39 Famous Ukiyo-e მხატვრები: The Definitive Ranking

11of 39

Kawanabe Kyōsai 1831–1889

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

In 1874, he helped create what is considered the first manga magazine, Eshinbun Nipponchi, alongside Kanagaki Robun.

12of 39

Keisai Eisen 1790–1848

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

This shift defined the aesthetic of the Bunsei era (1818–1830), a period often characterized by its decadent and psychologically complex atmosphere.

13of 39

Utagawa Toyokuni I 1769–1825

Japanese Born in Shiba Ukiyo-e Wikipedia in 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. He wasn't simply copying their styles but rather dissecting them, understanding their strengths, and ultimately synthesizing them into something uniquely his own. 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 Toyokuni II #35

14of 39

ჰიროშიგე I, უტაგავა და კიემონ, წურუია 1797–1858

Japanese Born in Tokyo Ukiyo-e

15of 39

Utagawa Kunimasa 1773–1810

Japanese Born in Aizuwakamatsu Utagawa School

Though his life was tragically short, ending in 1810, Kunimasa’s influence rippled through the subsequent generations of the Utagawa school. To study Kunimasa is to witness the moment when the decorative beauty of Japanese tradition met the dramatic intensity of human emotion, creating a legacy that continues to captivate art historians and enthusiasts alike. Born in 1773 in the rugged landscape of Aizuwakamatsu, Kunimasa’s journey to becoming a master of the Ukiyo-e woodblock print was one of unexpected transformation.

16of 39

Nishikawa Sukenobu 1671–1750

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

These works demonstrate his versatility as an artist and underscore his commitment to exploring diverse artistic mediums—a testament to his intellectual curiosity and artistic ambition. 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 in 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 reputation rests largely on his earlier prints, while his later output is often considered to have a declining artistry. 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

This quiet revolution – a departure from the more flamboyant styles of his predecessors – established Hiroshige as a uniquely sensitive and poetic artist, whose work continues to inspire awe and contemplation centuries later. Hiroshige’s prints are not simply images; they are windows into the soul of Japan. Following this triumph, he embarked on One Hundred Famous Views of Edo (1856–1858), a vertical-format series that celebrated his hometown with an unprecedented level of detail and emotional depth.

19of 39

Miyagawa Chōshun 1683–1753

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

The works of Chōshun are instantly recognizable for their evocative atmosphere and tender execution. This sense of physical weight and warmth contributed to a realism that was both captivating and deeply human. His pupils, including his son Miyagawa Isshō and the talented Miyagawa Chōki, carried forward his dedication to depicting the tastes and textures of urban life.

20of 39

Goyō Hashiguchi 1880–1921

Dutch Born in Kagoshima Post-Impressionism

Goyō’s initial foray into the art world wasn't through printmaking but rather illustration. In 1907 he won recognition for an ukiyo-e oil painting in the first Bunten show, but felt unfulfilled by public acceptance and returned to woodblock printing. 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 in Tokyo Ukiyo-e Wikipedia in 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 in Tokyo Ukiyo-e, Nihonga Wikipedia in 9/32 languages

His most celebrated series, “One Hundred Views of Mount Fuji” (1896-1905), exemplifies his mastery. Rather than simply depicting the iconic mountain as a static subject, Gekko captured its ever-changing moods and vistas with an astonishing range of perspectives and atmospheric conditions. The First Sino-Japanese War (1894-1895) provided him with opportunities to document this tumultuous period in Japanese history, producing powerful and evocative prints that captured the spirit of national pride and resilience.

23of 39

კობაიაში კიიოჩიკა 1847–1915

იაპონელი Born in ტოკიო Ukiyo-e, Kōsen-ga Wikipedia in 10/32 languages

Pupil of Kawanabe Kyōsai #11

24of 39

Adachi Ginko და lahir 1853

Japanese Ukiyo-e

In the vibrant, transformative era of the late Meiji period, few artists captured the shifting soul of Japan as vividly as Adachi Ginkō.

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

უთაგავა ტოიოჰირო 1773–1828

Japanese Born in ტოიოკა Ukiyo-e Wikipedia in 8/32 languages

In the vibrant tapestry of the Edo period, few names resonate with the quiet elegance and technical mastery of Utagawa Toyohiro.

27of 39

Mizuno Toshikata 1866–1908

Japanese Born in 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. He skillfully employed subtle gradations of tone to create atmospheric effects and to convey nuanced emotional states. 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 in Tokyo Ukiyo-e (Lacquer Print Art) Wikipedia in 7/32 languages

A hallmark of these compositions was a deliberate stillness, an impassivity in the faces of the subjects reminiscent of the Kaigetsudō school's aesthetic.

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 in Tokyo Wikipedia in 8/32 languages

This ambitious project, undertaken in the 1840s, represents a culmination of his artistic sensibilities. The Tale of Genji, considered one of the greatest works of Japanese literature, depicts the complex lives and romantic entanglements within the Heian court. He was undoubtedly influenced by earlier masters of ukiyo-e, particularly Kanenobu and the traditions of Edo period painting.

31of 39

Sadatora

Japanese Born in 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. His formative years were spent under the rigorous and inspiring tutelage of masters such as Utagawa Yoshitora and Kunisada. 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

Utagawa Yoshitora, a name resonating within the vibrant world of ukiyo-e, stands as a compelling figure whose career bridged traditional Japanese artistry with an increasingly globalized aesthetic. 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

ტოიოჰარა Kunichika 1835–1900

იაპონელი Born in ედო უკიიო-ე (იაკუშა-ე, ბიჯინგა) Wikipedia in 10/32 languages

ტოიოჰარა Kunichika, იაპონური ხის ბლოკზე ბეჭდვის სახელოვნება, რომელიც მსოფლიოში აღიარებულია, დაიბადა 1835 წლის 30 ივნისს. ახალგაზრდა ასაკშივე გამოჩენილმა გამორჩეულმა ნიჭმა, თხუთმეტ წლამდე, იგი ტოკიოს წამყვანი გრავერი utagawa kunisada -ს მოწაფედ აქცია.

34of 39

უტაगाვა კუნისადა Ii 1823–1880

იაპონელი Born in ტოკიო უკიო-ე (იაკუშა-ე) Wikipedia in 6/32 languages

ნახეთ უტაგავა kunisada ii-ს ნამუშევრები AllPaintingsStore.com-ზე. აღმოაჩინეთ ჰოკაიდოს თანამედროვე ხელოვნების მუზეუმი (იაპონია) AllPaintingsStore.com-ზე. აღმოაჩინეთ ნონოიამა კოზანის ნახატები AllPaintingsStore.com-ზე.

35of 39

Utagawa Toyokuni II 1777–1835

Japanese Ukiyo-e Wikipedia in 4/32 languages

This ambitious undertaking demanded exceptional artistic skill and logistical organization, cementing Hiroshige’s reputation as a visionary artist who could transform ordinary scenes into sublime expressions of beauty. He skillfully employed Prussian blue, a pigment imported from Europe during this period, to render distant mountains with breathtaking realism —a bold departure from traditional Japanese monochrome prints.

Pupil of Utagawa Toyokuni I #13

36of 39

Utagawa Yoshitaki 1841–1899

Japanese Born in Osaka Ukiyo-e Wikipedia in 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. The influence of Kuniyoshi is evident in Yoshitaki’s bold outlines and dramatic lighting, but he developed a distinctly personal style characterized by a remarkable sensitivity to human expression. 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. He also appears to have been influenced by the emerging trends in Western art, particularly in his use of perspective and shading – though he never fully abandoned the traditional conventions of ukiyo-e. 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 in Edo Ukiyo-e, Yokohama-e Wikipedia in 3/32 languages

As with most Ukiyo-e artists of his time, Yoshikazu employed the traditional collaborative process of woodblock printing. The influence of Kuniyoshi is noticeable in his use of dramatic lighting and bold outlines, though Yoshikazu developed a more restrained and observational style.

39of 39

Shunkōsai Hokushū

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

Shunkōsai Hokuchō (春曙斎 北頂), born around 1802 in Osaka, Japan, stands as a fascinating figure within the vibrant tapestry of Edo-period art history. The Osaka Style Emerges: Unlike the Edo-period’s dominant trend of producing prints in Tokyo, Hokuchō remained firmly rooted in Osaka. While Hokuchō may not command the same level of fame as Hokusai or Hiroshige, his quiet mastery of tsukuri-e and his profound understanding of theatrical emotion solidified his place as a pivotal figure in Osaka’s artistic heritage.