‘The Great Wave off of the coast at Kanagawa’ (1830-1) is undoubtedly Katsushika Hokusai’s most famous work, followed by a legacy that has found its way into the works of western artists, emblazoned designs worn by models on catwalks, and even etched itself onto people’s skin as a lifelong appreciation of the masterpiece. Little attention is given, however, to Hokusai’s creations beyond the ‘The Great Wave’; whilst acknowledging its significance, the British Museum sought to resolve this, showcasing the many facets of the artist prior to the masterpiece and beyond its production during his later years.

It is a commonly held belief that Hokusai greatly influenced western art, most notably members of the Impressionist movement. Within this display, the artist was shown to absorb western influences also, demonstrated by ‘New Year scene’ (1824-6), in which his application of lighting and perspective could be seen as deriving from western art. Collaborative works were integrated within the exhibition, demonstrating a mutual appreciation that Hokusai would have had with his contemporaries, in ‘The 7 lucky Gods’ (1823-6) he worked with his pupils, exemplifying his ability to synthesize their contributions into a consistent quality. By highlighting Hokusai’s contextual interactions and collaborations with other artists, viewers obtain an understanding of his development as an artist and what may have contributed to his revolutionary approach to representation.

Technical ability and progression are frequently remarked upon within the display, with Hokusai himself expressing his hopes and desires to peak as an artist at 100 years old. Visitors are introduced to Hokusai’s involvement with ‘ukiyo-e’, a popular genre described as ‘the floating world’, typically involving a portrayal of people and their daily lives. This is exemplified by ‘Beauty on a summer morning’ (c.1810), which showcased the artist’s ability to transform ordinary situations and subjects into visually intriguing works of art, through his intricate rendering of details and rich use of colour. His steady progression as an artist is acknowledged through the inclusion of ‘Fast cliffs navigating large waves’ (1804-6); preceding ‘The Great Wave’, this comparison gives those an insight into just how much Hokusai progressed as an artist, from depicting a contained, static wave, to a literal embodiment of the chaotic, fiercely destructive force of nature, somehow sustaining a sense of dynamism whilst frozen onto paper.

Throughout the exhibition, it became apparent that Hokusai had a fixation on water and its manifestations; it seemed as though he strived to capture its true essence, with the element emerging regularly within his oeuvre. Whether it was dizzily swirling into a whirlpool, magnificently descending over a rock face, calmly flowing beneath various bridges, or its deep hues were indirectly addressed through his extensive use of Prussian blue, Hokusai explored and successfully captured water as a force both soothing and one not to be reckoned with. Acknowledging the frequency of this subject matter, it could be questioned why water was so important to the artist, and how was he able to represent the element with such energy on a still piece of paper?

‘Hokusai: beyond the Great Wave’ will run until 13 August 2017at the British Museum.

Text: Libby Festorazzi