Shinsui Itō (Japanese: 伊東 深水, romanized: Itō Shinsui; 4 February 1898 – 8 May 1972) was the pseudonym of a Nihonga…Shinsui Itō (Japanese: 伊東 深水, romanized: Itō Shinsui; 4 February 1898 – 8 May 1972) was the pseudonym of a Nihonga painter and ukiyo-e woodblock print artist in Taishō- and Shōwa-period Japan. He was one of the great names of the shin-hanga art movement, which revitalized the traditional art after it began to decline with the advent of photography in the early 20th century. His real name was Itō Hajime (Japanese: 伊東 一).
Kiyokata Kaburaki (鏑木 清方, Kaburaki Kiyokata; August 31, 1878 – March 2, 1972) was the art-name of a Nihonga artist and…Kiyokata Kaburaki (鏑木 清方, Kaburaki Kiyokata; August 31, 1878 – March 2, 1972) was the art-name of a Nihonga artist and the leading master of the bijin-ga genre in the Taishō and Shōwa eras. His legal name was Kaburaki Ken'ichi. The artist himself used the reading "Kaburaki", but many Western (and some Japanese) sources transliterate it as "Kaburagi".
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…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, won numerous national and international prizes, and was one of the earliest Japanese artists to win an international audience.
Kobayashi Kiyochika (小林 清親; 10 September 1847 – 28 November 1915) was a Japanese ukiyo-e artist, best known for his…Kobayashi Kiyochika (小林 清親; 10 September 1847 – 28 November 1915) 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.
Santō Kyōden (山東 京伝; Japanese pronunciation: [san.toː (|) kʲo(ꜜ)ː.deɴ], 13 September 1761 Edo – 27 October 1816) was a…Santō Kyōden (山東 京伝; Japanese pronunciation: [san.toː (|) kʲo(ꜜ)ː.deɴ], 13 September 1761 Edo – 27 October 1816) was a Japanese artist, writer, and the owner of a tobacco shop during the Edo period. His real name was Iwase Samuru (岩瀬 醒), and he was also known popularly as Kyōya Denzō (京屋 伝蔵). He began his professional career illustrating the works of others before writing his own Kibyōshi and Sharebon, which marked his importance in the history of manga. Within his works, Kyōden often included references to his shop to increase sales. Kyōden's works were affected by the shifting publication laws of the Kansei Reforms, which aimed to punish writers and their publishers for writings related to the Yoshiwara and other things that were deemed to be "harmful to society" at the time by the Tokugawa Bakufu. As a result of his punishment in 1791, Kyōden shifted his writings to the more didactic Yomihon. During the 1790s, Santō Kyōden became a household name, and one of his works could sell as many as 10,000 copies, numbers that were previously unheard of for the time.
