Paris windmill

A view of a Parisian windmill, almost certainly one of the surviving moulins of Montmartre such as the Moulin de la Galette or Moulin Radet, treated as a meisho-e of a foreign capital rather than a Japanese view. Ono and other postwar sosaku-hanga artists frequently took European travel as subject matter, translating Western architectural motifs into the flat-plane vocabulary of mokuhanga: the windmill's vanes and timber tower are reduced to planar shapes, with the surrounding rooftops carved as interlocking blocks of color. The print likely uses a limited palette and visible knife and gouge marks consistent with the sosaku-hanga insistence on carver, printer, and designer being one person. The European subject distances this work from Ono's prewar prints of Tokyo industrial labor, instead aligning with a broader midcentury current in which Japanese creative printmakers used overseas travel sketches as source material, reframing Western tourist sites through the technical conventions of the Japanese woodblock.