Which covers many techniques and styles. Throughout its history, it has undergone a large number of changes. New traditions and genres were added, and the original Japanese principles remained. Along with amazing story Japan painting is also ready to present many unique and interesting facts.
ancient japan
The first styles appear in the most ancient historical period countries before BC. e. Back then, art was pretty primitive. First, in 300 B.C. e., there were various geometric figures which were made on pottery with sticks. Such a find by archaeologists as an ornament on bronze bells belongs to a later time.
A little later, already in 300 AD. e., appear cave drawings which are much more varied. geometric ornament. These are already full-fledged images with images. They were found inside the crypts, and probably the people who are painted on them were buried in these burial grounds.
In the 7th century A.D. e. Japan adopts the script that comes from China. Around the same time, the first paintings come from there. Then painting appears as a separate sphere of art.
edo
Edo is far from the first and not the last painting, but it was she who brought a lot of new things to the culture. Firstly, it is the brightness and brilliance that were added to the familiar technique performed in black and white. gray tones. Sotasu is considered the most prominent artist of this style. He created classical paintings but his characters were very colorful. Later, he switched to nature, and most of the landscapes were done against a background of gilding.
Secondly, during the Edo period, the exotic, the namban genre, appeared. It used modern European and Chinese technicians that are intertwined with traditional Japanese styles.
And thirdly, the Nang school appears. In it, the artists first completely imitate or even copy the works of Chinese masters. Then a new branch appears, which is called bunjing.
Modernization period
The Edo period replaces the Meiji, and now Japanese painting is forced to enter the new stage development. At this time, genres such as the western and the like were becoming popular all over the world, so the modernization of art became a common state of affairs. However, in Japan, a country where all people revere traditions, in given time things were very different from what happened in other countries. Here, competition between European and local technicians flares up sharply.
The government at this stage gives its preference to young artists who serve big hopes to improve skills in Western styles. Therefore, they send them to schools in Europe and America.
But this was only at the beginning of the period. The fact is that notable critics pretty much criticized western art. To avoid a lot of hype around this issue, European styles and techniques began to be banned at exhibitions, their display ceased, as did their popularity.
The emergence of European styles
Then comes the Taisho period. At this time, young artists who left to study in foreign schools come back to their homeland. Naturally, they bring with them new styles of Japanese painting, which are very similar to European ones. Impressionism and post-impressionism appear.
At this stage, many schools are being formed in which the ancient japanese styles. But it is not possible to completely get rid of Western tendencies. Therefore, it is necessary to combine several techniques in order to please both lovers of the classics and fans of modern European painting.
Some schools are funded by the state, thanks to which many of the national traditions are preserved. Private traders, on the other hand, are forced to follow the lead of consumers who want something new, they are tired of the classics.
WWII painting
After the onset of wartime, Japanese painting remained aloof from events for some time. It developed separately and independently. But it couldn't go on like this forever.
Over time, when the political situation in the country is getting worse, high and respected figures attract many artists. Some of them, even at the beginning of the war, begin to create in patriotic styles. The rest start this process only by order of the authorities.
Accordingly, Japanese fine arts during the Second World War were unable to develop especially. Therefore, for painting it can be called stagnant.
Eternal Suibokuga
Japanese sumi-e painting, or suibokuga, means "ink drawing". This defines the style and technique this art. It came from China, but the Japanese decided to give it their own name. And initially the technique did not have any aesthetic side. It was used by the monks for self-improvement while studying Zen. Moreover, at first they drew pictures, and later they trained their concentration while viewing them. The monks believed that strict lines, vague tones and shadows help improvement - all that is called monochrome.
Japanese ink painting, despite the wide variety of paintings and techniques, is not as complicated as it might seem at first glance. It is based on only 4 plots:
- Chrysanthemum.
- Orchid.
- Plum branch.
- Bamboo.
A small number of plots does not make the development of technology fast. Some masters believe that learning lasts a lifetime.
Despite the fact that sumi-e appeared a long time ago, it is always in demand. Moreover, today you can meet the masters of this school not only in Japan, it is also widespread far beyond its borders.
Modern period
After the end of the Second World War, art in Japan flourished only in major cities, villagers and villagers had enough worries. For the most part, the artists tried to turn their backs on the losses of war times and depict contemporary art on canvas. city life with all its embellishments and features. European and American ideas were successfully adopted, but this state of affairs did not last long. Many masters began to gradually move away from them towards Japanese schools.
It has always remained fashionable. Therefore, modern Japanese painting can differ only in the technique of execution or the materials used in the process. But most artists do not perceive various innovations well.
Not to mention fashionable modern subcultures such as anime and similar styles. Many artists are trying to blur the line between the classics and what is in demand today. For the most part, this state of affairs is due to commerce. Classics and traditional genres in fact, they don’t buy, therefore, it’s unprofitable to work as an artist in your favorite genre, you need to adapt to fashion.
Conclusion
Undoubtedly, Japanese painting is a treasure trove of visual arts. Perhaps the country in question remained the only one that did not follow Western trends, did not adapt to fashion. Despite many blows at the time of the arrival of new techniques, the artists of Japan still managed to defend national traditions in many genres. This is probably why, in modern times, paintings made in classical styles are highly valued at exhibitions.
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 compliance with "simple" tastes, these engravings were distinguished by an amazing refinement of artistic and technical details images, 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 close-up image of a wrestler with emphasized muscles and lines of the body takes most engravings. 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 in the 16th century during Seven Years' War(1592-98) against Korea.
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. On other examples of this engraving, kept in the British Museum and National Museum Tokyo, background color is bright blue. 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 skill. Hokusai's landscapes were more imaginary than naturalistic, creating a dynamic picture that revealed his inner personality and deep knowledge Topics. 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 a dynamic individual style artist 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 real scenery looks like summer, Mount Fuji, reflected in the lake in the left foreground of the engraving, is covered with 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 similar ones 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.
Every country has its heroes contemporary art, whose names are well-known, whose exhibitions gather crowds of fans and curious people, and whose works are distributed among private collections.
In this article, we will introduce you to the most popular contemporary artists Japan.
Keiko Tanabe
Born in Kyoto, Keiko won multiple titles as a child. art competitions, But higher education received not at all in the field of art. Worked in the department international relations with a Japanese self-government trade organization in Tokyo, with a major law firm in San Francisco, and with a private consulting firm in San Diego, traveled extensively. Starting in 2003, she left her job and, after learning the basics of watercolor painting in San Diego, devoted herself exclusively to art.
Ikenaga Yasunari (Ikenaga Yasunari)
Japanese artist Ikenaga Yasunari paints portraits modern women in ancient Japanese tradition painting using the Menso brush, mineral pigments, carbon black, ink and linen as a base. His characters are women of our time, but thanks to the style of Nihonga, there is a feeling that they came to us from ancient times.
Abe Toshiyuki
Abe Toshiyuki is a realist artist who has mastered watercolor technique. Abe can be called an artist-philosopher: he fundamentally does not draw well-known landmarks, preferring subjective compositions that reflect internal states the person watching them.
Hiroko Sakai
The career of the artist Hiroko Sakai began in the early 90s in the city of Fukuoka. After graduating from Seinan Gakuin University and french school Interior Design Nihon in the field of design and visualization, she founded "Atelier Yume-Tsumugi Ltd." and successfully managed this studio for 5 years. Many of her works adorn hospital lobbies, offices large corporations and some municipal buildings in Japan. After moving to the United States, Hiroko began to paint in oils.
Riusuke Fukahori
The three-dimensional works of Ryuusuki Fukahori are like holograms. They are done acrylic paint, superimposed in several layers, and a transparent resin liquid - all this, not excluding traditional methods such as shadow rendering, edge softening, transparency control, allows Ryusuki to create sculptural paintings and gives depth and realism to the work.
Natsuki Otani
Natsuki Otani is a talented Japanese illustrator living and working in England.
Makoto Muramatsu
Makoto Muramatsu chose a win-win theme as the basis for his work - he draws cats. His pictures are popular all over the world, especially in the form of puzzles.
Tetsuya Mishima
Most of the paintings by contemporary Japanese artist Mishima are made in oils. She has been painting professionally since the 90s, she has several personal exhibitions and a large number of collective exhibitions, both Japanese and foreign.
do you like Japanese painting? How much do you know about celebrities? Japanese artists? Let's take a look at the most famous artists Japan who created their works in the style of ukiyo-e (浮世絵). 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). Considered the founder of the ukiyo-e genre, although, in fact, he is only the first master whose life has been preserved. biographical information. Moronobu was born into the family of a master who dyed fabrics and embroidered with gold and silver threads and for a long time was engaged in a family craft, so the hallmark of his work is beautifully decorated clothes 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 plots and books with sample patterns for kimonos. The master also worked in the shunga genre, and among individual works several depictions of 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. Most famous the genre of bijinga brought him, although he began with yakusha-e. The plots for engravings in the bijinga genre were taken from Everyday life: walks, festive processions, trips to 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”. hallmark 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). On this outstanding master Ukiyo-e was heavily influenced by Torii Kiyonaga and 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 reached high level in expression mental states on paper. For the first time in Japanese woodcuts, chest compositions began to be used.
It was the work of Utamaro that influenced french impressionists and contributed to the interest of Europeans in Japanese engravings.
(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 work Hokusai were in the yakusha-e genre in the form of diptychs and triptychs, and the popularity of the student was equal to that 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 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."
TO famous series illustrations include "36 Views of Mount Fuji", of which the most prominent is "The Victorious Wind. Clear day" or "Red Fuji" and " A big wave in 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 destinations like 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. Plots early works based on real events taking place on the streets. His famous cycles are 100 Views of Edo, 36 Views of Mount Fuji, 53 Tokaido Stations, 69 Kimokaido Stations, 100 known species 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 outstanding artists ukiyo-e.
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 theater scenes, actors, geishas and courtesans, Kuniyoshi writes his "cat" series, makes engravings from an educational series for housewives and children, depicts national heroes in the series "Traditions, morality and deanery", and by the end of the 1840s - 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. In his best 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 a brothel in Nezu 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.
Stand out in the image street scenes and shunga paintings. 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 the department Japanese art in 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 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 early period ukiyo-e. 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 in the role brave heroes and were painted 
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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