“Stop and admire this striking woodblock print of a red snapper and bamboo. It's an intimate, detailed study of nature that celebrates an auspicious fish, showcasing the artist's masterful use of color and texture.”
A vibrant red snapper, known as "medetai" in Japan, dominates this print, its scales rendered with a subtle gradation of color that suggests the wet sheen of a freshly caught fish. The term "medetai" also means auspicious, making this a popular motif for celebrations. Here, the fish is paired with bamboo leaves, a plant symbolizing resilience and longevity. The artist, Hiroshige, captures the textures with remarkable precision, from the delicate fins to the segmented bamboo stalks, demonstrating a keen observation of nature. This work comes from a series focused entirely on fish, a departure from the more common landscapes or figure studies of the era, offering a close-up, almost scientific, yet poetic view of aquatic life.
- Artist
- Utagawa Hiroshige
- Date
- 1840
- Medium
- Woodblock print; ink and color on paper
- Location
- The Metropolitan Museum of Art
- Dimensions
- 10 x 14 5/8 in. (25.4 x 37.2 cm)
- Collection
- Asian Art
- Culture
- Japan
- Credit line
- Gift of Mr. and Mrs. Bryan Holme, 1980
What to Notice
Four details hide in plain sight. Here’s where to look.

The subtle color gradation on the fish's scales, called bokashi.
The delicate, almost transparent quality of the fish's fins.
The intricate vein patterns on the bamboo leaves.
The artist's seal and signature, tucked into the composition.
Stand in front of it and listen
The full narration walks you through 魚づくし|Medetai Fush and Sasaki Bamboo, from the series Uozukushi (Every Variety of Fish) — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Utagawa Hiroshige
1797–1858 · JapanUtagawa Hiroshige, the last great master of ukiyo-e, transformed landscape printmaking with his poetic scenes of Edo Japan and vibrant use of color gradation.
Further Works by Hiroshige
Boat on the Sumida
1817 · The Metropolitan Museum of Art
Small View of Yedo
1817 · The Metropolitan Museum of Art
近江八景之内 唐崎夜雨|Evening Rain at Karasaki-Pine Tree
1822 · The Metropolitan Museum of Art
近江八景之内 比良暮雪|Evening Snow on Mount Hira
1822 · The Metropolitan Museum of Art
西洋風の懐中時計『春雨集』 摺物帖|Western Pocket WatchFrom the Spring Rain Collection (Harusame shū), vol. 3
1823 · The Metropolitan Museum of Art
東海道五十三次之内 江尻 三保遠望|Distant View of Miho Beach from Ejiri
1824 · The Metropolitan Museum of Art
東海道五十三次之内 白須賀 汐見阪図|Shirasuka, Shio-mi Zaka
1824 · The Metropolitan Museum of Art
東海道五十三次之内 神奈川 台之景|View of Kangawa at Sunset
1824 · The Metropolitan Museum of Art
More works to explore
Beyond Hiroshige: works from the same years.
Same era · 1820s–1850s
The Estuary Farm
Léon-Victor Dupré · 1831 · Art Institute of Chicago
Same era · 1820s–1850s
Stormy Sea Breaking on a Shore
J. M. W. Turner · 1840 · Yale Center for British Art
Same era · 1820s–1850s
Hamlet and Horatio in the Graveyard
Eugène Delacroix · 1839 · Department of Paintings of the Louvre
Same era · 1820s–1850s
The Virgin Adoring the Host
Jean-Auguste-Dominique Ingres · 1841 · Pushkin Museum of Fine Arts
Same era · 1820s–1850s
Young Woman
Jean-François Millet · 1844 · Art Institute of Chicago
Same era · 1820s–1850s
Wooded Landscape
Gustave Courbet · 1848 · Art Institute of Chicago
Same era · 1820s–1850s
Mount Chocorua and Moat Mountain from North Conway
William Hart · 1850
Same era · 1820s–1850s
Olive Trees
Vincent van Gogh · 1853 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Woman in a Blue Dress
School of William Matthew Prior · 1840 · Art Institute of Chicago
Same era · 1820s–1850s
Designs for a Decorated Dish, or Platter, and a Biscuit Barrel
Alfred Henry Forrester [Alfred Crowquill] · 1845 · The Metropolitan Museum of Art
Same era · 1820s–1850s
Mr. James Mackie
Samuel Alcock & Company · 1830 · Art Institute of Chicago
Same era · 1820s–1850s
The Captive Slave (Ira Aldridge)
John Philip Simpson · 1827 · Art Institute of Chicago
