If you think that all great artists are in the past, then you have no idea how wrong you are. In this article, you will learn about the most famous and talented artists of our time. And, believe me, their works will sit in your memory no less deeply than the works of the maestro from past eras.
Wojciech Babski
Wojciech Babski is a contemporary Polish artist. He graduated from the Silesian Polytechnic Institute, but connected himself with. Lately he has been painting mostly women. Focuses on the manifestation of emotions, seeks to obtain the greatest possible effect by simple means.
Loves color, but often uses shades of black and gray to achieve the best impression. Not afraid to experiment with new techniques. Recently, he has been gaining more and more popularity abroad, mainly in the UK, where he successfully sells his works, which can already be found in many private collections. In addition to art, he is interested in cosmology and philosophy. Listens to jazz. Currently lives and works in Katowice.
Warren Chang
Warren Chang is a contemporary American artist. Born in 1957 and raised in Monterey, California, he graduated magna cum laude from Art Center College of Design in Pasadena in 1981 with a Bachelor of Fine Arts degree in Fine Arts. For the next two decades, he worked as an illustrator for various companies in California and New York before starting his career as a professional artist in 2009.
His realistic paintings can be divided into two main categories: biographical interior paintings and paintings depicting working people. His interest in this style of painting is rooted in the work of the 16th-century painter Jan Vermeer, and extends to objects, self-portraits, portraits of family members, friends, students, studio, classroom and home interiors. His goal is to create mood and emotion in his realistic paintings through the manipulation of light and the use of muted colors.
Chang became famous after the transition to traditional visual arts. Over the past 12 years, he has earned numerous awards and honors, the most prestigious being the Master Signature from the Oil Painters of America, the largest oil painting community in the United States. Only one person out of 50 is honored with the opportunity to receive this award. Currently, Warren lives in Monterey and works in his studio, he also teaches (known as a talented teacher) at the San Francisco Academy of the Arts.
Aurelio Bruni
Aurelio Bruni is an Italian artist. Born in Blair, October 15, 1955. Graduated with a degree in scenography from the Art Institute in Spoleto. As an artist, he is self-taught, as he independently “built the house of knowledge” on the foundation laid back in school. He began painting in oils at the age of 19. Currently lives and works in Umbria.
Bruni's early painting is rooted in surrealism, but over time he begins to focus on the closeness of lyrical romanticism and symbolism, reinforcing this combination with the exquisite sophistication and purity of his characters. Animate and inanimate objects acquire equal dignity and look almost hyper-realistic, but at the same time, they do not hide behind a curtain, but allow you to see the essence of your soul. Versatility and sophistication, sensuality and loneliness, thoughtfulness and fruitfulness are the spirit of Aurelio Bruni, nourished by the splendor of art and the harmony of music.
Aleksander Balos
Alkasandr Balos is a contemporary Polish artist specializing in oil painting. Born in 1970 in Gliwice, Poland, but since 1989 he has been living and working in the USA, in the city of Shasta, California.
As a child, he studied art under the guidance of his father Jan, a self-taught artist and sculptor, so from an early age, artistic activity received full support from both parents. In 1989, at the age of eighteen, Balos left Poland for the United States, where his schoolteacher and part-time artist Cathy Gaggliardi encouraged Alcasander to enroll in art school. Balos then received a full scholarship to the University of Milwaukee Wisconsin, where he studied painting with philosophy professor Harry Rosin.
After completing his studies in 1995 with a bachelor's degree, Balos moved to Chicago to study at the School of Fine Arts, whose methods are based on the work of Jacques-Louis David. Figurative realism and portraiture made up the bulk of Balos' work in the 90s and early 2000s. Today, Balos uses the human figure to highlight the features and shortcomings of human existence, without offering any solutions.
The plot compositions of his paintings are intended to be independently interpreted by the viewer, only then the canvases will acquire their true temporal and subjective meaning. In 2005, the artist moved to Northern California, since then the scope of his work has expanded significantly and now includes freer methods of painting, including abstraction and various multimedia styles that help express the ideas and ideals of being through painting.
Alyssa Monks
Alyssa Monks is a contemporary American artist. She was born in 1977 in Ridgewood, New Jersey. She became interested in painting when she was still a child. She attended The New School in New York and Montclair State University, and graduated from Boston College in 1999 with a bachelor's degree. At the same time, she studied painting at the Lorenzo Medici Academy in Florence.
Then she continued her studies under the program for a master's degree at the New York Academy of Art, in the Department of Figurative Art, graduating in 2001. She graduated from Fullerton College in 2006. She briefly lectured at universities and educational institutions across the country, and taught painting at the New York Academy of Art, as well as Montclair State University and Lyme Academy College of Art.
“Using filters such as glass, vinyl, water and steam, I distort the human body. These filters allow you to create large areas of abstract design, with islands of color peeking through them - parts of the human body.
My paintings change the modern look at the already established, traditional poses and gestures of bathing women. They could tell an attentive viewer a lot about such seemingly self-evident things as the benefits of swimming, dancing, and so on. My characters are pressed against the glass of the shower cabin window, distorting their own body, realizing that they thereby influence the notorious male look at a naked woman. Thick layers of paint are mixed together to mimic glass, steam, water and flesh from afar. Up close, however, the amazing physical properties of oil paint become apparent. By experimenting with layers of paint and color, I find the moment when abstract strokes become something else.
When I first started painting the human body, I was immediately fascinated and even obsessed with it and felt that I had to make my paintings as realistic as possible. I "professed" realism until it began to unravel and deconstruct itself. Now I am exploring the possibilities and potential of a style of painting where representational painting and abstraction meet – if both styles can coexist at the same moment in time, I will do it.”
Antonio Finelli
Italian artist - time watcher” – Antonio Finelli was born on February 23, 1985. Currently lives and works in Italy between Rome and Campobasso. His works have been exhibited in several galleries in Italy and abroad: Rome, Florence, Novara, Genoa, Palermo, Istanbul, Ankara, New York, and they can also be found in private and public collections.
Pencil drawings " Watcher of time” Antonio Finelli send us on an eternal journey through the inner world of human temporality and the rigorous analysis of this world associated with it, the main element of which is the passage through time and the traces it inflicts on the skin.
Finelli paints portraits of people of any age, gender and nationality, whose facial expressions indicate the passage through time, and the artist also hopes to find evidence of the ruthlessness of time on the bodies of his characters. Antonio defines his works with one general title: “Self-portrait”, because in his pencil drawings he not only depicts a person, but allows the viewer to contemplate the real results of the passage of time inside a person.
Flaminia Carloni
Flaminia Carloni is a 37-year-old Italian artist, the daughter of a diplomat. She has three children. Twelve years she lived in Rome, three years in England and France. Received a degree in art history from the BD School of Art. Then she received a diploma in the specialty restorer of works of art. Before finding her calling and devoting herself entirely to painting, she worked as a journalist, colorist, designer, and actress.
Flaminia's passion for painting arose as a child. Her main medium is oil because she loves “coiffer la pate” and also plays with the material. She learned a similar technique in the works of the artist Pascal Torua. Flaminia is inspired by the great masters of painting such as Balthus, Hopper, and François Legrand, as well as various art movements: street art, Chinese realism, surrealism and renaissance realism. Her favorite artist is Caravaggio. Her dream is to discover the therapeutic power of art.
Denis Chernov
Denis Chernov is a talented Ukrainian artist, born in 1978 in Sambir, Lviv region, Ukraine. After graduating from the Kharkov Art College in 1998, he stayed in Kharkov, where he currently lives and works. He also studied at the Kharkov State Academy of Design and Arts, Department of Graphics, graduated in 2004.
He regularly participates in art exhibitions, at the moment there have been more than sixty of them, both in Ukraine and abroad. Most of Denis Chernov's works are kept in private collections in Ukraine, Russia, Italy, England, Spain, Greece, France, USA, Canada and Japan. Some of the works were sold at Christie's.
Denis works in a wide range of graphic and painting techniques. Pencil drawings are one of his favorite painting methods, the list of topics of his pencil drawings is also very diverse, he paints landscapes, portraits, nudes, genre compositions, book illustrations, literary and historical reconstructions and fantasies.
Monochrome painting of Japan is one of the unique phenomena of the art of the East. A lot of works and studies are devoted to it, but it is often perceived as a very conditional thing, and sometimes even decorative. This is not so. The spiritual world of the Japanese artist is very rich, and he cares not so much about the aesthetic component, but about the spiritual one. Art of the East is a synthesis of external and internal, explicit and implicit.
In this post, I would like to pay attention not to the history of monochrome painting, but to its essence. This will be discussed.
Screen "Pine" Hasegawa Tohaku, 1593.
What we see in monochrome paintings is the result of the artist's interaction with the pine triad: paper, brush, ink. Therefore, in order to properly understand the work, one must understand the artist himself and his attitude.
"Landscape" Sesshu, 1398
Paper for the Japanese master, it’s not just the material at hand, which he subordinates to his whim, but rather, on the contrary, it is a “brother”, therefore, the attitude towards it has developed accordingly. Paper is a part of the surrounding nature, which the Japanese have always treated with reverence and tried not to subjugate, but to coexist peacefully with it. Paper is in the past a tree that stood in a certain area, for a certain time, “saw” something around it, and it stores it all. This is how the Japanese artist perceives the material. Often, before starting work, the masters looked at a blank sheet for a long time (contemplated it) and only then proceeded to painting. Even today, contemporary Japanese artists who practice Nihon-ga (traditional Japanese painting) carefully choose their paper. They buy it on order from paper mills. For each artist of a certain thickness, moisture permeability and texture (many artists even enter into an agreement with the factory owner not to sell this paper to other artists) - therefore, each painting is perceived as something unique and alive.
"Reading in a bamboo grove" Shubun, 1446.
Speaking about the significance of this material, it is worth mentioning such well-known literary monuments of Japan as “Notes at the Headboard” by Sei Shyonagon and “Genji Monogotari” by Murasaki Shikibu: in both “Notes” and “Genji” one can find plots when courtiers or lovers exchange messages . The paper on which these messages were written was of the appropriate season, shade, and the manner of writing the text corresponded to its texture.
"Murasaki Shikibu at Ishiyama Shrine" Kyosen
Brush- the second component is the continuation of the master's hand (again, this is a natural material). Therefore, brushes were also made to order, but most often by the artist himself. He selected the hairs of the required length, chose the size of the brush and the most comfortable handle. The master writes only with his own brush and no other. (From personal experience: I was at the master class of the Chinese artist Jiang Shilun, the audience was asked to show what his students who were present at the master class can do, and each of them, picking up the master’s brush, said that it would turn out not what they expected , since the brush is not theirs, they are not used to it and do not know how to use it correctly).
"Fuji" ink sketch by Katsushika Hokusai
ink is the third important element. Mascara can be of different types: it can give a glossy or matte effect after drying, it can be mixed with silver or ocher shades, so the right choice of mascara is also not unimportant.
Yamamoto Baitsu, late 18th - 19th century.
The main subjects of monochrome painting are landscapes. Why don't they have color?
Twin screen "Pines", Hasegawa Tohaku
Firstly, the Japanese artist is not interested in the object itself, but in its essence, a certain component that is common to all living things and leads to harmony between man and nature. Therefore, the image is always a hint, it is addressed to our feelings, and not to vision. Understatement is a stimulus for dialogue, and hence connection. Lines and spots are important in the image - they form an artistic language. This is not the liberty of the master, who, where he wanted, left a greasy mark there, and in another place, on the contrary, did not draw well - in the picture everything has its own meaning and significance, and does not carry a random character.
Secondly, color always carries some kind of emotional connotation and is perceived differently by different people in different states, so emotional neutrality allows the viewer to most adequately enter into a dialogue, position him for perception, contemplation, thought.
Thirdly, this is the interaction of yin and yang, any monochrome picture is harmonious in terms of the ratio of ink and the untouched area of paper in it.
Why is most of the paper space not used?
"Landscape" Syubun, middle of the 15th century.
First, the vacancy of space immerses the viewer in the image; secondly, the image is created as if it floated to the surface for a moment and is about to disappear - this is connected with the worldview and worldview; thirdly, in those areas where there is no ink, the texture and shade of paper come to the fore (this is not always visible on reproductions, but in reality it is always the interaction of two materials - paper and ink).
Sesshu, 1446
Why landscape?
"Contemplation of the Waterfall" Gayami, 1478
According to the Japanese worldview, nature is more perfect than man, so he must learn from her, protect her in every possible way, and not destroy or subjugate. Therefore, in many landscapes you can see small images of people, but they are always insignificant, small in relation to the landscape itself, or images of huts that fit into the space around them and are not even always noticeable - these are all symbols of the worldview.
"Seasons: Autumn and Winter" Sesshu. "Landscape" Sesshu, 1481
In conclusion, I want to say that Japanese monochrome painting is not randomly splashed ink, it is not a whim of the artist's inner ego - it is a whole system of images and symbols, it is a repository of philosophical thought, and most importantly, a way of communication and harmonization of oneself and the world around.
Here, I think, are the answers to the main questions that the viewer has when confronted with monochrome Japanese painting. I hope they will help you to understand it most correctly and perceive it when you meet.
Hello, dear readers - seekers of knowledge and truth!
Japanese artists are distinguished by their unique style, honed by generations of masters. Today we will talk about the brightest representatives of Japanese painting and their paintings, from ancient times to modern times.
Well, let's plunge into the art of the Land of the Rising Sun.
The birth of art
The ancient art of painting in Japan is primarily associated with the peculiarities of writing and therefore is based on the basics of calligraphy. The first examples include fragments of bronze bells, dishes, and household items found during excavations. Many of them were painted with natural paints, and research suggests that the products were made earlier than 300 BC.
A new stage in the development of art began with the arrival in Japan. On emakimono - special paper scrolls - images of the deities of the Buddhist pantheon, scenes from the life of the Teacher and his followers were applied.
The predominance of religious themes in painting can be traced in medieval Japan, namely from the 10th to the 15th centuries. The names of the artists of that era to this day, alas, have not been preserved.
In the period of 15-18 centuries, a new time begins, characterized by the appearance of artists with a developed individual style. They marked the vector for the further development of fine arts.
Bright representatives of the past
Tense Shubun (early 15th century)
In order to become an outstanding master, Xubong studied Chinese Sung artists' writing techniques and their work. Subsequently, he became one of the founders of painting in Japan and the creator of sumi-e.
Sumi-e is an art style that is based on ink drawing, which means one color.
Shubun did a lot to make the new style take root in artistic circles. He taught art to other talents, including future famous painters, such as Sesshu.
Shubun's most popular painting is called "Reading in the Bamboo Grove".
"Reading in the Bamboo Grove" by Tense Shubun
Hasegawa Tohaku (1539-1610)
He became the creator of the school, named after himself - Hasegawa. At first, he tried to follow the canons of the Kano school, but gradually his individual “handwriting” began to be traced in his works. Tohaku was guided by Sesshu's graphics.
The basis of the work was simple, concise, but realistic landscapes with uncomplicated names:
- "Pines";
- "Maple";
- Pines and flowering plants.
Pines, Hasegawa Tohaku
Brothers Ogata Korin (1658-1716) and Ogata Kenzan (1663-1743)
The brothers were excellent craftsmen of the 18th century. The eldest, Ogata Korin, devoted himself entirely to painting and founded the rimpa genre. He avoided stereotypical images, preferring the impressionist genre.
Ogata Korin painted nature in general and flowers in the form of bright abstractions in particular. His brushes belong to the painting:
- "Plum blossom red and white";
- "Waves of Matsushima";
- "Chrysanthemums".
Waves of Matsushima by Korin Ogata
The younger brother - Ogata Kenzan - had many aliases. At least he was engaged in painting, but he was more famous as a wonderful ceramist.
Ogata Kenzan mastered many pottery techniques. He was distinguished by a non-standard approach, for example, he created plates in the form of a square.
Own painting was not distinguished by splendor - this was also its peculiarity. He liked to put calligraphy on products like a scroll or excerpts from poetry. Sometimes they worked together with their brother.
Katsushika Hokusai (1760-1849)
He worked in the style of ukiyo-e - a kind of woodcut, in other words, engraving painting. For all the time of creativity, he changed about 30 names. The most famous work is The Great Wave off Kanagawa, thanks to which he became famous outside his homeland.
"The Great Wave off Kanagawa" by Hokusai Katsushika
Especially hard Hokusai began to work after 60 years, which brought good results. Van Gogh, Monet, Renoir were familiar with his work, and to a certain extent it influenced the work of European masters.
Ando Hiroshige (1791-1858)
One of the greatest artists of the 19th century. Born, lived, worked in Edo, continued the work of Hokusai, was inspired by his work. The way he portrayed nature is almost as striking as the number of works themselves.
Edo is the former name of Tokyo.
Here are some figures about his work, which are represented by a cycle of paintings:
- 5.5 thousand - the number of all engravings;
- “100 Views of Edo;
- "36 Views of Fuji";
- "69 Kisokaido Stations";
- "53 Tokaido Stations".
Painting by Ando Hiroshige
Interestingly, the outstanding Van Gogh wrote a couple of copies of his engravings.
Modernity
Takashi Murakami
Painter, sculptor, fashion designer, he earned a name already at the end of the 20th century. In his work, he adheres to fashion trends with elements of the classics, and draws inspiration from anime and manga cartoons.
Painting by Takashi Murakami
The works of Takashi Murakami are classified as a subculture, but at the same time they are incredibly popular. For example, in 2008, one of his works was bought at auction for more than $15 million. At one time, the modern creator worked together with the fashion houses "Marc Jacobs" and "Louis Vuitton".
Tycho Asima
An associate of a previous artist, she creates contemporary surreal paintings. They depict views of cities, streets of megacities and creatures as if from another universe - ghosts, evil spirits, alien girls. In the background of the paintings you can often see the pristine, sometimes even frightening nature.
Her paintings reach large sizes and are rarely limited to paper. They are transferred to leather, plastic materials.
In 2006, as part of an exhibition in the British capital, a woman created about 20 arched structures that reflected the beauty of the nature of the village and the city, day and night. One of them decorated the subway station.
Hey Arakawa
The young man cannot be called just an artist in the classical sense of the word - he creates installations that are so popular in the art of the 21st century. The themes of his exhibitions are truly Japanese and touch upon friendly relations, as well as the work of the whole team.
Ei Arakawa often participates in various biennials, for example, in Venice, is exhibited in the Museum of Modern Art in his homeland, and deservedly receives various awards.
Ikenaga Yasunari
The modern painter Ikenaga Yasunari managed to combine two seemingly incompatible things: the life of today's girls in a portrait form and the traditional techniques of Japan come from antiquity. In his work, the painter uses special brushes, natural pigmented paints, ink, and charcoal. Instead of the usual linen - linen fabric.
Ikenaga Yasunari painting
This technique of contrasting the depicted era and the appearance of the heroines creates the impression that they have returned to us from the past.
A series of paintings about the complexities of a crocodile's life, which has recently become popular in the Internet community, was also created by the Japanese cartoonist Keigo.
Conclusion
So, Japanese painting originated around the 3rd century BC, and has changed a lot since then. The first images were applied to ceramics, then Buddhist motifs began to prevail in the arts, but the names of the authors have not survived to this day.
In the era of the New Age, the masters of the brush acquired more and more individuality, created different directions, schools. Today's visual arts are not limited to traditional painting - installations, caricatures, art sculptures, special structures are used.
Thank you very much for your attention, dear readers! We hope you found our article useful, and the stories about the life and work of the brightest representatives of art art made it possible to get to know them better.
Of course, it is difficult to tell in one article about all the artists from antiquity to the present. Therefore, let this be the first step towards the knowledge of Japanese painting.
And join us - subscribe to the blog - we will study Buddhism and the culture of the East together!
Do you love Japanese painting? How much do you know about famous Japanese artists? Let's take a look at the most famous Japanese artists who created their works in the ukiyo-e style (浮世絵) in this article. This style of painting has been developed since the Edo period. The hieroglyphs that write this style 浮世絵 literally mean "pictures (images) of the changing world", you can read more about this direction of painting
Hisikawa Moronobu(菱川師宣, 1618-1694). He is considered the founder of the ukiyo-e genre, although, in fact, he is only the first master, about whose life biographical information has been preserved. Moronobu was born into the family of a master of fabric dyeing and embroidery with gold and silver threads and has been in the family craft for a long time, so the hallmark of his work is the beautifully decorated clothes of beauties, giving a wonderful artistic effect.
After moving to Edo, he first studied painting techniques on his own, and then the artist Kambun continued his studies.
Mostly Moronobu's albums have come down to us, in which he depicts historical and literary subjects and books with patterns for kimonos. The master also worked in the shunga genre, and among individual works, several depicting beautiful women have been preserved. 
(鳥居清長, 1752-1815). Recognized at the end of the 18th century, the Seki (Sekiguchi) master Shinsuke (Ishibei) bore the pseudonym Torii Kiyonaga, which he took after inheriting the school of ukiyo-e Torii from Torii Kiyomitsu after the latter's death.
Kiyonaga was born in the family of bookseller Shirakoya Ishibei. The genre of bijinga brought him the greatest fame, although he began with yakusha-e. Plots for engravings in the bijinga genre were taken from everyday life: walks, festive processions, going out into nature. Among the many works of the artist, the series “Competition of fashionable beauties from fun neighborhoods” depicting Minami, one of the “fun neighborhoods” in the south of Edo, “12 portraits of southern beauties”, “10 types of tea shops” stand out. A distinctive feature of the master was a detailed study of the background view and the use of techniques that came from the West to depict light and space.
Kiyonaga gained its initial fame with the resumption in 1782 of the series "Models of Fashion: Models New as Spring Foliage", begun by Koryusai in the 1770s for the publisher Nishimurai Yohachi.
(喜多川歌麿, 1753-1806). This eminent ukiyo-e master was significantly influenced by Torii Kiyonaga and the publisher Tsutai Juzaburo. As a result of a long collaboration with the latter, many albums, books with illustrations and a series of engravings were published.
Despite the fact that Utamaro took stories from the lives of simple artisans and strove to depict nature (“The Book of Insects”), fame came to him as an artist of works dedicated to geishas from the Yoshiwara quarter (“Yoshiwara Green Houses Yearbook”).
Utamaro has reached a high level in expressing states of mind on paper. For the first time in Japanese woodcuts, chest compositions began to be used.
It was the work of Utamaro that influenced the French Impressionists and contributed to the interest of Europeans in Japanese prints.
(葛飾北斎, 1760-1849). Hokusai's real name is Tokitaro. Probably the most widely known ukiyo-e master around the world. Throughout his work, he used over thirty pseudonyms. Quite often, historians use pseudonyms to periodize his work.
At first, Hokusai worked as a carver, whose work was limited by the artist's intention. This fact weighed on Hokusai, and he began to look for himself as an independent artist.
In 1778, he became an apprentice at the studio of Katsukawa Shunsho, who specialized in yakusha-e prints. Hokusai was both a talented and very diligent student who always showed respect to the teacher, and therefore enjoyed the special favor of Shunsho. Thus, the first independent works of Hokusai were in the yakusha-e genre in the form of diptychs and triptychs, and the popularity of the student caught up with the popularity of the teacher. At this time, the young master had already developed his talent so much that it became crowded within one school, and after the death of the teacher, Hokusai left the studio and studied the directions of other schools: Kano, Sotatsu (otherwise Koetsu), Rinpa, Tosa.
During this period, the artist is experiencing significant financial difficulties. But at the same time, his formation as a master is taking place, who refuses the usual image that society demanded, and is looking for his own style.
In 1795, illustrations for the poetic anthology Keka Edo Murasaki were published. Then Hokusai painted surimono paintings, which immediately began to be popular, and many artists began to imitate them.
From this period, Tokitaro began to sign his works with the name Hokusai, although some of his works were published under the pseudonyms Tatsumasa, Tokitaro, Kako, Sorobeku.
In 1800, the master began to call himself Gakejin Hokusai, which means "Painting Mad Hokusai."
Famous series of illustrations include “36 Views of Mount Fuji”, of which “The Victorious Wind. Clear Day" or "Red Fuji" and "The Great Wave off Kanagawa", "100 Views of Mount Fuji", released in three albums, "Hokusai Manga" (北斎漫画), which is called the "encyclopedia of the Japanese people". The artist has invested in "Manga" all his views on creativity, philosophy. "Manga" is the most important source for studying the life of Japan at that time, as it includes many cultural aspects. In total, twelve issues were published during the life of the artist, and after his death - three more:
* 1815 - II, III
* 1817 - VI, VII
* 1849 - XIII (after the death of the artist)
Hokusai's art influenced such European movements as Art Nouveau and French Impressionism.
(河鍋暁斎, 1831-1889). He used the pseudonyms Seisei Kyosai, Shuransai, Baiga Dojin, studied at the Kano school.
Unlike Hokusai, Kyosai was rather cheeky, which caused him to fall out with the artist Tsuboyama Tozan. After school, he became an independent master, although he sometimes visited her for another five years. At that time, he was painting kyoga, the so-called "crazy pictures".
Among the outstanding engravings, the "One Hundred Paintings of Kyosai" are distinguished. As an illustrator, Kyosai collaborates with other artists to create illustrations for short stories and novels.
At the end of the 19th century, Europeans often visited Japan. The artist was familiar with some of them, and several of his works are now in the British Museum.
(歌川広重, 1797-1858). He worked under the pseudonym Ando Hiroshige (安藤広重) and is known for his subtle rendering of natural motifs and natural phenomena. The first painting "Mount Fuji in the snow", which is now kept in the Suntory Museum in Tokyo, he wrote at the age of ten. The plots of early works were based on real events taking place on the streets. His famous cycles: "100 Views of Edo", "36 Views of Mount Fuji", "53 Tokaido Stations", "69 Kimokaido Stations", "100 Famous Views of Edo". Monet and the Russian artist Bilibin were greatly influenced by the 53 Stations of the Tokaido Road, painted after traveling along the East Seaside Road, as well as by 100 Views of Edo. From the kacho-ga series of 25 engravings, the most famous sheet is “Sparrows over a snow-covered camellia”.
(歌川 国貞, also known as Utagawa Toyokuni III (Jap. 三代歌川豊国)). One of the most prominent ukiyo-e artists.
He paid special attention to kabuki actors and the theater itself - this is about 60% of all works. Also known are works in the bijinga genre and portraits of sumo wrestlers. It is known that he created from 20 to 25 thousand stories, which included 35-40 thousand sheets. He rarely addressed landscapes and warriors. Utagawa Kuniyoshi (歌川 国芳, 1798 - 1861) Born into the family of a silk dyer. Kuniyoshi began learning to draw at the age of ten while living in their family of the artist Kuninao. Then he continued to study with Katsukawa Shun'ei, and at the age of 13 he entered the workshop of Tokuyoni. The first years of the young artist, things are not going well. But after receiving an order from publisher Kagaya Kitibei for five prints for the 108 Suikoden Heroes series, things took off. He creates the rest of the characters in this series, and then proceeds to other various jobs, and after fifteen years he is on a par with Utagawa Hiroshige and Utagawa Kunisada.
After the 1842 ban on images of theatrical scenes, actors, geishas and courtesans, Kuniyoshi writes his "cat" series, makes engravings from the educational series for housewives and children, depicts national heroes in the series "Traditions, Morals and Decency", and by the end of 1840- X - the beginning of the 1850s, after the easing of prohibitions, the artist returns to the theme of kabuki.
(渓斎英泉, 1790-1848). Known for his works in the bidding genre. His finest work includes portraits of the okubi-e ("large heads") type, which are considered examples of the craftsmanship of the Bunsei era (1818-1830), when the ukiyo-e genre was in decline. The artist wrote many lyrical and erotic surimonos, as well as the cycle of landscapes "Sixty-nine Stations of Kisokaido", which he could not complete, and Hiroshige finished it.
The novelty in the depiction of bijinga was a sensuality that other artists had not had before. From his works we can understand the fashion of that time. He also published biographies of the Forty-seven Ronin and wrote several other books, including The History of Ukiyo-e Prints (Ukiyo-e ruiko), which contains biographies of the artists. And in Notes of a Nameless Elder, he described himself as a depraved drunkard and former owner of a Nezu brothel that burned to the ground in the 1830s.
Suzuki Harunobu (鈴木春信, 1724-1770) The real name of the artist is Hozumi Jirobei. He is the pioneer of ukiyo-e polychrome printing. He studied at the Kano school and studied painting. Then, under the influence of Shigenaga Nishimura and Toriya Kiyomitsu, woodcutting became his passion. Printings in two or three colors have been made since the beginning of the 18th century, and Harunobu began to paint pictures in ten colors, using three boards and combining three colors - yellow, blue and red.
He stood out in the depiction of street scenes and paintings in the shunga genre. And since the 1760s, he was one of the first who began to portray the actors of the kabuki theater. His work influenced E. Manet and E. Degas.
(小原古邨, 1877 - 1945). His real name is Matao Ohara. Depicted scenes from the Russo-Japanese and Sino-Japanese wars. However, after the advent of photography, his work began to sell poorly, and he began to earn a living teaching at the school of fine arts in Tokyo. In 1926, Ernest Felloza, curator of Japanese art at the Boston Museum, persuaded Ohara to return to painting, and the artist began to depict birds and flowers, and his work sold well abroad. 
(伊藤若冲, 1716 - 1800). He stood out among other artists with his eccentricity and lifestyle, which consisted in friendship with many cultural and religious figures of that time. Depicted animals, flowers and birds in a very exotic way. He was very famous and took orders for painting screens and temple paintings.
(鳥居清信, 1664-1729). One of the most important representatives of the early ukiyo-e period. Despite the great influence of his teacher Hisikawa Monorobu, he became the founder of the yakusha-e genre in the depiction of posters and posters and invented his own style. The actors were portrayed in special poses as brave heroes and were painted in 
a noble orange color, and the villains were drawn in blue colors. To depict passion, the artist invented a special type of mimizugaki pattern - these are winding lines with alternating thin and thick strokes and combined with a grotesque image of the muscles of the limbs.
Torii Kiyonobu is the founder of the Torii dynasty of artists. His students were Torii Kiyomasu, Torii Kiyoshige I, Torii Kiyomitsu.
Who is your favorite ukiyo-e artist?
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Sumo wrestler Kagamiiwa from the western outskirts
Artist
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. This sumo-e print (portraits of sumo wrestlers) by artist Utagawa Toyokuni II is part of the "Tamari-iri" ("Great sumo wrestlers waiting to compete") series. The vertical engraving is in the large oban format that was the standard for commercially printed prints in the 19th century. A large image of a wrestler with emphasized muscles and body lines takes up most of the engraving. Sumo wrestling became a professional sport in the early Edo period and was a popular pastime for city dwellers along with kabuki theatre. The development of the sumo-e genre coincided with the rise in popularity of the sport, which peaked around 1780-1800.
Charming sumo match
Artist
Utamaro II (died circa 1831)
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. Sumo wrestling became a professional sport in the early Edo period and was a popular pastime for city dwellers along with kabuki theatre. The development of the sumo-e genre (portraits of sumo wrestlers) coincided with the rise in popularity of the sport, peaking around 1780-1800. While sumo-e prints usually showed famous wrestlers in the midst of a duel, entering a circle or standing in the street, this print shows a "charming" merry match between two children.
Actor as Sato Norikiyo who becomes Saigyo: Actor as Yoshinaka
Artist
Utagawa, Kuniyoshi, 1798-1861
Description
The Japanese art of Ukiyo-e ("Images of a floating [or sad] world") originated in the city of Edo (now Tokyo) during the Tokugawa or Edo period (1600-1868), a comparatively peaceful time when Japan was ruled by the Tokugawa shoguns who made Edo is the capital. The woodcut tradition of Ukiyo-e lasted until the 20th century. This diptych, dated 1849-1852, shows Saigio surrounded by men who are trying to prevent him from leaving home and becoming a priest. The poet Saigyo (1118-90) was born into an aristocratic military family, but did not follow the military path, but took the rank of a Buddhist priest at the age of about 22 years.
Actor Nakamura Utaemon as Kato Masakiyo
Description
The Japanese art of Ukiyo-e ("Images of a floating [or sad] world") originated in the city of Edo (now Tokyo) during the Tokugawa or Edo period (1600-1868), a comparatively peaceful time when Japan was ruled by the Tokugawa shoguns who made Edo is the capital. The woodcut tradition of Ukiyo-e lasted until the 20th century. This print, dated 1818-1830, depicts the actor Nakamura Utaemon dressed as a warrior, playing the role of Kato Kiyomasa (Masakiyo), a general who led the Japanese army during the Seven Years' War (1592-98) against Korea in the 16th century.
Artist
Shunkosai, Hokushu (Creative period 1810-1850)
Warrior Asahina Kobayashi
Artist
Utagawa, Toyokuni, 1786-1865
Description
The Japanese art of Ukiyo-e ("Images of a floating [or sad] world") originated in the city of Edo (now Tokyo) during the Tokugawa or Edo period (1600-1868), a comparatively peaceful time when Japan was ruled by the Tokugawa shoguns who made Edo is the capital. The woodcut tradition of Ukiyo-e lasted until the 20th century. This reproduction (1862) is a half-length portrait of an actor in a dressing gown embroidered with birds. The actor plays the role of Asahina. The reproduction belongs to the cycle "36 Stars of Modernity" ((Tōsei Mitate Sanjū Rokkasen). Asahina Kobayashi was a warrior of the Kamakura period (late 12th-early 14th centuries), famous for his strength and courage. But in this production of the Kabuki theater, Asahina plays a jester.
girls day
Artist
Nishikawa, Sukenobu (1671-1751)
Description
The Japanese art of Ukiyo-e ("Images of a floating [or sad] world") originated in the city of Edo (now Tokyo) during the Tokugawa or Edo period (1600-1868), a comparatively peaceful time when Japan was ruled by the Tokugawa shoguns who made Edo is the capital. The woodcut tradition of Ukiyo-e lasted until the 20th century. This engraving is a page from an illustrated book dated 1716-1736. It depicts three richly dressed women or girls at a meal, most likely celebrating Hina Matsuri (Girls' Day), in honor of which a puppet ceremony is held, with puppets seated around a table in the background.
Peony and canary
Artist
Description
The Japanese art of Ukiyo-e ("Images of a floating [or sad] world") originated in the city of Edo (now Tokyo) during the Tokugawa or Edo period (1600-1868), during a relatively peaceful time when the Tokugawa shoguns ruled Japan, who made Edo is the capital. The woodcut tradition of Ukiyo-e lasted until the 20th century. This print, made in 1833 or 1834, is from the Little Flowers cycle by Katsushika Hokusaki (1760-1849). It has an unusual background color and size. Other examples of this print, held in the British Museum and the National Museum of Tokyo, have a bright blue background color. This engraving is similar to that in the James A. Michener collection at the Honolulu Academy of Art and, like the engraving in this collection, bears the seals of the censor and the artist.
Sibaura
Artist
Katsushika, Hokusai (1760-1849)
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. Katsushika Hokusai (1760-1849) was a prolific painter and print printer who, along with his rival Utagawa Hiroshige, brought ukiyo-e landscape painting to the pinnacle of artistic excellence. Hokusai's landscapes were more imaginary than naturalistic, creating a dynamic picture that revealed his inner personality and deep knowledge of the subject. This print, in a rare printed envelope format, is part of the Tōto Hyakkei ("100 Views in the Eastern Capital") series. The engraving shows pilgrims resting on the side of the road, and the vague outline of Mount Fuji in the distance.
Sunshu ejiri "Ejiri Bay in Sunshu Province"
Artist
Katsushika, Hokusai (1760-1849)
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. Katsushika Hokusai was an artist and print printer who, along with his rival Utagawa Hiroshige, elevated the ukiyo-e landscape to the pinnacle of artistic excellence. His landscapes were more imaginary than naturalistic, conveying the artist's dynamic individual style and high professionalism in observing the displayed view. This print, part of the Fugaku Sanjūrokkei (Thirty-six Views of Mount Fuji) series, contrasts the image of the majestic mountain with a strong gust of wind blowing kaishi (paper that can be used as a handkerchief or write poetry on it) and hats wind-fighting travelers.
Mount Misaka above the water surface in Koshu
Artist
Katsushika, Hokusai (1760-1849)
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. Katsushika Hokusai was an artist and print printer who, along with his rival Utagawa Hiroshige, elevated the ukiyo-e landscape to the pinnacle of artistic excellence. His landscapes were more imaginary than naturalistic, conveying the artist's dynamic individual style and high professionalism in observing the displayed view. This print is part of the "Fugaku Sanjūrokkei" ("Thirty-six Views of Mount Fuji") series and is a witty depiction of the two seasons: although the actual scenery looks like summer, Mount Fuji, reflected in the lake in the left foreground of the print, is covered in snow. In addition, the panoramic view of the mountain range does not match the reflection of Mount Fuji, which can be seen when looking up from the side of the lake.
Kinko and Echizen
Artist
Omori, Yoshikio
Description
The term ukiyo-e, literally translated "images of the changing world", refers to the direction of Japanese fine art, which developed during the Edo period (1600-1868). As follows from the phrase "changing world", the origins of which lie in the Buddhist worldview of the transience of life, ukiyo-e prints reflected the fast dynamics of modern urban life. Despite the availability and conformity to "simple" tastes, these engravings were remarkable for the amazing refinement of artistic and technical details of the image, the subject of which were both portraits of courtesans and actors, and illustrations for classical literature. Black and white compositions like this one are called sumizuri-e (single color) because only one ink is used when copying or printing them. This print, created by Omori Yoshikiyo around 1700 and part of a revised edition of an echon (illustrated book), depicts a scene in Shimabara, Kyoto's entertainment district. One courtesan named Echizen writes poetry, while another named Kinko combs the hair of a male patron looking in the mirror. The poses of the figures are identical to those depicted in an earlier work, Courtesans Reflected in Mirrors, signed by Okumura Masanobu (circa 1686-1764). Masanobu based his engraving on a work by Torii Kiyonobu I (circa 1664-1729) dated 1700.
