Collections: Asian Art: Pine of Success and Oumayagashi, Asakusa River, No. 61 from One Hundred Famous Views of Edo

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: The Martyrs of the Union Minière du Haut Katanga at the Stadium Formerly Called 'Albert I', now 'Mobutu', Kenia Township, Lubumbashi

This work depicts the massacre of striking mineworkers in Lubumbashi at the order of the Belgian colonial government on December 9, 1941. Th...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: The Last Look of John Donne

    Marsden Hartley occasionally painted highly imaginary portraits of historic figures such as this one of John Donne, the seventeenth-century ...

     

    Want to add this object to a set? Please join the Posse, or log in.

    close

    30.1478.61_PS1.jpg 30.1478.61.jpg

    Pine of Success and Oumayagashi, Asakusa River, No. 61 from One Hundred Famous Views of Edo

    It is a clear, starlit evening on the Asakusa River. In the foreground is the famous Pine of Success, hanging out over the river and the two passing boats of the Oumayagashi Ferry.

    There is a subtle eroticism in this night scene. Can you locate the suggestive clues? Enclosed in its own private space to the lower left is a roofed pleasure boat. Two pairs of clogs rest in the bow, hinting at a tryst on board, and barely perceptible is the faint silhouette of a woman's head and shoulders behind the lowered blinds. One commentator has proposed that the agitated waves below are similarly suggestive.

    • Artist: Utagawa Hiroshige (Ando), Japanese, 1797-1858
    • Medium: Woodblock print
    • Place Made: Japan
    • Dates: 8th month of 1856
    • Period: Edo Period, Ansei Era
    • Dimensions: Sheet: 14 1/4 x 9 5/16 in. (36.2 x 23.7 cm) Image: 13 3/8 x 8 3/4 in. (33.9 x 22.2 cm)  (show scale)
    • Markings: No publisher's seal visible, probably lost when left margin was trimmed. Date seal and censor seal in top margin.
    • Signature: Hiroshige-ga
    • Collections:Asian Art
    • Museum Location: This item is not on view
    • Accession Number: 30.1478.61
    • Credit Line: Gift of Anna Ferris
    • Rights Statement: No known copyright restrictions
    • Caption: Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Pine of Success and Oumayagashi, Asakusa River, No. 61 from One Hundred Famous Views of Edo, 8th month of 1856. Woodblock print, Sheet: 14 1/4 x 9 5/16 in. (36.2 x 23.7 cm). Brooklyn Museum, Gift of Anna Ferris, 30.1478.61
    • Image: overall, 30.1478.61.jpg. Brooklyn Museum photograph
    • Catalogue Description: This scene shows the Ouayabashi Ferry, its name taken from the landing (not shown here- see print 105 of the series) on the Sumida River. The distant horizon is bright yellow, indicating the warmth of an early summer starlit evening. The pine tree shown here, one of the more famous, is the Pine of Success, at the end of the middle pier of the Asakusa rice granary. At the lower left is a roofed pleasure boat. Looking closely, it is possible to make out the silhouette of a woman's head and shoulders behind the lowered blind; the under printing of the silhouette is in a lighter green than that of the blind itself. A moral ordinance had prohibited lowering the green blinds of the pleasure boat except for poor weather, but this did not appear to be strictly enforced by the time this print appeared in 1856.
    • Record Completeness: Best (88%)
    advanced 106,570 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."




    Please review the comment guidelines before posting.

    Before you comment...

    We get a lot of comments, so before you post yours, check to see if your issue is addressed by one of the questions below. Click on a question to see our answer:

    Why are some objects not on view?

    The Museum’s permanent collections are very large and only a fraction of these can be on exhibition at any given time. Sometimes works are lent to other museums for special exhibitions; sometimes they are in the conservation laboratory for study or maintenance. Certain types of objects, such as watercolors, textiles, and photographs, are sensitive to light and begin to fade if they are exposed for too long, so their exhibition time is limited. Finally, as large as the Museum is, there is not enough room to display everything in the collections. In order to present our best works, collections are rotated periodically.

    How do I find out how much an object in the Brooklyn Museum collections is worth?

    The Museum does not disclose the monetary values of objects in its collections.

    Can you tell me the value of an artwork that I own?

    The Museum does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.

    I own a similar object. Can you tell me more about it?

    Please submit via e-mail a photograph of the object you own and as much information about it as you can, and we will provide any additional information we are able to find. Please note that research in our files is a lengthy process, and you may not have a response for some time.

    How would I go about lending or gifting a work to the Museum or seeing if the Museum is interested in purchasing a work that I own?

    Please submit via e-mail a photograph of the object you would like us to consider, as well as all of the information you have about it, and your offer will be forwarded to the appropriate curator. The Brooklyn Museum collections are very rich, and we have many works that are not currently on exhibition; because of this, and because storage space is limited, we are very selective about adding works. However, the collection has become what it is today through the generosity of the public, and we continue to be grateful for this generosity, which can still lead to exciting new acquisitions.

    How can I get a reproduction of a work in your collection?

    Please see the Museum’s information on Image Services.

    How can I show my work to someone at the Museum or be considered for an exhibition?

    Please see the Museum’s Artist Submission Guidelines.

    Why do many objects not have photographs and/or complete descriptions?

    The Museum's collection is very large, and we are constantly in the process of adding photographs and descriptions to works that do not currently have them, or replacing photographs that have deteriorated beyond use and descriptions that are minimal or out of date. This is a long and expensive process that takes time.

    How can I find a conservator or get advice on how to treat my artwork?

    Please visit the American Institute for Conservation, which has a feature on how to find a conservator.

    I have a comment or question which is not included in this list.

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.