Utagawa Hiroshige (Japan, 1797-1858) Print, oban tate-e, from the series Meisho Edo hyakkei (名所江戸百景), The Hundred Views of Edo, plate 64: Horikiri no hanashōbu (堀切之花菖蒲), The iris garden of Horikiri. Signed Hiroshige ga. Publisher Uoya Eikichi. Dated the 5th month of the year of the snake, 1857 (Bending, minor restorations). Dim. 36,8 x 24,5 cm The 'Hundred Views of Edo' series, Hiroshige's last masterpiece, is famous for its use of original viewpoints in which the foreground contrasts with the background. In this print, the artist transports the viewer to the Horikiri garden, reputed to have the most beautiful irises in the whole city. The flowers are depicted from the viewer's point of view, as if he were bending over to admire them more closely. The background shows the expanse of the park as visitors stroll through. The tradition of growing flowers was a popular pastime in the late Edo period. A horticulturist by the name of Kodaka Izaemon is famous for having started growing irises in Horiki in the 17th century. It was not until the 19th century that one of his descendants developed the hybrid varieties that made Horikiri famous. Japanese iris varieties became popular in Europe after their introduction by Philipp Franz von Siebold (1796-1866) in the 1850s. The Horikiri garden also became famous in Europe, praised in botanical magazines, before falling into disuse at the beginning of the 20th century. Today, it still hosts an annual iris festival that attracts many visitors. Hiroshige's print reflects the enthusiasm for iris cultivation through its skilful use of colour gradation (bokashi) and the diversity of the flower petals. Several states of this print are known, with variations in the colours of the irises. The background is very similar to Hiroshige's depiction of the garden in volume 7 of his album Souvenirs d'Edo. Reference: A similar print held at the Art Institute, Chicago, n °1939.1422