Refine your search

The results of your search are listed below alongside the search terms you entered on the previous page. You can refine your search by amending any of the parameters in the form and resubmitting it.

Select all Deselect all Add selection to lightbox
Large Small
Thumbnails per page
Utagawa Kuniyoshi (January 1, 1798 - April 14, 1861) was one of the last great masters of the Japanese ukiyo-e style of woodblock prints and painting. He is associated with the Utagawa school.<br/><br/> The range of Kuniyoshi's preferred subjects included many genres: landscapes, beautiful women, Kabuki actors, cats, and mythical animals. He is known for depictions of the battles of samurai and legendary heroes. His artwork was affected by Western influences in landscape painting and caricature.
Yashima Gakutei was a Japanese artist and poet who was a pupil of both Totoya Hokkei and Hokusai. Gakutei is best known for his kyoka poetry and surimono woodblock works.
Utagawa Hiroshige (1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige, and by the art name of Ichiyūsai Hiroshige. Among many masterpieces, Hiroshige is particularly remembered for 'The Sixty-nine Stations of the Kisokaidō' (1834–1842) and 'Thirty-six Views of Mount Fuji' (1852–1858).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The winter group, numbers 99 through 118, begins with a scene of Kinryūzan Temple at Akasaka, with a red-on-white color scheme that is reserved for propitious occasions. Snow immediately signals the season and is depicted with particular skill: individual snowflakes drift through the gray sky, while below, on the roof of a distant temple, dots of snow are embossed for visual effect.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It irepresents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series continues with summer (夏の部). Summer amusements of the Fourth, Fifth, and Sixth Months are represented in numbers 43 through 72. Evening outings in pleasure boats on the Sumida River were taken along the many famous bridges of Edo, where endless varieties of entertainment were offered.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Hiroshige's One Hundred Famous Views of Edo (名所江戸百景), actually composed of 118 woodblock landscape and genre scenes of mid-19th century Tokyo, is one of the greatest achievements of Japanese art. The series includes many of Hiroshige's most famous prints. It represents a celebration of the style and world of Japan's finest cultural flowering at the end of the Tokugawa Shogunate.<br/><br/> The series opens with spring (春の部). Scenes 1 though 42 represent the First to the Third Months, which are considered in Japan to be the spring season. Typically, early spring is marked by the festivities celebrated at the New Year, which begins the season. Blossoming plum trees are associated with the middle of spring, signifying the end of the cold weather and the beginning of the warm season.<br/><br/> Utagawa Hiroshige (歌川 広重, 1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (安藤 広重) (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige (一幽斎廣重).
Suzuki Harunobu (鈴木 春信4, 1724 – July 7, 1770) was a Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints (nishiki-e) in 1765, rendering obsolete the former modes of two- and three-color prints.<br/><br/> Harunobu used many special techniques, and depicted a wide variety of subjects, from classical poems to contemporary beauties (bijin, bijin-ga). Like many artists of his day, Harunobu also produced a number of shunga, or erotic images.<br/><br/> During his lifetime and shortly afterwards, many artists imitated his style. A few, such as Harushige, even boasted of their ability to forge the work of the great master. Much about Harunobu's life is unknown.
‘Thirty-six Views of Mount Fuji’ is an ‘ukiyo-e’ series of large, color woodblock prints by the Japanese artist Katsushika Hokusai (1760–1849). The series depicts Mount Fuji in differing seasons and weather conditions from a variety of places and distances. It actually consists of 46 prints created between 1826 and 1833. The first 36 were included in the original publication and, due to their popularity, 10 more were added after the original publication.<br/><br/> Mount Fuji is the highest mountain in Japan at 3,776.24 m (12,389 ft). An active stratovolcano that last erupted in 1707–08, Mount Fuji lies about 100 km southwest of Tokyo. Mount Fuji's exceptionally symmetrical cone is a well-known symbol and icon of Japan and is frequently depicted in art and photographs. It is one of Japan's ‘Three Holy Mountains’ along with Mount Tate and Mount Haku.<br/><br/> Fuji is nowadays frequently visited by sightseers and climbers. It is thought that the first ascent was in 663 CE by an anonymous monk. The summit has been thought of as sacred since ancient times and was forbidden to women until the Meiji Era. Ancient samurai used the base of the mountain as a remote training area, near the present-day town of Gotemba.
In 1868, the medieval city of Edo, seat of the Tokugawa government, was renamed Tokyo, and the offices of Tokyo Prefecture were opened. The extent of Tokyo Prefecture was initially limited to the former Edo city, but rapidly augmented to be comparable with the present Tokyo Metropolis.
Nobukazu Watanabe was an artist and printmaker of the late Meiji period. The time of ukiyo-e traditional Japanese woodblock prints was passing.<br/><br/> Photography and lithography replaced more and more the old craft. Publishers and artists tried to keep themselves afloat with print subjects of the Sino-Japanese and Russo-Japanese wars, images from the imperial court and history scenes.