Kawai Gyokudō was the pseudonym of a Japanese painter in the nihonga school, active from Meiji through Shōwa period Japan. His real name was Kawai Yoshisaburō.
The Kanō school is one of the most famous schools of Japanese painting. The Kanō school of painting was the dominant style of painting from the late 15th century until the Meiji period which began in 1868, by which time the school had divided into many different branches. The Kanō family itself produced a string of major artists over several generations, to which large numbers of unrelated artists who trained in workshops of the school can be added. Some artists married into the family and changed their names, and others were adopted. According to the historian of Japanese art Robert Treat Paine, "another family which in direct blood line produced so many men of genius ... would be hard to find".
Tosa Mitsuoki was a Japanese painter.
The Tosa school of Japanese painting was founded in the early Muromachi period, and was devoted to yamato-e, paintings specializing in subject matter and techniques derived from ancient Japanese art, as opposed to schools influenced by Chinese art, notably the Kanō school (狩野派). Tosa school paintings are characterised by "areas of flat opaque colour enclosed by simple outlines, where drawing is precise and conventional", with many narrative subjects from Japanese literature and history. However, by the 17th century both Tosa and Kanō artists broadened their range, and the distinction between these and other schools became less clear.
Tomioka Tessai was the pseudonym for a painter and calligrapher in imperial Japan. He is regarded as the last major artist in the Bunjinga tradition and one of the first major artists of the Nihonga style. His real name was Yusuke, which he later changed to Hyakuren.
Japanese painting is one of the oldest and most highly refined of the Japanese visual arts, encompassing a wide variety of genres and styles. As with the history of Japanese arts in general, the long history of Japanese painting exhibits synthesis and competition between native Japanese aesthetics and the adaptation of imported ideas, mainly from Chinese painting, which was especially influential at a number of points; significant Western influence only comes from the 19th century onwards, beginning at the same time as Japanese art was influencing that of the West.
The Shijō school, also known as the Maruyama–Shijō school, was a Japanese school of painting.
Nishikawa Sukenobu, often called simply "Sukenobu", was a Japanese printmaker from Kyoto. He was unusual for an ukiyo-e artist, as he was based in the imperial capital of Kyoto. He did prints of actors, but gained note for his works concerning women. His Hyakunin joro shinasadame, in two volumes published in 1723, depicted women of all classes, from the empress to prostitutes, and received favorable results.
Shibata Zeshin was a Japanese lacquer painter and print artist of the late Edo period and early Meiji era. He has been called "Japan's greatest lacquerer", but his reputation as painter and print artist is more complex: In Japan, he is known as both too modern, a panderer to the Westernization movement, and also an overly conservative traditionalist who did nothing to stand out from his contemporaries. Despite holding this complicated reputation in Japan, Zeshin has come to be well regarded and much studied among the art world of the West, in Britain and the United States in particular.
The Kyoto school was a collection of several styles and schools of Japanese painting of the late Edo period. Though there are many broad similarities between the styles within the school, these styles display key differences that separate them. Many were in fact reactions to one another, an artist or group of artists seeking to express themselves differently from those around them. Those subscribers of the Kyoto school found themselves at odds with the state sanctioned Kanō school, thus contributing to the vague nature of the former.
Takeuchi Seihō was a Japanese painter of the Nihonga genre, active from the Meiji through the early Shōwa period. One of the founders of nihonga, his works spanned half a century and he was regarded as master of the prewar Kyoto circle of painters. His real name was Takeuchi Tsunekichi.
Prince Kachō Hirotsune of Japan, was the founder of a collateral branch of the Japanese imperial family.
Kobayashi Kiyochika was a Japanese ukiyo-e artist, best known for his colour woodblock prints and newspaper illustrations. His work documents the rapid modernization and Westernization Japan underwent during the Meiji period (1868–1912) and employs a sense of light and shade called kōsen-ga inspired by Western art techniques. His work first found an audience in the 1870s with prints of red-brick buildings and trains that had proliferated after the Meiji Restoration; his prints of the First Sino-Japanese War of 1894–95 were also popular. Woodblock printing fell out of favour during this period, and many collectors consider Kobayashi's work the last significant example of ukiyo-e.
Ganku 岸駒, or more formally Kishi Ku, was a leading Japanese painter of Kyoto and founder of the Kishi school of painting. He is famous for his paintings of tigers. Ganku was born in Kanazawa as Kishi Saeki, studied painting styles including those of Chinese painter Shen Nanpin (沈南蘋) and the Maruyama-Shijō school, and arrived in Kyoto around 1780.
Mori Sosen was a Japanese painter of the Shijō school during the Edo period.
Mochizuki is a Japanese surname. Notable people with the surname include:
Kōno Bairei was a Japanese painter, book illustrator, and art teacher. He was born and lived in Kyoto. He was a member of the broad Maruyama-Shijo school and was a master of kacho-e painting in the Meiji period of Japan.
Watanabe Seitei, also known as Watanabe Shōtei, was a Japanese Nihonga painter who was one of the first Japanese painters to visit Europe, attending the 1878 International Exhibition in Paris and being awarded a medal. He blended Western realism with the delicate colours and washes of the Kikuchi Yōsai school, introducing a new approach to kachōga.
Utagawa Toyoharu was a Japanese artist in the ukiyo-e genre, known as the founder of the Utagawa school and for his uki-e pictures that incorporated Western-style geometrical perspective to create a sense of depth.
The Hara School was a Kyoto-based Japanese painting atelier established in the late Edo era, which continued as a family-controlled enterprise through the early 20th century. The Hara artists were imperial court painters and exerted great influence within Kyoto art circles. They contributed paintings to various temples and shrines, as well as to the Kyoto Imperial Palace.
Night Parade of One Hundred Demons
