Mount Fuji in clouds

A second version of the cloud-shrouded Fuji subject, this impression likely differs in palette, cloud massing, or the proportion of summit visible above the haze. Such variants emerged from Koizumi's working method: as designer, carver, and printer, he could revise a composition between sessions, swapping color blocks, deepening a [bokashi](/glossary/bokashi) gradient, or recutting an outline block to refine the silhouette of the peak. Rather than a single authorized state issued by a publisher's workshop, his prints often exist in subtly differing impressions that reflect successive printings rather than a fixed edition. The atmospheric subject demands careful inking discipline—pigment loaded too heavily on a cloud block produces an opaque smear, while too little gives a grainy washed-out effect. The motif of Fuji partially obscured echoes Hokusai's and Hiroshige's earlier treatments while drawing on the Western-style watercolor training Koizumi pursued before turning to woodblock. The print sits outside his principal achievement, the One Hundred Views of Great Tokyo series produced between 1928 and 1940, but applies the same [sosaku-hanga](/glossary/sosaku-hanga) commitment to a non-urban subject.