About 1827 appeared the waterfalls, Shokoku takimeguri, eight sheets, vertical, and 1827-30, the bridges, Shokoku meiko kiran, eleven sheets, oblong, similar in execution to the thirty-six views of Fuji. Lastly, in 1834-35, he published his Hundred Views of Fuji, the smaller work printed in black and white (in the second edition a light blue tone is added), which, while it is inferior in creative power to the thirty-six views produced ten years earlier, contributed by its amazing wealth of invention almost as much to the popularity of the master as did the Mangwa.[1] He also executed some landscapes in the "Dutch" (European) taste.
Toward the close of the twenties he returned with fresh vigour to book-illustration. We have of this time an excellently printed erotic work: Kinoye no Komatsu, the Young Pines, in three medium-sized volumes; then the Yehin teikinorai, Illustrated Correspondence about the Family Garden, an educational system, in three medium-sized volumes, one of his most beautiful works, 1828; further, the five thrilling sheets of apparitions, entitled Hiaku monogatari, the Hundred Tales, of 1830; of about the same time, the ten large sheets, Shika shasbinkio, Pictures of Poets, excellent and very rare (Goncourt, p. 185 ff.); five sheets of animals, signed Hokusai Iitsu (Goncourt, p. 188), the ten large flower pictures, in oblong form, excellent in style (Goncourt, p. 190), ten somewhat smaller sheets with flowers; further the cock, hen, and chickens, one of the largest known colour-prints, 45 cm. in height and 60 cm. in breadth (in Bing's Coll.), and in similar style the No-dance (Vever Coll.), 40 cm. by 51 cm., and the kakemono with the pyramidally arranged street-dancers (in the same collection).
In his best style is his Toshisen Yehon of 1833 (and 1836), the illustrated poems of the Tang period, in black and white; from 1835 dates the Yehon Kokio, Filial Love, two medium-sized
- ↑ Madsen, p. 129 ff.; Brinckmann, p. 258 ff.; Goncourt, p. 208 ff.
