List of 39 Famous Ukiyo-e Художники (Ranked)

11of 39

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.

12of 39

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.

13of 39

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 Toyokuni II #35

14of 39

Утагава Хиросигэ I 1797–1858

Japanese Born: Токио Ukiyo-e

«Канадэон Чусингура, акт 1» — великолепный пример жанра укиё-э, созданный в 1855 году.

15of 39

Утагава Кунимаса 1773–1810

Японский Born: Аizu Утагава школа

His apprenticeship under Toyokuni wasn’t merely about technical skill; it instilled in him an understanding of the broader aesthetic goals of ukiyo-e—to capture fleeting moments of beauty and emotion with unparalleled precision. He served as an inspiration to subsequent generations of ukiyo-e artists who embraced his stylistic innovations—a harmonious blend of intensity and elegance—solidifying his place as one of the Utagawa school’s foremost masters.

16of 39

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.

17of 39

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.

18of 39

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.

19of 39

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.

20of 39

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.

21of 39

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.

22of 39

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.

23of 39

Киётика Кобаяси 1847–1915

Японец Born: Токио Укиё-э, Косэн-га Wikipedia: 10/32 languages

Student of Kawanabe Kyōsai #11

24of 39

Adachi Ginko род. 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.

25of 39

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.

26of 39

Тоёхиро Утагава 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.

27of 39

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.

28of 39

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.

29of 39

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.

30of 39

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.

31of 39

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.

32of 39

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.

33of 39

Тоёхара Кунитика 1835–1900

Японец Born: Эдо Укиё-э (Якуша-э, Бидзинга) Wikipedia: 10/32 languages

34of 39

Утагава Кунисада Ii 1823–1880

Японец Born: Эдо Укиё-э (якуся-э) Wikipedia: 6/32 languages

Посмотреть произведения Утагавы Кунисады II на AllPaintingsStore.com. Исследовать коллекцию Музея современного искусства Хоккайдо (Япония) на AllPaintingsStore.com. Открыть для себя живопись Ноноямы Кодзана на AllPaintingsStore.com.

35of 39

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

36of 39

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.

37of 39

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.

38of 39

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.

39of 39

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.