Bijin ga hi-res stock photography and images

Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day) From Bijin-ga (Pictures of Beautiful Women) Stock Photo

RMGF8DBD–Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day) From Bijin-ga (Pictures of Beautiful Women)

Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded practitioners of the ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or bijin-ga. He also produced nature studies, particularly illustrated books of insects. Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the 'Japanese influence' among these ar Stock Photo

RM2B02YN2–Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded practitioners of the ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or bijin-ga. He also produced nature studies, particularly illustrated books of insects. Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the 'Japanese influence' among these ar

Women Preparing Sashimi. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 15 x 10 in. (38.1 x 25.4 cm). Date: 1806-20. Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMR2K3BH–Women Preparing Sashimi. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 15 x 10 in. (38.1 x 25.4 cm). Date: 1806-20. Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen. Museum: Metropolitan Museum of Art, New York, USA.

Kitano Tsunetomi was a well known bijin-ga printmaker and painter. His woodblock prints have a painterly quality, and look very similar to the scroll paintings on which they were based. In 1880, he was born in Kanazawa with the name Tomitaro. As a young man, Tsunetomi worked as an apprentice to a woodblock carver after which he became a print carver for the newspaper Hokkoku Shinpo. He later moved to Osaka to study nihon-ga style painting under Inano Toshitsune, a student of Yoshitoshi. In 1901, he began working as an illustrator for the newspaper Osaka Shinbun. Beginning in 1910, Tsunetomi b Stock Photo

RM2B02YE8–Kitano Tsunetomi was a well known bijin-ga printmaker and painter. His woodblock prints have a painterly quality, and look very similar to the scroll paintings on which they were based. In 1880, he was born in Kanazawa with the name Tomitaro. As a young man, Tsunetomi worked as an apprentice to a woodblock carver after which he became a print carver for the newspaper Hokkoku Shinpo. He later moved to Osaka to study nihon-ga style painting under Inano Toshitsune, a student of Yoshitoshi. In 1901, he began working as an illustrator for the newspaper Osaka Shinbun. Beginning in 1910, Tsunetomi b

geography / travel historic, Japan, people, two women with child, domestic scene, airing dresses, print after silk painting by Uemura Shoen, 1st half 20th century, clothesline, clotheslines, fan, fans, household, households, everyday life, daily routine, painting, fine arts, art, Bijin-ga, Bijinga, ukiyo-e, female, clothes, fashion, child, children, kid, kids, scene, scenes, dress, dresses, print, printings, historic, historical, half length, half-length, Artist's Copyright has not to be cleared Stock Photo

RMRYJ9HP–geography / travel historic, Japan, people, two women with child, domestic scene, airing dresses, print after silk painting by Uemura Shoen, 1st half 20th century, clothesline, clotheslines, fan, fans, household, households, everyday life, daily routine, painting, fine arts, art, Bijin-ga, Bijinga, ukiyo-e, female, clothes, fashion, child, children, kid, kids, scene, scenes, dress, dresses, print, printings, historic, historical, half length, half-length, Artist's Copyright has not to be cleared

RM2B02YE6–Kitano Tsunetomi was a well known bijin-ga printmaker and painter. His woodblock prints have a painterly quality, and look very similar to the scroll paintings on which they were based. In 1880, he was born in Kanazawa with the name Tomitaro. As a young man, Tsunetomi worked as an apprentice to a woodblock carver after which he became a print carver for the newspaper Hokkoku Shinpo. He later moved to Osaka to study nihon-ga style painting under Inano Toshitsune, a student of Yoshitoshi. In 1901, he began working as an illustrator for the newspaper Osaka Shinbun. Beginning in 1910, Tsunetomi b

Bijin-ga. Girl applying makeup to her lips. Artist: Utamaro, Kitagawa (1753-1806) Stock Photo

RMHT19GN–Bijin-ga. Girl applying makeup to her lips. Artist: Utamaro, Kitagawa (1753-1806)

RM2B02YE3–Kitano Tsunetomi was a well known bijin-ga printmaker and painter. His woodblock prints have a painterly quality, and look very similar to the scroll paintings on which they were based. In 1880, he was born in Kanazawa with the name Tomitaro. As a young man, Tsunetomi worked as an apprentice to a woodblock carver after which he became a print carver for the newspaper Hokkoku Shinpo. He later moved to Osaka to study nihon-ga style painting under Inano Toshitsune, a student of Yoshitoshi. In 1901, he began working as an illustrator for the newspaper Osaka Shinbun. Beginning in 1910, Tsunetomi b

. ??ѵ??ެ?: ջ???+??????????+?ջ?ަ????????+?????+??????????զ???????????+??Ŧ?+????ڽ?զ?զ???????????+?????+? Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo - Google Art Project Stock Photo

RMMMNNYX–. ??ѵ??ެ?: ջ???+??????????+?ջ?ަ????????+?????+??????????զ???????????+??Ŧ?+????ڽ?զ?զ???????????+?????+? Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo - Google Art Project

Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo Stock Photo

RM2DCF9NJ–Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo

Famous Places in the Eastern Capital: A Cool Summer Evening at Ryogoku Bridge . Lady in a black checkered summer kimono, walking on the banks of a river busy with ships, underneath branches of a willow tree waving in the wind. Bijin-ga. Part of a triptych. Circa 1847-1848. N/A 194 Beroemde plekken in de Oostelijke hoofdstad- Genietend van een avondbriesje bij de Ryogoku brug-Rijksmuseum RP-P-2008-208C Stock Photo

RMP5B506–Famous Places in the Eastern Capital: A Cool Summer Evening at Ryogoku Bridge . Lady in a black checkered summer kimono, walking on the banks of a river busy with ships, underneath branches of a willow tree waving in the wind. Bijin-ga. Part of a triptych. Circa 1847-1848. N/A 194 Beroemde plekken in de Oostelijke hoofdstad- Genietend van een avondbriesje bij de Ryogoku brug-Rijksmuseum RP-P-2008-208C

Tsunetomi Kitano made himself a name as a great artist of bijin-ga, images of beautiful women. He was a dominating figure in the art scene of Osaka in the first half of the twentieth century. Stock Photo

RM2B02YDE–Tsunetomi Kitano made himself a name as a great artist of bijin-ga, images of beautiful women. He was a dominating figure in the art scene of Osaka in the first half of the twentieth century.

RMJHCWE6–Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo -

Okumura Masanobu (1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ('pictures of beautiful women'). Stock Photo

RM2B036E7–Okumura Masanobu (1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ('pictures of beautiful women').

Kitagawa Utamaro Toji san bijin (Three Beauties of the Present Day)From Bijin ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo Google Art Project Stock Photo

RMHYEGE5–Kitagawa Utamaro Toji san bijin (Three Beauties of the Present Day)From Bijin ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo Google Art Project

Bijinga. Courtesan Akashi of the Tamaya, kamuro Uraji and Shimano, from the series Seven Komachis of Yoshiwara. 1792-1793 by Kitagawa Utamaro (d. 1806 Stock Photo

RM2T7801B–Bijinga. Courtesan Akashi of the Tamaya, kamuro Uraji and Shimano, from the series Seven Komachis of Yoshiwara. 1792-1793 by Kitagawa Utamaro (d. 1806

Art inspired by The Kitchen, Edo period (1615–1868), 1795, Japan, Right-hand sheet of a triptych of polychrome woodblock prints; ink and color on paper, 15 x 10 in. (38.1 x 25.4 cm), Prints, Kitagawa Utamaro (Japanese, 1753?–1806), Utamaro expanded the scope of the bijin-ga, prints of, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HTTBBH–Art inspired by The Kitchen, Edo period (1615–1868), 1795, Japan, Right-hand sheet of a triptych of polychrome woodblock prints; ink and color on paper, 15 x 10 in. (38.1 x 25.4 cm), Prints, Kitagawa Utamaro (Japanese, 1753?–1806), Utamaro expanded the scope of the bijin-ga, prints of, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

Fancy-free Type, 1792-1793, Kitagawa Utamaro; Publisher: Tsutaya Jūzaburō, Japanese, 1753 - 1806, 14 15/16 × 9 3/4 in. (38 × 24.8 cm) (image, sheet, vertical ōban)23 × 19 × 1 1/2 in. (58.42 × 48.26 × 3.81 cm) (outer frame), Woodblock print (nishiki-e); ink and color on paper with mica, Japan, 18th century, After producing a few successful books, Utamaro and the publisher Tsutaya launched an innovative type of bijin-ga (pictures of beautiful women) series. It was the first to feature women in half-length portraits, a format previously reserved for yakusha-e (actor prints). Stock Photo

RM2T90WGW–Fancy-free Type, 1792-1793, Kitagawa Utamaro; Publisher: Tsutaya Jūzaburō, Japanese, 1753 - 1806, 14 15/16 × 9 3/4 in. (38 × 24.8 cm) (image, sheet, vertical ōban)23 × 19 × 1 1/2 in. (58.42 × 48.26 × 3.81 cm) (outer frame), Woodblock print (nishiki-e); ink and color on paper with mica, Japan, 18th century, After producing a few successful books, Utamaro and the publisher Tsutaya launched an innovative type of bijin-ga (pictures of beautiful women) series. It was the first to feature women in half-length portraits, a format previously reserved for yakusha-e (actor prints).

RF2HGJY8J–Kitagawa Utamaro - Toji san bijin (Three Beauties of the Present Day)From Bijin-ga (Pictures of Beautiful Women), published by Tsutaya Juzaburo

Women Preparing Sashimi Kitagawa Utamaro Japanese 1806–20 Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen. Stock Photo

RM2T2F4XA–Women Preparing Sashimi Kitagawa Utamaro Japanese 1806–20 Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen.

Hara Station (14) (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image & sheet, trimmed to margins), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji., Inscribed by author (verse): Mikazuki ren Maūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art Stock Photo

RM2A2W17M–Hara Station (14) (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image & sheet, trimmed to margins), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji., Inscribed by author (verse): Mikazuki ren Maūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art

Bijin-ga. Girl applying makeup to her lips. Museum: PRIVATE COLLECTION. Stock Photo

RMP8BKRF–Bijin-ga. Girl applying makeup to her lips. Museum: PRIVATE COLLECTION.

The Kitchen 1795 Kitagawa Utamaro Japanese Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen.. The Kitchen. Kitagawa Utamaro (Japanese, ca. 1754–1806). Japan. 1795. Right-hand sheet of a triptych of woodblock prints; ink and color on paper. Edo period (1615–1868). Prints Stock Photo

RM2HHA3C6–The Kitchen 1795 Kitagawa Utamaro Japanese Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by removing the traditional idealizing constraints of the genre and placing beautiful women in the context of ordinary life. Among the themes he explored in this broadening of his subject matter were the activities of the kitchen.. The Kitchen. Kitagawa Utamaro (Japanese, ca. 1754–1806). Japan. 1795. Right-hand sheet of a triptych of woodblock prints; ink and color on paper. Edo period (1615–1868). Prints

Courtesan by the Japanese artist Keisai Eisen (1790–1848), hanging scroll; ink and color on paper, 1800s Stock Photo

RM2RWXJ3H–Courtesan by the Japanese artist Keisai Eisen (1790–1848), hanging scroll; ink and color on paper, 1800s

Utagawa Kuniyoshi 1798-1861. Men Come Togheter and Make a Man (Hito katamatte hito ni naru). about 1847. vertical Ōban. 36.4 x 25.0. Stock Photo

RM2DKHD33–Utagawa Kuniyoshi 1798-1861. Men Come Togheter and Make a Man (Hito katamatte hito ni naru). about 1847. vertical Ōban. 36.4 x 25.0.

Bijin and her Playful Child, 1842. Stock Photo

RMMPXFCN–Bijin and her Playful Child, 1842.

RM2B036E4–Okumura Masanobu (1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ('pictures of beautiful women').

Okumura Masanobu (Japanese: 奥村政信; 1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ('pictures of beautiful women'). Stock Photo

RM2B02H77–Okumura Masanobu (Japanese: 奥村政信; 1686 – 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ('pictures of beautiful women').

Art inspired by Women Preparing Sashimi, Edo period (1615–1868), 1806–20, Japan, Polychrome woodblock print; ink and color on paper, 15 x 10 in. (38.1 x 25.4 cm), Prints, Kitagawa Utamaro (Japanese, 1753?–1806), Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT Stock Photo

RF2HTTBAC–Art inspired by Women Preparing Sashimi, Edo period (1615–1868), 1806–20, Japan, Polychrome woodblock print; ink and color on paper, 15 x 10 in. (38.1 x 25.4 cm), Prints, Kitagawa Utamaro (Japanese, 1753?–1806), Utamaro expanded the scope of the bijin-ga, prints of beautiful women, by, Classic works modernized by Artotop with a splash of modernity. Shapes, color and value, eye-catching visual impact on art. Emotions through freedom of artworks in a contemporary way. A timeless message pursuing a wildly creative new direction. Artists turning to the digital medium and creating the Artotop NFT

Japan: Buddhist devotees. Ukiyo-e woodblock print by Utagawa Kuniyasu (1794 - 1 August 1832), early 19th century. Utagawa Kuniyasu, born Yasugoro and also known by Ipposai and Nishikawa Yasunobu, was a Japanese artist from the Utagawa school. He was taught by Utagawa Toyokuni, and illustrated more than a hundred books throughout his career, as well as hundreds of standalone prints of beauties (bijin-ga) and Kabuki actors (yakusha-e). Stock Photo

RM2B016FG–Japan: Buddhist devotees. Ukiyo-e woodblock print by Utagawa Kuniyasu (1794 - 1 August 1832), early 19th century. Utagawa Kuniyasu, born Yasugoro and also known by Ipposai and Nishikawa Yasunobu, was a Japanese artist from the Utagawa school. He was taught by Utagawa Toyokuni, and illustrated more than a hundred books throughout his career, as well as hundreds of standalone prints of beauties (bijin-ga) and Kabuki actors (yakusha-e).

RF2B958GM–Hara Station (14) (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image & sheet, trimmed to margins), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji., Inscribed by author (verse): Mikazuki ren Maūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Class

Japan: Two young women at their toilette. Ukiyo-e woodblock print by Torii Kiyohiro (d. 1776), c. 1750s. Torii Kiyohiro, personal name Shichinosuke, was a Japanese ukiyo-e artist fro mthe Torii school. Hailing from Edo, his first known work appeared around 1751, while his last known work was around 1764. His specialisation was in benizuri-e (primitive) prints and bijin-ga (beauty) prints. Stock Photo

RM2B01JTN–Japan: Two young women at their toilette. Ukiyo-e woodblock print by Torii Kiyohiro (d. 1776), c. 1750s. Torii Kiyohiro, personal name Shichinosuke, was a Japanese ukiyo-e artist fro mthe Torii school. Hailing from Edo, his first known work appeared around 1751, while his last known work was around 1764. His specialisation was in benizuri-e (primitive) prints and bijin-ga (beauty) prints.

Hara Station (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image) 14-13/16 x 10 in. (sheet), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji. Inscribed by author (verse): Mikazuki ren Mafūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art Stock Photo

RM2A2W8WX–Hara Station (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image) 14-13/16 x 10 in. (sheet), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji. Inscribed by author (verse): Mikazuki ren Mafūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art

RM2B02WJ2–Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded practitioners of the ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or bijin-ga. He also produced nature studies, particularly illustrated books of insects. Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the 'Japanese influence' among these ar

Bijin and her Playful Child. Museum: PRIVATE COLLECTION. Stock Photo

RMPA7G50–Bijin and her Playful Child. Museum: PRIVATE COLLECTION.

RM2B02WH5–Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded practitioners of the ukiyo-e genre of woodblock prints, especially for his portraits of beautiful women, or bijin-ga. He also produced nature studies, particularly illustrated books of insects. Utamaro's work reached Europe in the mid-nineteenth century, where it was very popular, enjoying particular acclaim in France. He influenced the European Impressionists, particularly with his use of partial views and his emphasis on light and shade, which they imitated. The reference to the 'Japanese influence' among these ar

The Kitchen, Edo period (1615–1868), 1795, Japan, Right-hand sheet of a triptych of polychrome woodblock prints; ink and color Stock Photo

RMKC6J60–The Kitchen, Edo period (1615–1868), 1795, Japan, Right-hand sheet of a triptych of polychrome woodblock prints; ink and color

Japan: 'Five Teahouse Waitresses'. Ukiyo-e woodblock print by Chobunsai Eishi (1756-1829), 1793. Chobunsai Eishi, true name Hosoda Tokitomi, was a Japanese ukiyo-e artist from the Edo period. From a well-off samurai family and first son of a direct vassal of the Shogunate, he left the Shogun's employ to pursue art, with his earliest prints being mostly bijin-ga (beauty) portraits. He eventually established his own school to rival that of Kitagawa Utamaro, and was a prolific painter, giving up print designing in 1801 to focus solely on painting. Stock Photo

RM2B01JTP–Japan: 'Five Teahouse Waitresses'. Ukiyo-e woodblock print by Chobunsai Eishi (1756-1829), 1793. Chobunsai Eishi, true name Hosoda Tokitomi, was a Japanese ukiyo-e artist from the Edo period. From a well-off samurai family and first son of a direct vassal of the Shogunate, he left the Shogun's employ to pursue art, with his earliest prints being mostly bijin-ga (beauty) portraits. He eventually established his own school to rival that of Kitagawa Utamaro, and was a prolific painter, giving up print designing in 1801 to focus solely on painting.

Utagawa Kuniyoshi 1798-1861. Young Woman Who Looks Like an Old Lady (Toshiyori no yōna wakai hito da). about 1847. vertical Ōban. 36.8 x 24.7. Stock Photo

RM2DKHD2W–Utagawa Kuniyoshi 1798-1861. Young Woman Who Looks Like an Old Lady (Toshiyori no yōna wakai hito da). about 1847. vertical Ōban. 36.8 x 24.7.

Japan: 'A Standing Bijin'. Ukiyo-e woodblock print by Utagawa Kunisada (1786 - 12 January 1865), c. 1820. Utagawa Kunisada (1786 – January 12, 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. A speciality was bijin, or woodblock prints of beautiful women, as here. Stock Photo

RM2B017AG–Japan: 'A Standing Bijin'. Ukiyo-e woodblock print by Utagawa Kunisada (1786 - 12 January 1865), c. 1820. Utagawa Kunisada (1786 – January 12, 1865) was the most popular, prolific and financially successful designer of ukiyo-e woodblock prints in 19th-century Japan. In his own time, his reputation far exceeded that of his contemporaries, Hokusai, Hiroshige and Kuniyoshi. A speciality was bijin, or woodblock prints of beautiful women, as here.

The 3rd Month, 1780s. Three women walking. Stock Photo

RM2T6C612–The 3rd Month, 1780s. Three women walking.

Japan: 'Full Moon at Takanawa'. Ukiyo-e woodblock print by Utagawa Hiroshige (1797-1858), c. 1850. A Bijin (beautiful woman) seated beside her palanquin at a tea house. Utagawa Hiroshige was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige. Bijinga ('beautiful person picture') is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography. Stock Photo

RM2B01YND–Japan: 'Full Moon at Takanawa'. Ukiyo-e woodblock print by Utagawa Hiroshige (1797-1858), c. 1850. A Bijin (beautiful woman) seated beside her palanquin at a tea house. Utagawa Hiroshige was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige (an irregular combination of family name and art name) and by the art name of Ichiyūsai Hiroshige. Bijinga ('beautiful person picture') is a generic term for pictures of beautiful women in Japanese art, especially in woodblock printing of the ukiyo-e genre, which predate photography.

Japan: 'A Beauty and a Young Man' Hanging scroll painting by Hishikawa Moronobu (1618 - 25 July 1694), late 17th century. Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings. Stock Photo

RM2B01738–Japan: 'A Beauty and a Young Man' Hanging scroll painting by Hishikawa Moronobu (1618 - 25 July 1694), late 17th century. Yamato-e is a style of Japanese painting inspired by Tang Dynasty paintings and developed in the late Heian period. It is considered the classical Japanese style. From the Muromachi period (15th century), the term Yamato-e has been used to distinguish work from contemporary Chinese style paintings (kara-e), which were inspired by Song and Yuan Dynasty Zen Buddhism paintings.

Japan: 'Looking Tiresome/Teasing the Cat'. Ukiyo-e woodblock print by Tsukioka Yoshitoshi (30 April 1839 - 9 June 1892), 1888. Tsukioka Yoshitoshi, also named Taiso Yoshitoshi, was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration. Stock Photo

RM2B017AM–Japan: 'Looking Tiresome/Teasing the Cat'. Ukiyo-e woodblock print by Tsukioka Yoshitoshi (30 April 1839 - 9 June 1892), 1888. Tsukioka Yoshitoshi, also named Taiso Yoshitoshi, was a Japanese artist. He is widely recognized as the last great master of Ukiyo-e, a type of Japanese woodblock printing. He is additionally regarded as one of the form's greatest innovators. His career spanned two eras – the last years of feudal Japan, and the first years of modern Japan following the Meiji Restoration.

RF2B95NBK–Hara Station (Hara no eki), Ikeda Eisen (Japanese, 1790-1848), Edo, about 1830-1840, ink on paper, color woodblock print, 14-7/16 x 9-3/4 in. (image) 14-13/16 x 10 in. (sheet), Signed by artist: Keisai Eisen ga Publisher's mark: Kōeidō (Tsuta-ya Kichizō) Censor's seal: circular kiwame Inscribed: The sudden shower rains even beneath my feet (at the foot of) everlasting Fuji. Inscribed by author (verse): Mikazuki ren Mafūsai, series, Beautiful Women and the Tōkaidō (Bijin Tōkaidō), Asian Art, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art

Hanaogi of the Ogiya, from the series 'Renowned Beauties Likened to the Six Immortal Poets (Komei bijin rokkasen)'. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1790-1801. Dimensions: 38.6 x 26.0 cm. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute. Stock Photo

RMRXMJM4–Hanaogi of the Ogiya, from the series 'Renowned Beauties Likened to the Six Immortal Poets (Komei bijin rokkasen)'. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1790-1801. Dimensions: 38.6 x 26.0 cm. Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute.

Women Preparing Sashimi, Edo period (1615–1868), 1806–20, Japan, Polychrome woodblock print; ink and color on paper, 15 x 10 in Stock Photo

RMKC6WYN–Women Preparing Sashimi, Edo period (1615–1868), 1806–20, Japan, Polychrome woodblock print; ink and color on paper, 15 x 10 in

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Textile Pattern of People to Stop You from Yawning (Akubu-dome jinbutsu sarasa), Using Fourteen B Stock Photo

RM2DKHD3W–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Textile Pattern of People to Stop You from Yawning (Akubu-dome jinbutsu sarasa), Using Fourteen B

Yosooi: Courtesans on a balcony watching a street juggler. From the series Meigi sanjurokasen' (Famous geisha compared to 36 poets)., c1860. Stock Photo

RM2XAMFT9–Yosooi: Courtesans on a balcony watching a street juggler. From the series Meigi sanjurokasen' (Famous geisha compared to 36 poets)., c1860.

Japan: 'Series of Beauties'. Ukiyo-e woodblock print by Utagawa Kuniyoshi (1 January 1798 - 14 April 1861). c. 1840s. Utagawa Kuniyoshi 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. 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. Stock Photo

RM2B016E4–Japan: 'Series of Beauties'. Ukiyo-e woodblock print by Utagawa Kuniyoshi (1 January 1798 - 14 April 1861). c. 1840s. Utagawa Kuniyoshi 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. 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.

Arai-bari] = [Washing and stretching cloth], Kitagawa, Utamaro (1753?-1806), (Artist). Stock Photo

RMP880N2–Arai-bari] = [Washing and stretching cloth], Kitagawa, Utamaro (1753?-1806), (Artist).

Utagawa Kuniyoshi 1798-1861. The battle at Shijō Nawate. about 1857. Ōban vertical double triptych. detail. Stock Photo

RM2DKHCJ4–Utagawa Kuniyoshi 1798-1861. The battle at Shijō Nawate. about 1857. Ōban vertical double triptych. detail.

Japan: 'Series of Beauties'. Ukiyo-e woodblock print by Utagawa Kuniyoshi (1 January 1798 - 14 April 1861). c. 1834. Utagawa Kuniyoshi 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. 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. Stock Photo

RM2B016E3–Japan: 'Series of Beauties'. Ukiyo-e woodblock print by Utagawa Kuniyoshi (1 January 1798 - 14 April 1861). c. 1834. Utagawa Kuniyoshi 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. 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.

Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the Stock Photo

RM2B02XXF–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Goldfish. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1789-1800. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute. Stock Photo

RMRXJXN8–Goldfish. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1789-1800. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute.

Utagawa Kuniyoshi 1798-1861. Oniwaka-maru About to Attack the Monstrous Carp. 1845. Ōban vertical triptych. 35.6 x 25.1 - 35.6 x 24.7 - 35.5 x 24.7. Stock Photo

RM2DKHCPE–Utagawa Kuniyoshi 1798-1861. Oniwaka-maru About to Attack the Monstrous Carp. 1845. Ōban vertical triptych. 35.6 x 25.1 - 35.6 x 24.7 - 35.5 x 24.7.

RM2B02XXH–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

La cortesana Hinakoto de la casa Hyôgo. Date/Period: Ca. 1795. Print. Woodblock print on paper. Height: 25 cm (9.8 in); Width: 38 cm (14.9 in). Author: Utamaro, Kitagawa. Stock Photo

RMPNEP5W–La cortesana Hinakoto de la casa Hyôgo. Date/Period: Ca. 1795. Print. Woodblock print on paper. Height: 25 cm (9.8 in); Width: 38 cm (14.9 in). Author: Utamaro, Kitagawa.

Utagawa Kuniyoshi 1798-1861. Courtesan Series: Modern Three Hardships for Women (Tōsei sanpukutsui). about 1833. Aiban (uchiwae). Stock Photo

RM2DKHBHB–Utagawa Kuniyoshi 1798-1861. Courtesan Series: Modern Three Hardships for Women (Tōsei sanpukutsui). about 1833. Aiban (uchiwae).

RM2B02XXA–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Mosquito Net for a Baby. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1789-1800. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute. Stock Photo

RMRXHG60–Mosquito Net for a Baby. Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1789-1800. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute.

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Princess Takiyasha Calling up a Monstruous Skeleton Specter at the Old Palace in Sōma, about 184 Stock Photo

RM2DKHCJ1–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Princess Takiyasha Calling up a Monstruous Skeleton Specter at the Old Palace in Sōma, about 184

RM2B02XXD–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

RM2B02XTJ–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

RM2B02XPJ–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

RM2B02XTA–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Kitchen Scene. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image (each): 14 5/8 × 9 7/8 in. (37.1 × 25.1 cm) Image (diptych): 14 5/8 × 19 3/4 in. (37.1 × 50.2 cm) Framed: 24 1/4 × 30 3/4 in. (61.6 × 78.1 cm). Date: ca. 1794-95. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMRF5AX5–Kitchen Scene. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image (each): 14 5/8 × 9 7/8 in. (37.1 × 25.1 cm) Image (diptych): 14 5/8 × 19 3/4 in. (37.1 × 50.2 cm) Framed: 24 1/4 × 30 3/4 in. (61.6 × 78.1 cm). Date: ca. 1794-95. Museum: Metropolitan Museum of Art, New York, USA.

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Thunder God (Shinrai)Series: Pictures of the Eight Trigrams in Chinese Divination (Shūeki hakke-e Stock Photo

RM2DKHC4W–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Thunder God (Shinrai)Series: Pictures of the Eight Trigrams in Chinese Divination (Shūeki hakke-e

RM2B02XTE–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Ha... of the Southern Station (Nan'eki ha-jirushi). Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1790-1801. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute. Stock Photo

RMRXMDG6–Ha... of the Southern Station (Nan'eki ha-jirushi). Kitagawa Utamaro ??? ??; Japanese, 1753 (?)-1806. Date: 1790-1801. Dimensions: . Color woodblock print; oban. Origin: Japan. Museum: The Chicago Art Institute.

RM2B02XXE–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Hakukaja Yōshun and Shinki Gunshi Shubu (right), Kyūmonryō Shishin (center), Chōkanko Chintatsu ( Stock Photo

RM2DKHCH4–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Hakukaja Yōshun and Shinki Gunshi Shubu (right), Kyūmonryō Shishin (center), Chōkanko Chintatsu (

Naniwa Okita Admiring Herself in a Mirror. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 14 1/2 x 9 7/8 in. (36.8 x 25.1 cm). Date: ca. 1790-95. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPAJ9B4–Naniwa Okita Admiring Herself in a Mirror. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 14 1/2 x 9 7/8 in. (36.8 x 25.1 cm). Date: ca. 1790-95. Museum: Metropolitan Museum of Art, New York, USA.

RM2B02XXB–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Utagawa Kuniyoshi 1798-1861. Picture of the Miyato River. Edo Series. Untitled series of views of Edo. about 1831-32. Ōban horizontal. detail. Stock Photo

RM2DKHBT5–Utagawa Kuniyoshi 1798-1861. Picture of the Miyato River. Edo Series. Untitled series of views of Edo. about 1831-32. Ōban horizontal. detail.

A Woman Weaving, Seated at a Hand Loom. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 14 3/4 x 9 7/8 in. (37.5 x 25.1 cm). Date: ca. 1796. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMPB4NEK–A Woman Weaving, Seated at a Hand Loom. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: 14 3/4 x 9 7/8 in. (37.5 x 25.1 cm). Date: ca. 1796. Museum: Metropolitan Museum of Art, New York, USA.

RM2B02XX9–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Catching Fireflies in Summer (Nōryō no hotaru) Series: Amusements of the Four Seasons (Shiki yūka Stock Photo

RM2DKHBRJ–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Catching Fireflies in Summer (Nōryō no hotaru) Series: Amusements of the Four Seasons (Shiki yūka

In the Kitchen. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image: 15 × 10 in. (38.1 × 25.4 cm). Date: ca. 1794-95. Museum: Metropolitan Museum of Art, New York, USA. Stock Photo

RMRF5BJR–In the Kitchen. Artist: Kitagawa Utamaro (Japanese, ca. 1754-1806). Culture: Japan. Dimensions: Image: 15 × 10 in. (38.1 × 25.4 cm). Date: ca. 1794-95. Museum: Metropolitan Museum of Art, New York, USA.

RM2B02XX7–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Sudden Shower in the Summer Heat (Shochū no yūdachi), about 1849-1851, Ōban vertical triptych cm Stock Photo

RM2DKHBWH–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Sudden Shower in the Summer Heat (Shochū no yūdachi), about 1849-1851, Ōban vertical triptych cm

RM2B02XX6–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Art, Utagawa Kuniyoshi 1798-1861, title of the work, The Star Festival of the Seventh Month (Fumizuki no tanabata) Untitled series of women with child Stock Photo

RM2DKHBGG–Art, Utagawa Kuniyoshi 1798-1861, title of the work, The Star Festival of the Seventh Month (Fumizuki no tanabata) Untitled series of women with child

RM2B02XX5–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Utagawa Kuniyoshi 1798-1861. The Battle at Uji River (Ujigawa kassen no zu). about 1831-32. Ōban vertical triptych. detail. Stock Photo

RM2DKHCHJ–Utagawa Kuniyoshi 1798-1861. The Battle at Uji River (Ujigawa kassen no zu). about 1831-32. Ōban vertical triptych. detail.

RM2B02XX4–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

RM2B02XTK–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Tamatori-hime Stealing the Sacred Jewel from the Dragon Palace (Ryūgū Tamatori-hime no zu), 1853, Stock Photo

RM2DKHCR3–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Tamatori-hime Stealing the Sacred Jewel from the Dragon Palace (Ryūgū Tamatori-hime no zu), 1853,

RM2B02XTG–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Utagawa Kuniyoshi 1798-1861. Miyamoto Musahi Series: Untitled series of warrior prints published by Kawaguchi . about 1827-27. Ōban vertical. Stock Photo

RM2DKHC4N–Utagawa Kuniyoshi 1798-1861. Miyamoto Musahi Series: Untitled series of warrior prints published by Kawaguchi . about 1827-27. Ōban vertical.

RM2B02XT9–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taisho and Showa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

RM2B02NK0–Torii Kotondo is known to have made only 21 prints - all of them images of bijin or beautiful women. They belong to the finest works of art of the Shin Hanga movement. Shin hanga ('new prints') was an art movement in early 20th-century Japan, during the Taishō and Shōwa periods, that revitalized traditional ukiyo-e art rooted in the Edo and Meiji periods (17th–19th century). The movement flourished from around 1915 to 1942, though it resumed briefly from 1946 through the 1950s. Inspired by European Impressionism, the artists incorporated Western elements such as the effects of light and the

Hasegawa Sadanobu Sadanobu II was an ukiyo-e artist of the Utagawa School who flourished during the late Edo and early Meiji Periods. Stock Photo

RM2B0377K–Hasegawa Sadanobu Sadanobu II was an ukiyo-e artist of the Utagawa School who flourished during the late Edo and early Meiji Periods.

Yamamoto Shoun (December 30, 1870 - May 10, 1965), who was also known as Matsutani Shoun, was a Japanese print designer, painter, and illustrator. He was born in Kochi into a family of retainers of the Shogun and was given the name Mosaburo. As a teenager, he studied Kano school painting with Yanagimoto Doso and Kawada Shoryu. At about age 17, he moved to Tokyo, where he studied Nanga painting with Taki Katei. At 20 years of age, he was employed as an illustrator for Fugoku Gaho, a pictorial magazine dealing with the sights in and around Tokyo. In his latter career, Shoun primarily produced pa Stock Photo

RM2B0377J–Yamamoto Shoun (December 30, 1870 - May 10, 1965), who was also known as Matsutani Shoun, was a Japanese print designer, painter, and illustrator. He was born in Kochi into a family of retainers of the Shogun and was given the name Mosaburo. As a teenager, he studied Kano school painting with Yanagimoto Doso and Kawada Shoryu. At about age 17, he moved to Tokyo, where he studied Nanga painting with Taki Katei. At 20 years of age, he was employed as an illustrator for Fugoku Gaho, a pictorial magazine dealing with the sights in and around Tokyo. In his latter career, Shoun primarily produced pa

Art, Utagawa Kuniyoshi 1798-1861, title of the work, Bandō Shiuka as Princess Morokoshi, Onoe Kikugorō III as Tejiku Kaja, and Sawamura Sōjūrō V as Sh Stock Photo

RM2DKHC4D–Art, Utagawa Kuniyoshi 1798-1861, title of the work, Bandō Shiuka as Princess Morokoshi, Onoe Kikugorō III as Tejiku Kaja, and Sawamura Sōjūrō V as Sh

RM2B03441–Yamamoto Shoun (December 30, 1870 - May 10, 1965), who was also known as Matsutani Shoun, was a Japanese print designer, painter, and illustrator. He was born in Kochi into a family of retainers of the Shogun and was given the name Mosaburo. As a teenager, he studied Kano school painting with Yanagimoto Doso and Kawada Shoryu. At about age 17, he moved to Tokyo, where he studied Nanga painting with Taki Katei. At 20 years of age, he was employed as an illustrator for Fugoku Gaho, a pictorial magazine dealing with the sights in and around Tokyo. In his latter career, Shoun primarily produced pa

Utagawa Kuniyoshi 1798-1861. In Front of Funabashiya Sweets Shop. Ōban vertical triptych. Stock Photo

RM2DKHBWT–Utagawa Kuniyoshi 1798-1861. In Front of Funabashiya Sweets Shop. Ōban vertical triptych.

RM2B03444–Yamamoto Shoun (December 30, 1870 - May 10, 1965), who was also known as Matsutani Shoun, was a Japanese print designer, painter, and illustrator. He was born in Kochi into a family of retainers of the Shogun and was given the name Mosaburo. As a teenager, he studied Kano school painting with Yanagimoto Doso and Kawada Shoryu. At about age 17, he moved to Tokyo, where he studied Nanga painting with Taki Katei. At 20 years of age, he was employed as an illustrator for Fugoku Gaho, a pictorial magazine dealing with the sights in and around Tokyo. In his latter career, Shoun primarily produced pa

Utagawa Kuniyoshi 1798-1861. Brave Kuniyoshi with his Paulownia Design (Isamashiki Kuniyoshi kiri no tsuimoyō) 1848. Ōban vertical triptych. Stock Photo

RM2DKHBG6–Utagawa Kuniyoshi 1798-1861. Brave Kuniyoshi with his Paulownia Design (Isamashiki Kuniyoshi kiri no tsuimoyō) 1848. Ōban vertical triptych.

RM2B03446–Yamamoto Shoun (December 30, 1870 - May 10, 1965), who was also known as Matsutani Shoun, was a Japanese print designer, painter, and illustrator. He was born in Kochi into a family of retainers of the Shogun and was given the name Mosaburo. As a teenager, he studied Kano school painting with Yanagimoto Doso and Kawada Shoryu. At about age 17, he moved to Tokyo, where he studied Nanga painting with Taki Katei. At 20 years of age, he was employed as an illustrator for Fugoku Gaho, a pictorial magazine dealing with the sights in and around Tokyo. In his latter career, Shoun primarily produced pa

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