Who painted 諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima?

諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima was painted by Utagawa Hiroshige II in 3.

Where can I see 諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima?

諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima is held by Metropolitan Museum of Art.

What movement is 諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima?

諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima is associated with Impressionism.

Artwork

諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima

Utagawa Hiroshige II , 3

諸国名所百景對州海岸|Dutch Ship at Anchor off the Coast of Tsushima is an ink print by the Impressionist artist Utagawa Hiroshige II. It dates from 3 and is held in the collection of the Metropolitan Museum of Art.

About this work

Overview

Created in the mid-19th century, it combines traditional Japanese printmaking with observations of foreign maritime presence.

This woodblock print is part of Utagawa Hiroshige II’s series 'One Hundred Famous Views of the Provinces,' depicting a Dutch merchant vessel anchored off Tsushima Island. Created in the mid-19th century, it combines traditional Japanese printmaking with observations of foreign maritime presence. The composition balances natural elements with human-made structures, reflecting Japan’s limited but growing engagement with Western ships during the Edo period.

Subject & Meaning

The print centers on a Western-style ship, its three masts rising above the rocky coastline of Tsushima, a strategic island between Japan and the Korean Peninsula. A smaller local boat, marked by red flags, approaches the vessel, suggesting interaction between cultures. The scene conveys quiet observation rather than confrontation, hinting at the cautious curiosity Japan maintained toward foreign trade despite its isolationist policies.

Technique & Style

Hiroshige II employed fine woodblock carving to render crisp outlines and layered washes of color. Soft blues and grays dominate the sea and sky, while bold reds and greens in the flags and rigging create focal contrast. Subtle cross-hatching defines shadow and texture on the ship’s hull and rocks, demonstrating mastery of tonal gradation. The print’s spatial depth is achieved through atmospheric perspective, with distant mountains rendered in pale hues.

History & Provenance

Produced around 1856–1858, the print was issued as part of a popular series commissioned by publisher Hoeidō. It entered The Metropolitan Museum of Art’s collection through the Rogers Fund in 1912, among a group of Japanese prints acquired during early Western interest in ukiyo-e. Its preservation reflects its status as a documented artifact of Japan’s transitional encounter with global maritime trade in the late Edo era.

Context

During the 1850s, Japan’s sakoku policy was beginning to unravel under pressure from Western powers. Tsushima, a key diplomatic outpost, regularly hosted foreign vessels, including Dutch ships from Nagasaki’s Dejima trading post. This print captures a moment of quiet exchange, illustrating how Japanese artists documented foreign presence not as threat, but as part of the evolving landscape of their nation’s periphery.

Legacy

The print contributes to a broader visual record of Japan’s engagement with the outside world before full opening in the 1860s. It influenced later Western artists drawn to ukiyo-e’s compositional clarity and color harmony. Today, it remains a primary source for understanding how Japanese printmakers interpreted foreign subjects within traditional aesthetic frameworks, preserving historical nuance without overt commentary.