Perspective and Surprise in the Floating World

artists of the late Edo period (1615–1868), has been described as “cocky, quarrelsome, restless, aggressive, and sensational.” He obsessed with his art to the extent that he would move frequently rather than clean or repair his cluttered houses. During an artistic career that spanned 7 decades, he signed his works with more than 30 different names—typically in tandem with a shift in his artistic style and technique. Though this practice was common in Japan during his lifetime, Hokusai changed his name more often than any other major Japanese artist. During his mid-70s, he used as his signature “Gakyo Rojin Manji,” “The Art-Crazy Old Man.” His humorous, astute self-characterization is supported by the fact that he left more than 30,000 varied works of art, including woodblock prints, travel and book illustrations, manga, and silk paintings. Hokusai is one of the outstanding figures and innovators of the Ukiyo-e or “pictures of the floating world” (that is, scenes of everyday life) school of printmaking. He is credited with expanding the range of subjects from traditional Ukiyo-e depictions of courtesans and kabuki actors to encompass landscapes and to include people from various social levels. Though the exact date of its publication is unknown, Hokusai’s defining work, “Thirty-Six Views of Mount Fuji,” was created from 1826 through 1833. Mt. Fuji, which is tied firmly into the cultural, spiritual, and social identity of Japan, had long served as inspiration for Hokusai and his art. In response to brisk sales of the initial set of 36, the artist expanded this popular collection to comprise