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Ukiyo-e [a] (浮世絵) is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica.
The Hōeidō edition of the Tōkaidō is Hiroshige's best known work, and the best sold ever ukiyo-e Japanese prints. [2] Coming just after Hokusai's Thirty-six Views of Mount Fuji series, it established this new major theme of ukiyo-e, the landscape print, or fūkei-ga, with a special focus on "famous views".
Ogata Gekkō (尾形月耕, 1859 – 1 October 1920) was a Japanese artist best known as a painter and a designer of ukiyo-e woodblock prints.He was self-taught in art, and won numerous national and international prizes and was one of the earliest Japanese artists to win an international audience.
Toyoharu was the first to make the landscape a subject of ukiyo-e art, rather than just a background to figures and events. By the 1780s he had turned primarily to painting. The Utagawa school of art grew to dominate ukiyo-e in the 19th century with artists such as Utamaro, Hiroshige, and Kuniyoshi.
Hokusai also changed the subjects of his works, moving away from the images of courtesans and actors that were the traditional subjects of ukiyo-e. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This change of subject was a breakthrough in ukiyo-e and in Hokusai's ...
Vincent van Gogh copied two of the One Hundred Famous Views of Edo which were among his collection of ukiyo-e prints. Hiroshige's style also influenced the Mir iskusstva, a 20th-century Russian art movement in which Ivan Bilibin and Mstislav Dobuzhinsky were major artists.
Pages in category "Ukiyo-e artists" The following 106 pages are in this category, out of 106 total. This list may not reflect recent changes. A.
An 1885 issue of the art and fashion magazine "Tokyo Hayari Hosomiki" ranked Yoshitoshi as the number-one ukiyo-e artist, ahead of his Meiji contemporaries such as Utagawa Yoshiiku and Toyohara Kunichika. Thus he had achieved great popularity and critical acclaim. By this point, the woodblock industry was in severe straits.