The New York Times has posted a lovely analysis of my favorite woodblock print by Hokusai, “Ejiri in Suruga Province” (circa 1830, from his “Thirty-Six Views of Mt. Fuji” series), in which a sudden blast of wind is the invisible subject of the piece. Nature and landscape and social class and quotidian humor, all meeting together in a pivotal moment of art history where Dutch imports influenced the Edo-era artists whose own innovative works quickly influenced the French.