We’d known the Hokusai exhibition at the British Museum would be popular and we’d booked in advance; just as well, as advance tickets have now sold out, and day tickets had also sold out when we arrived. There were long queues for the museum as a whole now that the bag search has become ubiquitous – having a pre-booked ticket allows you to fast-track through some elements of this, but it’s still hassle. Sadly it’s an arms race of security theatre – if one place does it, they all have to do it for fear of being left behind, a softer target. It’s job creation all right, but I rather doubt these are quality jobs.
We had allowed plenty of time and wandered through the free, smaller exhibitions of British Watercolours, which was a mixed bag but had some interesting pieces by Paul Nash, his brother John Nash, Ravilious and others, and Pacific North America, marking the 150th anniversary of the foundation of Canada in a possibly rather awkward way, but at least acknowledging the indigenous culture.
The Hokusai exhibition itself was very busy, essentially a slow-moving queue from end to end, which didn’t make for the best experience, but it was worth it to see the range of works, starting with the summoning of a dragon, proceeding through many views of Mount Fuji (including the Great Wave itself), but also flower and bird paintings, a few portraits, and two unusual aerial views of Japan and China. It was interesting to compare with Hiroshige’s slightly later paintings of Mount Fuji; on the whole, Hokusai was more monochromatic, frequently using (the then novel) Prussian Blue for his main colour scheme. At the end of the exhibition there are also one or two works by his daughter; sometimes these were passed off as by Hokusia himself in order to increase their value.