Beneath the Great Wave: Hokusai and Hiroshige review – how two Japanese masters reinvented art

2026-03-16 - 15:53

Whitworth, Manchester Hokusai’s breathtaking woodblock print may be ubiquitous today but, as this startling show reminds us, it’s also an apocalyptic vision of a world about to change The printed images made in Japan between the 17th and 20th centuries, known collectively as “pictures of the floating world”, could be bought from a local bookshop for about the price of a bowl of noodles. Collected casually, like posters or magazines, these mass-produced media started out as sexy, charming and dazzling snapshots of Tokyo high-life for the vicarious enjoyment of those who could not afford it. Manufactured by workshops of artists and artisans, they made professional works of art available to ordinary people for the first time. They’re breathtakingly beautiful, and they changed the history of art. The first and most enduringly popular subjects for these collectible prints were famous actors from the kabuki theatreand beautiful women, typically courtesans from the brothel district of Yoshiwara. By introducing us to the denizens of the floating world, the first half of this dazzling exhibition sheds light on the dreams and desires that drive popular culture. Kunichika’s portrait of an actor in the role of a “heavenly being” is as heart-throbbing and as gender-bending as Rudolph Valentino in a bolero vest. A “fashionable beauty” caught by Eizan in the process of applying her lipstick, a delicately turned ankle visible through the gap in her marvellously rendered gown, is erotic in a way that is unavoidably (and by design) voyeuristic. You could imagine stumbling upon this half-dressed model, glimpsed through an open door, in the pages of Vogue Italia. Continue reading...