List of 39 Famous Ukiyo-e Autoriai (Ranked)

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Kawanabe Kyōsai 1831–1889

Japanese Born: Koga Ukiyo-e, Caricature, Manga pioneer Wikipedia: 10/32 languages

His influence reached far beyond Japan, as his works found their way into collections such as the British Museum and the Guimet Museum in Paris.

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Keisai Eisen 1790–1848

Japanese Born: Edo Bunsei Era Ukiyo-e Wikipedia: 15/32 languages

In the vibrant, flickering light of 19th-century Edo, few artists captured the pulse of the "floating world" with as much evocative intensity as Keisai Eisen.

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Utagawa Toyokuni I 1769–1825

Japanese Born: Shiba Ukiyo-e Wikipedia: 13/32 languages

Unlike some artists blessed with immediate, innate talent, Toyokuni appears to have been a dedicated student, meticulously absorbing the techniques and aesthetics of those who preceded him. While Sharaku is often lauded by modern art historians for his psychological insight, it was Toyokuni who captured the hearts of the Edo public.

Teacher of Utagawa Kunimasa #15, Utagawa Kunisada #9, Utagawa Toyokuni II #35

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Hiroshige I (Utagawa) 1797–1858

Japanese Born: Tokijas Ukiyo-e

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Utagawa Kunimasa 1773–1810

Japanese Born: Aizuwakamatsu Utagawa School

He served as a vital link in the evolution of Japanese printmaking, helping to refine the stylistic language that would later be perfected by masters like Hiroshige and Kuniyoshi. In the bustling, neon-lit atmosphere of Edo-period Japan, few artists captured the electric pulse of urban life as evocatively as Utagawa Kunimasa.

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Nishikawa Sukenobu 1671–1750

Japanese Born: Kyoto Ukiyo-e Wikipedia: 9/32 languages

Legacy & Recognition: Nishikawa Sukenobu’s enduring legacy resides in his contribution to Japanese art history, particularly his groundbreaking portrayal of women. Influence on Subsequent Artists: Sukenobu’s influence extended far beyond his own lifetime, inspiring subsequent generations of printmakers like Suzuki Harunobu and Kitao Shigemasa.

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Sharaku

Japan ukiyo-e Wikipedia: 19/32 languages

Sharaku's technique involved the use of woodblock prints, sometimes employing extravagant methods such as the dusting of mica in the backgrounds to create a glittering effect. His portraits are noted for their ability to capture the psychology of a character through heightened theatrical gestures and expressive, almost caricature-like exaggerations.

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Utashige

Japanese Ukiyo-e

The inclusion of travelers on the Tōkaidō road spoke to themes of pilgrimage, self-discovery, and the interconnectedness of human experience. Hiroshige’s reputation solidified with his Fifty-three Stations of the Tōkaidō (1833–1834), a horizontal-format series depicting the journey along the main road connecting Edo to Kyoto.

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Miyagawa Chōshun 1683–1753

Japanese Born: Miyagawa Ukiyo-e Wikipedia: 9/32 languages

His subjects—often the elegant courtesans of the pleasure districts—were depicted with a fuller, more voluptuous grace than the slender, stylized figures seen in the works of later artists like Harunobu. While much of his work focused on the refined beauty of courtesans and genre scenes, he also explored more provocative themes, such as the rare and significant Handscroll of Ten Homoerotic (Nanshoku) Scenes, which provides a vital glimpse into the social complexities of the period.

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Goyō Hashiguchi 1880–1921

Dutch Born: Kagoshima Post-Impressionism

He gained recognition for his work on Natsume Sōseki’s celebrated novel, I Am a Cat, and subsequently illustrated works by other prominent authors like Futabatei Shimei, Tanizaki Jun'ichirō, and Nagai Kafū. Despite his frail health, exacerbated by beriberi, Goyō continued to produce prints at a remarkable pace from 1915 until his untimely death in 1921 at the age of forty-one.

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Isoda Koryūsai 1735–1790

Japanese Born: Tokyo Ukiyo-e Wikipedia: 10/32 languages

In the vibrant, bustling heart of the Edo period, a golden age of Japanese creativity, few names resonate with as much elegance and prolific energy as Isoda Koryūsai.

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Ogata Gekko 1859–1920

Japanese Born: Tokyo Ukiyo-e, Nihonga Wikipedia: 9/32 languages

His most celebrated series, “One Hundred Views of Mount Fuji” (1896-1905), exemplifies his mastery. His exposure to European art through scholars like Ernest Fenellosa and Okakura Kakuzō further broadened his artistic horizons.

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Kobayashi Kiyochika 1847–1915

Japono Born: Tokijas Ukiyo-e, Kōsen-ga Wikipedia: 10/32 languages

Tokyje, pasuityjančiame Edo laikotarpio Japonijos saulėlydį, Kobayashi Kiyochika tapo lemiama figūra šalies meninės transformacijos metu. Po tėvo mirties 1gan 1862 m. ant jauno Kiyochika meklėjo šeimynės atsakomybės našta, o tai privertė jį prisitaikyti ir iškovoti savo kelią. Ši ankstyva patirtis įsidėmėjo jame atsparumu ir pragmatiškumu, kurie vėliau nulemė jo meninius sprendimus.

Student of Kawanabe Kyōsai #11

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Adachi Ginko gimė 1853

Japanese Ukiyo-e

Born in 1853, a time when the traditional structures of the Edo period were beginning to yield to the rapid modernization of the West, Ginkō emerged as a master of the Ukiyo-e tradition.

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Toyohara Chikanobu 1838–1912

Japanese Shin-hanga

In the twilight of the Edo period and the dawn of a modernizing Japan, few artists captured the profound tension between tradition and transformation as masterfully as Toyohara Chikanobu. Born in 1838, an era of profound cultural shifts, Chikanobu—often recognized by his art name Yōshū Chikanobu —emerged as a monumental figure in the world of Japanese woodblock printing.

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Utagava Tojohiro 1773–1828

Japanese Born: Toyooka Ukiyo-e Wikipedia: 8/32 languages

Born as Okajima Tōjiro in Toyooka, Japan, this distinguished artist emerged as a pivotal figure within the renowned Utagawa school.

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Mizuno Toshikata 1866–1908

Japanese Born: Tokyo Ukiyo-e, Kuchi-e

Unlike the often-dramatic compositions favored by Yoshitoshi, Toshikata's works are imbued with an understated elegance and a profound sense of sentimentality. During the Sino-Japanese War (1894-1895), Toshikata further established himself as a war artist, producing lithographs that offered a nuanced perspective on the conflict – moving beyond simplistic depictions of battles to capture the human cost of war and the anxieties of a nation at odds with its neighbors.

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Ishikawa Toyonobu 1711–1785

Japanese Born: Tokyo Ukiyo-e (Lacquer Print Art) Wikipedia: 7/32 languages

Toyonobu’s artistic education began under the tutelage of Nishimura Shigenaga, a pupil of the renowned Okumura Masanobu.

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Kogyo Sakamaki 1869–1927

Japanese Noh Theatre Prints

He was awarded a prize at the Panama Pacific International Exposition in San Francisco in 1915 for his woodcut “The Horse Market at Kiso,” cementing his reputation as one of Japan's foremost printmakers. Technique & Style: Sakamaki employed a distinctive watercolor -like technique, layering translucent washes to achieve luminous effects that captured the subtle nuances of Noh theatre—a stylistic innovation that distinguished him from his contemporaries.

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Hokkei 1780–1850

Born: Tokyo Wikipedia: 8/32 languages

While Hokkei produced a variety of ukiyo-e subjects – including landscapes, bird-and-flower paintings, and scenes from daily life – he is perhaps best known for his illustrations of Murasaki Shikibu's monumental novel, The Tale of Genji. He was undoubtedly influenced by earlier masters of ukiyo-e, particularly Kanenobu and the traditions of Edo period painting.

Student of Katsushika Hokusai #1

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Sadatora

Japanese Born: Tokyo Ukiyo-e

In the vibrant, pulsing heart of Edo-period Japan, where the concept of ukiyo —the floating world—defined the very essence of existence, Utagawa Sadatora emerged as a master of capturing the ephemeral. Through works such as Women Visiting a Shrine or his celebrated seasonal studies, Sadatora continues to invite us into a world where beauty is most potent precisely because it is fleeting, reminding us to find stillness within the ever-changing winds of life.

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Utagawa Yoshitora

His artistic journey unfolded under several names – Ichimōsai Yoshitora, Kinchōrō Yoshitora, and Mosai Yoshitora – a practice not uncommon among ukiyo-e artists who adopted different art names throughout their careers to mark stylistic shifts or periods of production. While his work may not be as widely recognized as that of Hokusai or Kuniyoshi, Yoshitora’s contributions are increasingly appreciated by scholars and collectors alike.

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Toyohara Kunichika 1835–1900

Japone Born: Edas Ukiyo-e (Yakusha-e, Bijinga) Wikipedia: 10/32 languages

Toyohara Kunichika, žymus Japonijos medelių spausdinimo meistras, gimė 1835 m. birželio 30 d. Dar mažame amžiuje iškilęs dėl savo išskirtinio talento, ketvirtlikදී jis tapo Tokio geriausio grafikos meistro utagawa kunisada mokinio.

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Utagawa Kunisada Ii 1823–1880

Japonas Born: Tokijas Ukiyo-e (yakusha-e) Wikipedia: 6/32 languages

peržiūrėti utagawa kunisada ii kūrybinį darbą AllPaintingsStore.com. atkreipti dėmesį į hokkaido moderniojo meno muziejų (japonija) AllPaintingsStore.com. atrasti nonoyama kōzan paveikslus AllPaintingsStore.com.

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Utagawa Toyokuni II 1777–1835

Japanese Ukiyo-e Wikipedia: 4/32 languages

Hiroshige's fame rests largely upon his monumental Tokaido series (1830–1832), a meticulously planned depiction of the 67 stations along Japan’s ancient pilgrimage route from Edo to Kyoto.

Student of Utagawa Toyokuni I #13

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Utagawa Yoshitaki 1841–1899

Japanese Born: Osaka Ukiyo-e Wikipedia: 4/32 languages

He mastered the complex techniques of nishiki-e (錦絵), utilizing multiple woodblocks to achieve a full spectrum of hues – a significant advancement over earlier monochrome or limited-color prints. Ichiyosai Yoshitaki’s prolific output provides an invaluable window into 19th-century Japanese society.

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Utagawa Kunitsuna Ii, Ichiransai, Sadashige

Japanese Ukiyo-e

Pinpointing Kunitsuna’s artistic lineage proves challenging due to the limited documentation surrounding his early career. However, scholars believe he was heavily influenced by earlier masters of bijin-ga such as Kitagawa Utamaro and Keisai Eisen.

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Utagawa Yoshikazu

Japanese Born: Edo Ukiyo-e, Yokohama-e Wikipedia: 3/32 languages

He demonstrated a particular mastery of capturing textures and materials, from the sheen of Western fabrics to the rough surfaces of Japanese buildings.

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Shunkōsai Hokushū

Japanese Born: Osaka Kamigata-e Wikipedia: 3/32 languages

The Osaka Style Emerges: Unlike the Edo-period’s dominant trend of producing prints in Tokyo, Hokuchō remained firmly rooted in Osaka. Shunkōsai Hokuchō’s contribution to Japanese art history extends beyond merely documenting theatrical performances.

Student of Katsushika Hokusai #1