks—one for each color—and did the printing. Hokusai’s Fuji series was a huge, best-selling success, and it made landscape a major subject in Japanese printmaking for the first time. 

Sacred Mount Fuji was an ideal choice of subject for this breakthrough print series, because it is the tallest mountain in Japan and it has a beautiful symmetrical shape that has attracted artists for centuries. The real title of this print, written in the upper left corner along with the series title, is actually Fine Wind, Clear Weather. It’s probably early morning, and the mountain—which appears in different colors in different weather conditions—looks reddish in the dawn sunlight. 

Hanging near Red Fuji is a print made in 1999 by the well-known contemporary Japanese artist Yoshitomo Nara, who created a humorous parody showing Mount Fuji as a ski slope by painting over a reproduction of the famous print and then using color xerox to make limited-edition prints of his painting.

Also nearby is a 19th century print by Hokusai’s most successful student, Hokkei, who specialized in designs for privately commissioned prints, known as surimono. This image, from a series of three prints showing lucky things to dream about at new year, looks similar to some of the prints in Hokusai’s Fuji series, but it was probably made a little earlier, in the 1820s. Since Hokusai designed the Fuji prints late in life, many of his students, such as Hokkei, were already successful artists in their own right by that time. So— did Hokkei base his work on an earlier design by his teacher Hokusai? Could Hokusai have been inspired by the work of his own former student? Were both of them looking at depictions of Fuji by earlier artists? Or were they both looking at the mountain itself? There are many possible kinds of relationships between works of art, so keep these ideas in mind as you look at other comparisons throughout the show.