Reference list · Ukiyo E
1749 – 1910
Katsushika Hokusai's The Great Wave off Kanagawa (1831), Katsushika Hokusai's Femenine Wave (1830, Hokusai Museum), Utagawa Hiroshige's Early Department from a Daimyo (n.d., Nakagawa-machi Bato Hiroshige Museum of Art), Katsushika Hokusai's Carp in Water (1832, Bristol Museum - Art Gallery) and Katsushika Hokusai's Fuji, Mountains in Clear Weather (Red Fuji) (1831): these are the most famous Ukiyo E paintings. Below, all 100 of them — painted from 1749 to 1910 by 16 artists — with their date, their size and the museum that keeps them.
List
Each entry records the artist, date, technique, dimensions and current collection, followed by a summary from the artwork's notice.
1831Woodblock print (ukiyo-e)25.7 × 37.9 cm
Belonging to the ukiyo-e (“pictures of the floating world”) genre, this print exemplifies the sophisticated techniques developed during Japan’s Edo period. The Great Wave is the first in Hokusai's celebrated series, “Thirty-six Views of Mount Fuji.” While seemingly focused on the tumultuous sea, the distant, snow-capped peak of Mount Fuji anchors the scene, providing a sense of scale and symbolic stability. This recurring motif highlights the Japanese reverence for this sacred mountain, representing permanence amidst impermanence.
Notable elementsmount Fuji in backgrounddynamic compositionprussian blue pigmentlarge wave
Katsushika HokusaiUkiyo-e
1830Woodblock printHokusai Museum
The print's impact can be seen in their own seascapes and landscapes, which often echoed Hokusai’s bold brushstrokes and evocative imagery.
Woodblock print37 × 24 cmNakagawa-machi Bato Hiroshige Museum of Art, Nagasaki
Within this single frame, Hiroshige orchestrates a symphony of social interaction: warriors engaged in the disciplined art of archery, figures gathered for games of chance, and the casual wanderers of the riverside.
Katsushika HokusaiUkiyo-e
1832Woodblock printBristol Museum - Art Gallery
“Carp in Water” exemplifies the hallmarks of Hokusai's signature nishiki-e style—a technique characterized by its bold use of color, intricate detail, and layered washes. The carp itself represents ambition, perseverance, and the pursuit of excellence—qualities deeply valued in Japanese culture.
1831Woodblock print
The precise, deliberate brushstrokes and meticulous attention to detail are hallmarks of this traditional Japanese art form. The artwork features a striking contrast between the warm reds and browns of Mount Fuji and the cool blues and whites of the sky. "Red Fuji" is one of the most famous images from Hokusai's series, showcasing his ability to capture the essence of Mount Fuji in various weather conditions and seasons.
Notable elementsvibrant red hue of Mount Fujiserene sky with deep blues and whitesdense forest at the base of the mountain
1848Woodblock print37 × 25 cm
Yata Gorôemon Suketake is a woodblock print by the artist Utagawa Kuniyoshi. The print identifies the subject as Yata Gorôemon Suketake, a figure from the legendary tale of the Forty-Seven Ronin. Yata Gorôemon Suketake is depicted running through a landscape of destruction, amidst the broken pieces of a shoji and scattered flowers.
Katsushika HokusaiJapanese Ukiyo-e
1814Woodblock printed; ink, color and metallic pigment on paperThe Smithsonian’s National Museum of Asian Art, Washington, D.C.
Following this introductory image are seven double-page spreads depicting erotic scenes, skillfully executed using Hokusai's signature technique of mokuhanga, woodblock printing. Notably, one particular illustration—titled The Dream of the Fisherman’s Wife —captures Hokusai's genius in portraying an unconventional pairing: a woman enveloped by the limbs of two octopuses.
1834Sumi ink & washiThe Art Institute
Created around 1834, Cranes on Pine Tree exemplifies the core tenets of Ukiyo-e – Japanese woodblock prints that flourished during the Edo period. In East Asian cultures, particularly in Japan and China, the crane represents longevity, happiness, good fortune, and imperial power. Cranes on Pine Tree was created during a pivotal period in Hokusai’s career, following his groundbreaking work Thirty-Six Views of Mount Fuji.
Notable elementsmistcrane symbolism
1885–1892Woodblock print
This work belongs to his celebrated series, One Hundred Aspects of the Moon, also known as Tsuki hyakkei. Between 1889 and 1892, he produced the series New Forms of 36 Spirits, which continued his exploration of the supernatural and the human condition. In 1888, he also turned his attention to the female form in his series 32 Aspects of Women.
Woodblock print
It belongs to the ukiyo-e tradition, a genre that captured the shifting social landscapes of the Edo period. The work is a significant example of the artist's technical precision. The presence of the blossoms introduces a subtle layer of meaning; in Japanese culture, these flowers represent the fleeting nature of life.
1882Fresco12 × 9 cmMetropolitan Museum of Art, New York
This arrangement reflects an oriental style, drawing from Japanese traditions to present a quiet, domestic moment. The work utilizes a specific combination of materials to achieve its visual depth: The application of lacquer onto gold paper creates a subtle interplay of light and texture. The artist, Shibata Zeshin, was a practitioner of maki-e, a method of applying metallic pigments onto lacquer.
1785Silk105 × 29 cm
The scene unfolds through Woman Tearing a Love Letter, a poignant work by the artist Katsukawa Shunshō. Created about 1785, this painting captures a singular, agonizing moment of human emotion. It is a compact, focused window into a private tragedy, frozen in time since about 1785. Born in Edo, Japan, in 1726, Katsukawa Shunshō moves through history as a monumental figure.
Woodblock print
At the heart of the scene stands a commanding, ancient tree, its gnarled branches serving as a silent witness to the travelers passing beneath its canopy.
Katsushika HokusaiUkiyo-e Tradition
1834Woodblock print
The term “ukiyo-e” translates to “pictures of the floating world,” reflecting the artistic movement's focus on capturing the ephemeral pleasures and transient beauty of everyday life in Edo (modern Tokyo). In the background, Mount Fuji—a sacred symbol of Japan—appears small and distant, offering a point of stability amidst the turmoil.
Notable elementsspiral wavemt Fuji
1845Woodblock print38 × 26 cmBujalance Collection
The scene unfolds with two women locked in a tender, silent exchange; one gently cradles the other's face, her gaze directed downward in a posture of quiet reflection or perhaps shared sorrow. The subtle palette, characteristic of mid- 19th century Japanese printing, provides a sophisticated touch that integrates seamlessly into both contemporary minimalist settings and more traditional, richly textured interiors.
Notable elementssplit composition with haikucartouche
1794Woodblock print38 × 25 cmMetropolitan Museum of Art, New York
In the fleeting moments of the Edo period, few artists captured the raw, unbridled energy of human emotion as piercingly as Tōshūsai Sharaku. The character of Yakko Edobei is rendered not as a polished icon, but as a living, breathing entity caught in the throes of a dramatic climax.
Utagawa KuniyoshiJapanese Ukiyo-e
1848–1850Full-color woodcut (nishiki-e)37 × 25 cmHammer Museum, Los Angeles
The scene unfolds on the Uji River, a tributary of Kyoto’s Kamogawa River, famed for its scenic splendor. Kuniyoshi skillfully juxtaposes this tranquil landscape with the tumultuous clash between two warring clans – the Tokugawa and Mito factions – vying for control during Japan's turbulent Edo Period.
Shibata ZeshinUkiyo-e
1891Fresco
The scene unfolds across two panels, creating a tension between stillness and movement. Two young brown deer move through the landscape, positioned opposite a grizzled old white deer. This elder deer rests against the deep shadows of a rocky outcropping, while brown mushrooms sprout from the earth below.
Yoshitoshiukiyo-e
Woodblock print
A woman stands at the center of a tranquil gathering, her long black hair cascading down her shoulders like ink spilled upon silk. Around her, the world feels suspended in a gentle harmony. Other figures drift in the background, some mirroring her grace with their own floral offerings, creating a sense of shared purpose or perhaps a seasonal celebration.
1853Color woodblock print; ink and color on paper
The composition centers on the turbulent waters of the Naruto Strait, where the tide creates a swirling vortex. The ground plane is tilted sharply upward, bringing the viewer into a close proximity with the spray and the textured surface of the rocks. Created in 1853, this woodblock print belongs to the ukiyo-e tradition of Japan.
Utagawa KunisadaUkiyo-e
1853Woodblock print
Sumo Spectators is a woodblock print by the artist Utagawa Kunisada. This work is a representation of a traditional Japanese scene. These hues are characteristic of the aesthetic found in late Edo Japan. As a practitioner of ukiyo-e, Kunisada was a leading figure in the use of color woodblock printing during the Edo period.
1857Woodblock print, ink and colour on paper
It belongs to the series One Hundred Famous Views of Edo (Meisho Edo hyakkei). It captures the specific atmosphere of the Tanabata Festival, also known as Tanabatatsume. It offers a view from the artist's own home in Nakabashi Kano Shinmichi, looking out toward the warehouses of Minami Denma-cho. The perspective is intimate, looking out from Hiroshige's own home in Nakabashi Kano Shinmichi, just east of the main Tokaido avenue.
Woodblock print
Somagahana Fuchiemon, a sumo wrestler of formidable presence, occupies the center of the frame in a moment of quiet, intense recovery. This simple, human gesture provides a sudden, intimate respite from the violent energy of the ring.
1835Ukiyo-e woodblock print38 × 26 cm
Measuring 38 x 26 cm, the painting immediately draws the eye with its bold color palette dominated by rich blues and punctuated by the striking red of the woman's dress, creating an immediate sense of drama and visual excitement. The scene depicts Oniwakamaru, a legendary warrior known for his bravery and skill, engaged in a perilous battle with a colossal carp.
Notable elementswomanchildgiant carp
Katsushika HokusaiUkiyo-e style
Woodblock print
The painting centers around a group of individuals enjoying themselves within the shadow of the 500 Rakan temples – a reference to Buddhist monks known for their wandering and meditation practices. Created during the Edo period (1603-1868), a time of relative peace and prosperity in Japan, this artwork reflects the prevailing aesthetic values of the era.
Notable elementswater viewboat
Woodblock print
The composition is a masterclass in perspective, leading the eye through a bustling scene of travelers and locals navigating the rugged terrain. As part of his legendary series, Thirty-six Views of Mount Fuji, this print captures a moment where Mount Fuji is not presented as a distant, untouchable deity, but as a constant companion to the human experience.
Woodblock print
Kuniyoshi, born Yoshisaburō in 1798 and tragically passing in 1861, was a pivotal figure at the close of the ukiyo-e movement – a vibrant artistic tradition that captured the essence of everyday life during the Edo period. Kuniyoshi's skill lies in his ability to synthesize multiple influences. This meticulous attention to detail is characteristic of Kuniyoshi's work and exemplifies the highest standards of Ukiyo-e artistry.
Katsushika HokusaiJapanese Ukiyo-e
Woodblock print; ink & color on paperThe Howard Mansfield Collection
Produced amidst a period of significant social upheaval and artistic experimentation, “Dragon Ascending Mount Fuji” reflects Japan’s fascination with Buddhist cosmology and its reverence for mountains as symbols of stability and spiritual enlightenment. The dragon ascending Fuji symbolizes perseverance and ambition—a visual metaphor for striving towards lofty goals despite adversity.
Ink on rice paper
The artwork firmly establishes itself within the stylistic framework of Ukiyo-e (浮世絵), meaning “pictures of the floating world.” Originating in Edo Japan during the Tokugawa shogunate (1603–1868), this artistic movement prioritized capturing fleeting moments from urban life —theater performances, landscapes, and portraits—rather than striving for idealized representations. While seemingly straightforward, ‘Seated Woman with Shamisen’ carries subtle symbolic weight.
Three figures, presumably firefighters, are shown battling – or attempting to contain – a blaze within a mountainous, snow-covered setting. A fourth figure is visible in the distance on the right, perhaps offering support or observing the situation. Firefighting in Edo-period Japan was a crucial public service, often undertaken by dedicated groups known as mizukumi, making this subject matter particularly relevant to the time.
Notable elementsthree men fighting a firesnowbirds
1910
Due to the negative reviews of Tiger in a Tropical Storm, Rousseau did not paint another jungle scene until seven years later. The Hungry Lion Throws itself on the Antelope was the second jungle scene he painted after his return to painting the flora and fauna of the jungle, which was based off of the diorama of stuffed animals in the Paris Natural History Museum.
Utagawa KuniyoshiUkiyo-e Style
1840–1842Ukiyo-e woodblock print
The woman, rendered with striking detail and vibrant hues characteristic of ukiyo-e, is poised mid-strike, her sword raised high – a symbol of courage and righteous fury. The image was created using traditional Japanese woodblock printing techniques.
Notable elementsnarrative scenemythical creatures
Utagawa KuniyoshiUkiyo-e Style
Ukiyo-e woodblock print
The scene unfolds within the meticulously rendered world of ukiyo-e, characterized by its bold, flat perspectives and rich color palette. “Woman Selling Decorative Bowls” belongs to a pivotal era in Japanese art – the late Edo period (1798-1861). This was the “floating world” (ukiyo), a term coined by Moroni Ukiyoemon to describe the vibrant, pleasure-seeking culture of Edo.
Notable elementscolordetailed scene
Unknown
The Waterfall At Aoiga-oka is a prime example of Hokusai's landscape work within the ukiyo-e tradition – “pictures of the floating world.” This style focused on capturing everyday life, landscapes, and popular culture. The use of Prussian blue pigment (introduced to Japan during this period) is particularly striking, lending a vibrant hue to the water and sky. Hokusai’s work, including The Waterfall At Aoiga-oka, contributed significantly to this trend.
Notable elementswaterfallpeopleboatbirds
Utagawa KuniyoshiUkiyo-e Tradition
1830Woodblock printTokyo National Museum
Kuniyoshi frequently incorporated elements from Chinese folklore and literature into his work, drawing upon a rich tradition of storytelling that shaped Japanese culture. This particular print may allude to themes of virtue, wisdom, and the importance of female education – values highly esteemed within the social hierarchy of Edo Japan.
Notable elementsfigurestextscroll
Discover "Poem By Bunya No Asayasu" by Katsushika Hokusai – a stunning depiction of boats on the water.
YoshitoshiJapanese Ukiyo-e Tradition
1871Woodblock printPhiladelphia Museum of Art
The woodblock print titled The Takisoba Restaurant At Otowa was produced by the artist Yoshitoshi in 1871. This work belongs to the series Beautiful Women and Fancy Dishes in Tōkyō. The composition follows a traditional Japanese style characterized by a strong vertical emphasis. The color palette consists of blues, greens, reds, and yellows, utilizing traditional Japanese pigments.
Suzuki HarunobuUkiyo-e
Experience 'The Kiss' by Suzuki Harunobu – a stunning ukiyo-e masterpiece showcasing intimacy & beauty.
184837 × 26 cm
184836 × 26 cm
184836 × 25 cm
Utagawa KuniyoshiUkiyo-e Style
1848Woodblock print
Kuniyoshi’s skill as a printmaker is immediately apparent. The composition explodes with movement – Benkei strides forward, his posture radiating determination, while the other figure, presumably a companion, reacts with cautious observation.
Notable elementswarriorsbenkei figure
Woodblock print
The artwork begins with a skilled artisan carving a detailed woodblock from cherry wood. Japanese Print “Catching Fireflies” by Utagawa Kuniyoshi Japanese Print “Catching Fireflies” by Utagawa Kuniyoshi
Woodblock print
The painting features a woman as its central figure, presented with a poised demeanor. In her hand, she holds a detailed face brush, which suggests she may be preparing for a performance or engaged in the act of applying makeup.
Katsushika HokusaiJapanese Ukiyo-e
1830Ink wash painting
Hokusai’s genius lies in capturing not just what was seen but also what felt like to inhabit that era—a palpable sense of refinement and quiet contemplation amidst the burgeoning pressures of Western influence. The artist skillfully utilized Prussian blue pigment, imported from Europe during this period, which revolutionized Japanese color palettes and allowed for unprecedented vibrancy.
Ink on paperMinneapolis Institute Arts
Katsushika Hokusai, a titan of Japanese art, is instantly recognizable for his monumental wave prints, yet his oeuvre encompassed a remarkable breadth of subject matter and stylistic approaches. Katsushika Hokusai (A Pupil) Period: Edo Period (1603–1868), specifically the 19th century. Research confirms this artwork was produced during the Edo period (1603–1868) and was created by a pupil of Hokusai himself.
Notable elementsukiyo-e style
The artwork centers on a group of figures – pedestrians bundled in cloaks and wielding paper umbrellas – navigating a pathway. Fuji In A Downpour exemplifies Hokusai's mastery of woodblock printing. Hokusai, throughout his prolific career, continually experimented with different subjects and styles, influencing generations of artists both in Japan and the West.
Notable elementsumbrellaspeople walking togetherrain
Unknown
While seemingly simple in its subject matter – two swords displayed on stands – the work reveals layers of meaning when viewed within the context of Edo period Japan. The painting depicts precisely what its title suggests: two Japanese swords, or katana, presented on ornate stands. During the Edo period (1603-1868), Japan experienced a long period of peace under the Tokugawa shogunate.
Notable elementscrossing compositiontwo swords on standscontrasting lengths
While the specific printing details (color variations, number of impressions) are unknown without examining the physical work, it's characteristic of Hokusai to employ Prussian blue (berorin-ao), a pigment newly available in Japan during his time, alongside traditional Japanese hues. The Kiso Road was an important artery of travel during the Edo period, connecting the political centers of Japan.
Notable elementslush greenerywaterfallmountains
Katsushika HokusaiJapanese Ukiyo-e
1830Painting
Hokusai's style is instantly recognizable as belonging to Ukiyo-e, the “pictures of the floating world,” a genre that flourished in Japan during the Edo period. Despite the stylistic influences of Ukiyo-e, Hokusai’s use of oil paints represents a bold step forward. “Two Crabs” emerged during a period of significant cultural transformation in Japan.
Admire Goyo Hashiguchi’s ‘Lady In Grey Kimono,’ a stunning Ukiyo-e portrait of a Japanese woman.
Discover Katsushika Hokusai’s ‘Fifty-Three Stations,’ a stunning Ukiyo-e woodblock print capturing Edo period life.
YoshitoshiUkiyo-e
Discover 'Assassin Prince' by tsukioka yoshitoshi – a dramatic Ukiyo-e woodblock print featuring a warrior & monstrous figure.
YoshitoshiUkiyo-e
Explore 'Hiratsuka' by tsukioka yoshitoshi – a stunning ukiyo-e woodblock print depicting a military procession.
Katsushika HokusaiUkiyo-e
Capturing Edo-era craftsmanship & daily life in stunning detail.
Kitagawa UtamaroUkiyo-e
1806
Admire 'Flowers' by Kitagawa Utamaro (1806), a serene ukiyo-e masterpiece featuring blossoms & a moonlit scene.
1805231 × 80 cm
Utagawa KuniyoshiJapanese Ukiyo-e
Woodblock printBritish Museum
In this ukiyo-e composition, the eye is immediately drawn to the central figure of a lobster. Having been trained in the Utagawa school, Kuniyoshi brought a unique sensibility to his work, often blending traditional themes with a keen eye for detail and composition. The result is a work that feels both grounded in the traditions of Edo-period Japan and remarkably fresh in its execution.
Woodblock print (ukiyo-e)RISD Museum, Providence
“Scrbbling on the Storehouse Wall” is deeply rooted in the cultural and philosophical context of Edo-period Japan. As one of the last great masters of Ukiyo-e, Kuniyoshi’s work represents a crucial bridge between traditional Japanese art and Western artistic influences, solidifying his place as an icon of Japanese art history.
Notable elementsdynamic compositionkabuki actors
Utagawa KuniyoshiUkiyo-e Tradition
1848Woodblock print (ukiyo-e)37 × 25 cm
Executed in 1848, this piece exemplifies the vibrant dynamism and intricate storytelling that defined ukiyo-e – “pictures of the floating world” – an artistic movement that captured the essence of Japanese life with unparalleled skill. Kuniyoshi, born Yoshisaburō in 1798, was a pivotal figure at the end of this artistic tradition, carrying forward its spirit while innovating within its established conventions.
Notable elementsflat colorbold lines
Admire 'Man Behind a Sliding Door' by Suzuki Harunobu – a serene 18th-century Japanese print.
Utagawa HiroshigeUkiyo-e
Woodblock print; ink and color on paperIndianapolis Museum of Art
The scene is defined by strong, deliberate lines that outline the organic shapes of trees and water. A muted palette of blues, greens, and browns establishes a serene, somewhat melancholic atmosphere, suggesting the diffused light of an overcast morning or late afternoon. The work utilizes the woodblock printing technique, where ink is pressed onto Japanese mulberry paper to create subtle tonal variations.
Woodblock print (cherry wood)
Ukiyo-e – Known for its stylized depictions of everyday life and landscapes, emphasizing emotion and atmosphere rather than precise realism. The print's muted palette – primarily Prussian Blue – contributes to its contemplative mood, mirroring the spiritual essence of its subject matter. Produced during the Edo period, a time of relative stability and flourishing arts patronage in Japan, reflecting broader cultural values emphasizing harmony and spiritual aspiration.
1793Woodblock printTsutaya Jűzaburô (Kôshodô)
The print’s dynamic arrangement—characterized by overlapping figures and a shallow depth—reflects the conventions of ukiyo-e style. Artists deliberately flattened perspective to convey atmosphere and emotion, prioritizing narrative impact over strict realism. Dominated by muted browns, ochres, and reds, Travelling Nuns employs a restrained color palette that contributes to its contemplative mood.
1845Woodblock print (triptych)76 × 36 cm
The scene depicts Mitsukini, a legendary warrior, confronting a colossal skeleton summoned by the vengeful sorceress Princess Takiyasha. The use of Prussian blue, a relatively new pigment at the time, adds a striking contrast to the warmer tones, further emphasizing the skeletal figure’s chilling presence.
Notable elementsskeletonwarrior
Ukiyo-e woodblock printSuzuki Kiitsu Memorial Hall, Tokyo Metropolitan Commission for the Promotion of Arts
The print depicts Saito Toshimoto, a key figure in this campaign, engaged in a fierce duel with an unnamed opponent. This particular scene reflects the anxieties of the time – Japan’s struggle against its powerful neighbors – while simultaneously celebrating the courage and martial prowess of its warriors. Kuniyoshi’s work represents a high point in ukiyo-e artistry, bridging the gap between traditional Japanese aesthetics and Western artistic influences.
Yosa BusonUkiyo-e
1749Woodblock print, ink, and paper102.2 × 51.6 cmMetropolitan Museum of Art, New York
The image is rendered in a grayscale palette, utilizing varying weights of black ink against a light background to suggest volume and texture. The following elements define the visual structure: Line Work: Heavy, deliberate outlines define the edges of the kimono, the stool, and the figure's limbs.
Giclée print38 × 26 cm
Here, the mundane act of walking becomes imbued with poetic weight, suggesting journeys both physical and spiritual.
Woodblock print
The man's flowing robes and the gentle presence of the rabbit create a harmonious balance, drawing the eye to the subtle emotional depth conveyed through their interaction. Created in the traditional ukiyo-e style, this piece exemplifies the mastery of Japanese woodblock printing.
Notable elementscultural symbolismdelicate line worksubtle color paletteexpressive composition
1830Woodblock print
This bold palette was not solely based on traditional Japanese pigments; Kuniyoshi, influenced by Western artistic trends, incorporated elements of light and shadow – a technique often seen in European landscape painting – into his work. Kuniyoshi's work is firmly rooted in the “floating world” – a term used to describe the vibrant entertainment culture of Edo Japan, which encompassed everything from Kabuki theater to pleasure districts.
Notable elementsanimal dyeing scene
Woodblock print49 × 35 cmSaitama Prefectural Museum of History and Folklore
One wrestler holds his opponent down upon his knees, a pivotal moment of tension that suggests the climax of a match. As a pupil of the great Kunisada I, the artist known as Kunisada II (or Toyokuni IV) carried forward a tradition of storytelling through printmaking that defined an entire epoch of Japanese art.
Admire Katsushika Hokusai’s ‘Chrysanthemum Spray,’ a serene woodblock print showcasing floral beauty & traditional Japanese aesthetics.
YoshitoshiUkiyo-e
Ukiyo-e
This remarkable collage, assembled from multiple scenes attributed to the artist, offers a raw and unflinching portrayal of everyday life – often tinged with melancholy and a sense of impending doom. Each image within “Comic Picture” is laden with symbolic meaning, reflecting the anxieties and uncertainties of late Edo Japan.
Notable elementsdiverse poseshumorous scenes
Woodblock print
The print’s dynamic diagonal lines propel the viewer’s gaze across the canvas, emphasizing the central warrior’s movement. Hokusai skillfully blends realism with symbolic elements—the stylized clouds and lightning serve as a dramatic backdrop, mirroring the internal struggle of the figure himself. Texture is achieved through subtle layering of ink washes—a technique characteristic of Ukiyo-e —resulting in a grainy surface that lends an air of authenticity.
1800Woodblock printHill-Stead Museum, Farmington
The subject, a woman captured in a moment of quiet introspection, presents her back to the observer, yet her presence is undeniably commanding.
Classification
Ukiyo-e50 · 1749–1910
Ukiyo-E24 · 1803–1845
Ukiyo E10 · 1794–1857
Japanese Ukiyo-e6 · 1814–1848
Ukiyo-e Tradition3 · 1830–1848
Ukiyo-e Style3 · 1840–1848
Collections
Of the 100 works, 4 are held in New York, including 4 at the Metropolitan Museum of Art.
Hokusai Museum
The Art Institute
The Howard Mansfield Collection
Philadelphia Museum of Art
Minneapolis Institute Arts
Artists cited
1760–1849 · Japan · 35
Japanese ukiyo-e artist of powerful waves and landscapes rendered in bold, decisive lines, famous for his views of Mount Fuji.
1. The Great Wave off Kanagawa, 2. Femenine Wave, 4. Carp in Water, 5. Fuji, Mountains in Clear Weather (Red Fuji), 7. Kinoe no komatsu, 8. Cranes on pine tree, 13. Mishima pass in Kai province, 14. The Great Wave, 33. Sazai hall - 500 Rakan temples, 35. The Fuji seen from the Mishima pass, 37. Dragon ascending Mount Fuji, 38. Seated Woman with Shamisen, 39. The fire fighters in the mountains, 43. The Waterfall at Aoiga-oka, 48. Poem by Bunya No Asayasu, 60. Beauties of the Three Cities, 61. Black Lacquer Box, 62. Fuji in a Downpour, 63. Swords on Stand, 64. The Amida Waterfall in the Depths of the Kiso Mountains, 65. Two Crabs, 67. Fuji Blue, 68. A monster rat from the Raigo Ajari Kaisoden, 69. Senju in the Musachi provimce, 71. The Fifty-three Stations of the Tôkaidô Road, 74. Making Mochi, 76. Ningyo, 77. Woman Looking at Herself in a Mirror, 83. Hotei, the God of Good Fortune, 84. Travelling Nuns, 88. The Suspension Bridge Between Hida and Etchu, 89. View of Honmoku, 90. Sanshotei, from the Book Isuzugawa Kyôka-guruma, 97. Chrysanthemum Spray, 99. The Warrior Nanba No Rokurô Tsunetô
1798–1861 · Japan · 27
Japanese ukiyo-e master of dynamic warrior prints and fantastical creatures, known for dramatic compositions and bold, expressive storytelling.
6. Yata Gorôemon Suketake, 19. Battle of Uji River, 24. Eight Hundred Heroes of Our Country, 27. Hatakeyama Shigetada, 28. The sailor Tokuso and the sea monster, 29. Oniwakamaru and the Giant Carp, 30. From Suikoden of Japanese Heroes, 31. The suicide of morozumi Masakiyo, 32. Mongaku doing penace at the Nachi waterfall, 34. Tokiwa Gozen in the snow, 36. Musashi on the back of a whale, 41. Kamigashihime stabbing a giant spider, 42. Woman selling decorative bowls, 46. Kotenrai Ryioshin loading a connon, 47. Women, 54. Senzaki Yagorô Noriyasu, 55. Katsuta Shin'emon Taketaka, 56. Ôboshi Rikiya Yoshikane, 57. The young Benkei holding a pole, 58. Woman catching firefly by a stream, 59. A beauty with a face brush, 78. Lobster, 79. Scrbbling on the Storehouse Wall, 80. Tokuda Sadaemon Yukitaka, 85. Mitsukini Defying the Skeleton, 86. Saito Toshimoto and a warrior in a underwater struggle, 93. Animals dyeing fabrics
1839–1892 · Japan · 7
Japanese ukiyo-e printmaker of dramatic warrior scenes and psychological depth, known for his vivid bloody prints and lunar series.
9. Moon Over the Waters at Daimotsu Bay, 21. Woman with Iris, 49. The Takisoba Restaurant at Otowa, 72. Assassin Prince, 73. Hiratsuka, 96. A married woman in the Meiji Period, 98. Comic Picture
1797–1858 · Japan · 6
Japanese ukiyo-e master of poetic landscapes, known for atmospheric color gradations and evocative views of the Tōkaidō road and Edo.
3. Early Department from a Daimyo, 22. Awa Province: Whirlpool at Naruto, 25. 73 the City Flourishing, 52. Untitled (Two Rabbits, Pampas Grass, and Full Moon), 82. Yoshiwara, 92. 113. Aoi Slope Outside Toranomon Gate
· Japan · 5
Sharaku was a master of ukiyo-e known for dynamic kabuki actor portraits.
18. Kabuki Actor Ōtani Oniji III as Yakko Edobei, 44. Ichikawa Komazō III as Nitta Yoshisada, 45. Bandō Hikosaburō III as Obiya Chōemon, 53. Sawamura Sojuro III as Nagoya Sanza, 91. Sakata Hangorō III as Yahazu no Yahatei
1753–1806 · Japan · 4
Japanese ukiyo-e master of bijin-ga, known for large-headed portraits of beautiful women with elongated features and delicate details.
15. Woman with a Mirror, 40. The Hour of the Oxx, 51. Amorous Couple, 75. Flowers
1724–1770 · Japan · 3
Japanese ukiyo-e innovator who revolutionized printmaking with full-color nishiki-e featuring delicate, thin figures in poetic settings.
10. Couple Beside a Plum Tree at Night, 50. Kiss, 81. Man Behind a Sliding Door Pulling the Kimono of a Woman on the Veranda
Notes
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Katsushika Hokusai's The Great Wave off Kanagawa (1831) is the most famous Ukiyo E painting and No. 1 of this ranking, ahead of Katsushika Hokusai's Femenine Wave (1830, Hokusai Museum), Utagawa Hiroshige's Early Department from a Daimyo (n.d., Nakagawa-machi Bato Hiroshige Museum of Art) and Katsushika Hokusai's Carp in Water (1832, Bristol Museum - Art Gallery).
The 10 most famous Ukiyo E paintings are The Great Wave off Kanagawa (Katsushika Hokusai), Femenine Wave (Katsushika Hokusai), Early Department from a Daimyo (Utagawa Hiroshige), Carp in Water (Katsushika Hokusai), Fuji, Mountains in Clear Weather (Red Fuji) (Katsushika Hokusai), Yata Gorôemon Suketake (Utagawa Kuniyoshi), Kinoe no komatsu (Katsushika Hokusai), Cranes on pine tree (Katsushika Hokusai), Moon Over the Waters at Daimotsu Bay (Yoshitoshi) and Couple Beside a Plum Tree at Night (Suzuki Harunobu).
Judged by this ranking, Katsushika Hokusai: 35 of the 100 most famous Ukiyo E paintings are from this painter's hand, including The Great Wave off Kanagawa, Femenine Wave and Carp in Water.
The painters with the most works in this list are Katsushika Hokusai (35), Utagawa Kuniyoshi (27), Yoshitoshi (7), Utagawa Hiroshige (6) and Sharaku (5).
The Metropolitan Museum of Art holds 4 of the 100, followed by the Hokusai Museum (1) and the Nakagawa-machi Bato Hiroshige Museum of Art (1). New York is the city with the most: 4.
Start with New York (4), Nagasaki (1) and Washington, D.C. (1): together they hold 6 of the 100, at the Metropolitan Museum of Art, the Hokusai Museum and the Nakagawa-machi Bato Hiroshige Museum of Art.
0 of the 100 are oil paintings, 0 use tempera and 2 are frescoes; 0 are painted on wood and 0 on canvas.
Yes. 2 of the 100 are frescoes, including Kettle and Box with Paint Brushes (Metropolitan Museum of Art) and Deer and Bat ().
The earliest is Yosa Buson's Woman Burning Incense (1749, Metropolitan Museum of Art) (1749); the latest, Kitagawa Utamaro's The Hour of the Oxx (1910) (1910).
Katsushika Hokusai's Woman Looking at Herself in a Mirror (1805), 231 × 80 cm. The smallest is Shibata Zeshin's Kettle and Box with Paint Brushes (1882, Metropolitan Museum of Art), 12 × 9 cm.
By recognition: Wikipedia articles in the most languages (Wikidata sitelinks), our manual ranking and page visits. Several records of one painting count once; details, copies and studies are excluded.
96 of these 100 paintings are available hand-painted in oil, from $177, and 96 as a canvas print, from $42.
Reproductions
Hand-painted reproductions of 96 works in this list are available from $177.
Scope: the Ukiyo E paintings recorded in the WikiOO.org catalogue. Order: how well known each painting is, measured three ways — the number of Wikipedia language editions with an article on it, its editorial rank and the visits to its page. A work recorded several times is counted once; details, copies and studies are excluded.
Famous Impressionism paintings
Water Lilies · Claude Monet
Famous Baroque paintings
Las Meninas · Diego Velázquez
Famous Romanticism paintings
Liberty Leading the People · Eugène Delacroix
Famous Realism paintings
Nighthawks · Edward Hopper
Famous Post-Impressionism paintings
Starry Night · Vincent van Gogh
Famous Expressionism paintings
The Scream · Edvard Munch
Famous Surrealism paintings
The Persistence of Memory · Salvador Dalí
Famous Renaissance paintings
Mona Lisa · Leonardo da Vinci
Famous Neoclassicism paintings
Napoleon at the St. Bernard Pass · Jacques-Louis David
Famous Symbolism paintings
The Birth of Venus · William-Adolphe Bouguereau
Famous Mannerism paintings
The Burial of the Count of Orgaz · El Greco
Famous Rococo paintings
The Swing · Jean-Honoré Fragonard
500–1000
Famous Early Medieval paintings
The Night Revels of Han Xizai · Gu Hongzhong
1000–1300
Famous High Medieval paintings
Crucifix · Cimabue
1300–1400
Famous Late Medieval paintings
Our Lady of the Don · Theophanes the Greek
1400–1600
Famous Renaissance paintings
Mona Lisa · Leonardo da Vinci
1600–1800
Famous Early Modern paintings
The Girl with a Pearl Earring · Johannes Vermeer
1800–1900
Famous 19th Century paintings
Starry Night · Vincent van Gogh
1900–1980
Famous Modern paintings
Guernica · Pablo Picasso
1980–
Famous Contemporary paintings
Girl with Balloon · Banksy
