Shōzaburo Watanabe
This did not seem to bother Watanabe because in his view, what the Western market wanted was images of an idealized, exotic Japan.[t]he dangers of this Western-dominated market were that such prints would either perpetuate a touristy Japaneseness of subject and style or else become nearly indistinguishable from Western representational art. Both, in fact, did happen … the second in the picturesque but shallow landscapes from Yoshida [Hiroshi] and the later [Kawase] Hasui.[3]
[1] Lawrence Smith, The Japanese Print Since 1900: Old Dreams and New Visions (London: British Museum Publications Ltd., 1983), 35.
[3] Ibid., 17.