During his life he produced many series of prints, and a large number of triptychs, many of great merit.
Two of his three best-known series, the One Hundred Aspects of the Moon and Thirty-Six Ghosts, contain numerous masterpieces.
The third, Thirty-Two Aspects of Customs and Manners, was for many years the most highly regarded of his work, but does not now have that same status.
Other less-common series also contain many fine prints, including Famous Generals of Japan, A Collection of Desires, New Selection of Eastern Brocade Pictures, and Lives of Modern People.

While demand for his prints continued for a few years, eventually interest in him waned, both in Japan, and around the world.
The canonical view in this period was that the generation of Hiroshige was really the last of the great woodblock artists, and more traditional collectors stopped even earlier, at the generation of Utamaro and Toyokuni.

However, starting in the 1970s, interest in him resumed, and reappraisal of his work has shown the quality, originality and genius of the best of it, and the degree to which he succeeded in keeping the best of the old Japanese woodblock print, while pushing the field forward by incorporating both new ideas from the West, as well as his own innovations.
During his life he produced many series of prints, and a large number of triptychs, many of great merit. Two of his three best-known series, the One Hundred Aspects of the Moon and Thirty-Six Ghosts, contain numerous masterpieces. The third, Thirty-Two Aspects of Customs and Manners, was for many years the most highly regarded of his work, but does not now have that same status. Other less-common series also contain many fine prints, including Famous Generals of Japan, A Collection of Desires, New Selection of Eastern Brocade Pictures, and Lives of Modern People.
While demand for his prints continued for a few years, eventually interest in him waned, both in Japan, and around the world. The canonical view in this period was that the generation of Hiroshige was really the last of the great woodblock artists, and more traditional collectors stopped even earlier, at the generation of Utamaro and Toyokuni.
However, starting in the 1970s, interest in him resumed, and reappraisal of his work has shown the quality, originality and genius of the best of it, and the degree to which he succeeded in keeping the best of the old Japanese woodblock print, while pushing the field forward by incorporating both new ideas from the West, as well as his own innovations.
Yoshitoshi