A man in a small boat with oars sits in front of a bridge, a pier of which is just behind and to the left of the boat. The viewer is also positioned on the water as only the bottom of the span is visible. Several other piers, also framed and clad with wood to protect against collision are visible on either side of the image. The distant view, seen between the piers, include a suspension bridge to the left of the central pier and the tower of a church or other buildings to the right.
Whistler's interest in Asian art, particular Japanese woodblock prints, can be seen in this view of the old Battersea Bridge. The low vantage point, truncated span of the bridge, and the form of the boatman are all inspired by prints by Hiroshige and Hokusai.
Battersea Bridge was the last remaining wooden bridge in London when Whistler painted it and was itself slated for demolition and replacement. Like many of the warehouses and sites depicted in his Thames Set which were also scheduled for elimination as part of an urban renewal project, the old Battersea Bridge evoked a nostalgia for the passing of an era.
Here Hiroshige allows a glimpse of rice transport in the early morning in Ôtso, a stop on the Tôkaidô and capitol of Shiga prefecture. The boats in the harbor of Lake Biwa are stacked high with the golden hue of ripe rice stalks, while workers on the pier carry heavy bundles. A view of bearers and attendants and four sailboats morred at a stone pier
Hiroshige’s Hôeidô Tôkaidô series provides a visual trip along the Tôkaidô, or Eastern Sea Route. In this series Hiroshige does not stick to strict landscapes, but provides scenes of everyday life, people, customs, and nature in each of the 53 stations along the route.
Rice, as is shown being trafficked here, is a staple in the diet of many Japanese people, and was crucial to the social structure of Edo times. People across classes were paid in rice, and it was the currency for payment of taxes. Wealth could be measured in koku, one of which was comprised of four bundles of rice, like the ones being carried by the porters in the foreground.
Viewed from an elevated vantage point, a curved roadway at the lower left meets a bridge that crosses a river; in hte far distance are indications of buildings along the far bank. On both the roadway and bridge can be seen horse-drawn carriages and conveyances.
Drawn from the windows of the newly opened Savoy Hotel in London, this view shows the Waterloo Bridge and the Victoria Embankment along the Thames. Whistler and his wife lived in rooms on the top floor of the Savoy during Beatrix's final months before her death.
A sweeping panorama of a city is visible from an elevated vantage point. Bridges cross a river and boats are evident. The river occupies the right side of the composition and the curving near bank of the river dominates the left side of the work. The cityscape includes many buildings, culimnating in one large dome in the distance. There is evidence that a window ledge exists along the bottom of the image and in the distance there are blustery clouds, indicating a leaden wintery sky.
Drawn from the windows of the newly opened Savoy Hotel in London, this panorama long the north bank of the Thames shows Waterloo Bridge and the Victoria Embankment; in the distance are the dome of St. Paul's and other of London's bridges and buildings. Whistler and his wife lived in rooms on the top floor of the Savoy during Beatrix's final months before her death.
Travelers are seen on a winding mountain pathway, among overlapping layers of mountains.
n this painting, Goshun depicts the rounded mountains of the Japanese landscape in a Chinese-derived composition and brush techniques. Some typically Chinese elements in this work include the theme of travelers on a mountain pathway, the composition which winds upwards in an S-curve, and the depiction of overlapping layers of mountains. Apparently Goshun painted this scene again and again to fufill the requests of his admirers because at least five versions of the Road to Shu by Goshun still exist.