One of the most reproduced images in art history is making a rare public appearance in Paris. Hokusai's iconic "The Great Wave," originally titled "Under the Wave off Kanagawa" (1830-1832) by Katsushika Hokusai (1760-1849), will be the centerpiece of "Manga, All Art!" at the Guimet Museum in Paris's 16th arrondissement from November 19 to March 9. For this exceptional exhibition, the institution is bringing its precious masterpiece out of storage to display it in a dedicated gallery.
The Great Wave by Hokusai was originally printed between 5,000 and 8,000 times, with numerous Western and Japanese museums preserving versions that show slight variations between different printings. In France, two copies are held at the National Library of France (BnF), one at Giverny, and two at the Guimet Museum. The museum will present both of its prints in "Manga, All Art!" - two impressions made from the same woodblock that are in excellent condition. One was donated by French patron and collector Isaac de Camondo (1851-1911), while the other came from Art Nouveau collector and jeweler Henri Vever (1854-1942).
The differences between the two prints tell their own story of preservation and exposure. Camondo's print features pink clouds and more pronounced gradations in color, while Vever's version, likely exposed to more light over time, has lost its clouds, appears more contrasted, and bears a fold mark. Due to the fragility of these works, the museum will display them in rotation, beginning with Camondo's Wave for two months, followed by Vever's version.
"We don't display it frequently, but we have many visitors who come specifically wanting to see it," explains Estelle Bauer, chief curator of Japanese collections and exhibition commissioner. "We're considering a presentation method similar to Japan's - perhaps one month per year, which would be 'The Wave Month.'" This careful approach reflects the delicate nature of these woodblock prints and their immense popularity with museum visitors.
The Great Wave is part of Hokusai's famous series "Thirty-six Views of Mount Fuji" (1831-1833), where the master of Japanese printmaking illustrated the sacred summit beloved by Japanese people in different ways. In this particular work, Hokusai associates Mount Fuji with a monumental wave whose foam resembles claws or talons. "The series was very successful in Japan, as we can see from the number of prints made," comments Bauer. "It was quite a new subject for Japan. The sea is very present, but there were few maritime landscapes."
The use of Prussian blue, created in 18th-century Germany and more widely imported to Japan in the 1830s, brought another appealing aspect to the work. However, Bauer notes an interesting cultural difference: "Until recently, this wasn't the most successful print in the series. The Japanese preferred the one with the red Fuji." This preference highlights how cultural perspectives can shape artistic appreciation across different societies.
The transformation of The Great Wave into a global icon comparable to Leonardo da Vinci's Mona Lisa came through Western appreciation. "It's thanks to Westerners," continues Estelle Bauer. "Edmond de Goncourt was the first to write about it at the end of the 19th century. In 1905, Debussy used it to adorn the cover of 'La Mer' (The Sea). Step by step, it exercised a fascination on Westerners." While Japanese viewers appreciate the work for its representation of Mount Fuji, Europeans are captivated by the wave's form itself.
"We are sensitive to the beauty of this wave's form," adds the specialist, "and to a particularity that strikes us. Edmond de Goncourt spoke about it in his time: the crests that resemble claws and this very strong composition." This Western fascination with the wave's dramatic form and dynamic composition helped establish its status as a universal masterpiece transcending cultural boundaries.
In "Manga, All Art!" The Great Wave will be presented in a separate royal blue gallery, surrounded by works that echo its influence. "Throughout the exhibition, we will create a dialogue between the museum's heritage works and manga, but we remain in a Japanese universe," describes Estelle Bauer. "Manga like One Piece clearly reference The Great Wave, but we wanted to show that dialogue was also possible with heritage works and Franco-Belgian comics."
The Wave gallery showcases this cross-cultural influence through diverse artworks, including a dress by John Galliano for Dior and original pages by comic artists Moebius, Coco, and Alexis Dormal who have reinterpreted the famous image. Coco uses the motif of the oppressive wave to echo her experience during the Charlie Hebdo terrorist attack, where she felt overwhelmed. In contrast, Moebius transforms the claw-like motif to transport viewers into the realm of dreams. Alexis Dormal places The Great Wave in the Louvre's Grand Gallery, creating references to great Western art history paintings like "The Raft of the Medusa" and "The Birth of Venus" - bringing together universal masterpieces.
The exhibition "Manga, All Art!" will be displayed across three floors of the National Museum of Asian Arts, running from November 19 to March 9, 2026, at the Guimet Museum, located at 6 Place d'Iéna, 75116 Paris. This comprehensive show promises to demonstrate the enduring influence of Hokusai's masterpiece on both traditional and contemporary art forms.
