One-Hundred New Views of Tokyo
About This Series
One-Hundred New Views of Tokyo refers to the prewar Shin Tokyo hyakkei project in which a group of sosaku-hanga artists associated with Onchi Koshiro (1891-1955) undertook to renew, in their own self-carved and self-printed idiom, the classical hyakkei or hundred-views format that Hiroshige and his nineteenth-century followers had established for Edo. Issued in subscription between 1928 and 1932 in a numbered edition under the editorship of Onchi together with Hiratsuka Un'ichi, Maekawa Senpan, Fukazawa Sakuichi, Kawakami Sumio, Suwa Kanenori, Henmi Takashi, and Fujimori Shizuo, the series gathered one hundred views of contemporary Tokyo in the modern moment of the late 1920s, registering the steel bridges, electric tramlines, riverbank godowns, suburban developments, and reconstructed monuments of the post-1923 earthquake city. As principal organizer and senior contributor, Onchi defined the project's character: not a topographical inventory but a modernist meditation on the changing capital, each sheet self-carved and self-printed by its artist rather than commissioned through the carver-printer division of labor of shin-hanga, and the whole issued in a folio format with descriptive text inserts. His own contributions to the Shin Tokyo hyakkei consolidated his mature sosaku-hanga vocabulary in which architectural and atmospheric subject is reduced to rhythmically organized field, and the series stands today as the principal document of prewar sosaku-hanga ambition and of the renewal of the topographical print tradition under modernist auspices. Impressions of individual sheets and complete sets are preserved in the National Museum of Modern Art Tokyo, the Museum of Modern Art New York, the Art Institute of Chicago, the Cincinnati Art Museum, and the Honolulu Museum of Art among other principal collections.
Prints in This Series (1)
Frequently Asked Questions
One-Hundred New Views of Tokyo refers to the prewar Shin Tokyo hyakkei project in which a group of sosaku-hanga artists associated with Onchi Koshiro (1891-1955) undertook to renew, in their own self-carved and self-printed idiom, the classical hyakkei or hundred-views format that Hiroshige and his nineteenth-century followers had established for Edo. Issued in subscription between 1928 and 1932 in a numbered edition under the editorship of Onchi together with Hiratsuka Un'ichi, Maekawa Senpan, Fukazawa Sakuichi, Kawakami Sumio, Suwa Kanenori, Henmi Takashi, and Fujimori Shizuo, the series gathered one hundred views of contemporary Tokyo in the modern moment of the late 1920s, registering the steel bridges, electric tramlines, riverbank godowns, suburban developments, and reconstructed monuments of the post-1923 earthquake city. As principal organizer and senior contributor, Onchi defined the project's character: not a topographical inventory but a modernist meditation on the changing capital, each sheet self-carved and self-printed by its artist rather than commissioned through the carver-printer division of labor of shin-hanga, and the whole issued in a folio format with descriptive text inserts. His own contributions to the Shin Tokyo hyakkei consolidated his mature sosaku-hanga vocabulary in which architectural and atmospheric subject is reduced to rhythmically organized field, and the series stands today as the principal document of prewar sosaku-hanga ambition and of the renewal of the topographical print tradition under modernist auspices. Impressions of individual sheets and complete sets are preserved in the National Museum of Modern Art Tokyo, the Museum of Modern Art New York, the Art Institute of Chicago, the Cincinnati Art Museum, and the Honolulu Museum of Art among other principal collections.
The One-Hundred New Views of Tokyo series contains 1 prints, created by Onchi Koshiro.
The One-Hundred New Views of Tokyo series was created by Onchi Koshiro (恩地孝四郎).
We currently have 1 of 1 known prints from the One-Hundred New Views of Tokyo series indexed in our collection. Browse them all on this page.
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