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The representation of the rhythms of collective labor indeed finds significant precedents in other works of his
Ninomiya Beach (春ノ月二宮海岸) along with the month and year of the first edition: made in March of the seventh year of the Showa era (1932) (昭和七年三月作)
which became renowned thanks to the Nō theater adaptation of the same title
come nel libro Hinauta tsuki kuwashi del 1803
Magnelli chose linocut and lithography as experimental workshops to translate the order already explored with the collages of the Grasse Group
HOKUSAI KATSUSHIKA, Cento vedute del monte Fuji n. 27, 1834 vasi The representation of the rhythmsBeautiful proof with good contrasts, attributable to the print run of Eirakuya Tshir (mid 19th century) from the original woods of the Egawa workshop. Printed on Japanese paper, in excellent condition, with original untrimmed margins beyond the marginal line. Annotated Bibliography H. D. Smith II, Hokusai: One Hundred Views of Mt. Fuji, New York: George Braziller, 1988 M. Forrer, Hokusai, London: Royal Academy of Arts, 1991 M. Forrer, Hokusai, New
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