Katsushika Oi “Night Scene in the Yoshiwara” －The Lineage of Nightscapes

Please note that weekends, public holidays, and the final days of the exhibition tend to be particularly busy. If possible, we kindly recommend visiting on a weekday and early in the exhibition period.
We are also temporarily suspending group reservations during the exhibition period. Thank you for your understanding and cooperation.

Katsushika Ōi was a talented ukiyo-e artist and the daughter of Hokusai. Her masterpiece, Night Scene in the Yoshiwara, is renowned for its vivid contrast of light and shadow, which brings the pleasure district to life after dark. Celebrated as a masterpiece of ukiyo-e night scenes, this work is being presented to the public for the first time in three years, offering visitors a rare opportunity to appreciate its unique beauty.

The exhibition also features outstanding nocturnal works by masters such as Suzuki Harunobu, Utagawa Hiroshige, and Kobayashi Kiyochika. In addition, it introduces rarely seen night scenes created for overseas markets from the late Meiji period onward.

Tracing the evolution of night-scene imagery from the Edo period through the Meiji and Taishō periods, this exhibition invites visitors to rediscover the brilliance of Night Scene in the Yoshiwara.

1. A Must-See Masterpiece by Katsushika Ōi

Katsushika Ōi has attracted widespread attention in recent years through television dramas, films, and anime. However, only about a dozen of her hand-painted works are known to exist worldwide. Among these works, Yoshiwara Kōshi Saki no Zu (Night Scene in the Yoshiwara) is her defining masterpiece, celebrated for its inventive composition and striking contrast between light and shadow. This exhibition offers a rare opportunity to view one of Ōi’s most acclaimed works.

2. Experience Masterpieces of the Night

From starlit evenings and summer nights illuminated by fireworks to rainy nights beneath heavy clouds, ukiyo-e artists have explored the interplay of light and darkness. Utagawa Hiroshige, famed for his Prussian-blue skies, and Kobayashi Kiyochika, who poetically rendered Tokyo’s modernizing nightscapes, are central figures within this art tradition. The exhibition also features night scenes by Torii Kiyonaga, Keisai Eisen, Utagawa Kuniyoshi, Tsukioka Yoshitoshi, Inoue Yasuji, Ogura Ryūson, and others.

3. Little-Known Night-Scene Prints Beloved Abroad

In the late Meiji period, as domestic demand for traditional ukiyo-e declined, many prints were created specifically for overseas markets. These included reproductions of works by Hiroshige and Kiyochika, as well as new night scenes inspired by their works, demonstrating the high regard in which Edo-period night imagery was held abroad. However, night-scene prints made for export have received little attention in research and exhibitions to date. Highlighting the publishers Hasegawa Takejirō and Watanabe Shōzaburō, this exhibition introduces these overlooked night-scene prints created for international audiences, offering insight into the roots of ukiyo-e’s enduring global popularity.

Unless otherwise indicated, all works are from the Ota Memorial Museum of Art.

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

＊Student ID required for junior high school students and above.
＊¥100 discount with a disability ID (Valid for the holder and 1 caregiver).
＊We accept cash only. No credit cards or mobile payments.

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Torii Kotondo: Kabuki Paintings and Shin-Hanga (New Prints)

The Torii school played a central role in the production of Kabuki imagery, including theatrical signboard paintings, for approximately three centuries following the emergence of ukiyo-e. Torii Kotondo (1900–1976) was the eldest son of Torii Kiyotada VII, the seventh head of the Torii school. He later succeeded as its eighth head and became a prominent artist active from the Taishō through the Shōwa period.

Kotondo is said to have harbored a rebellious attitude toward the traditional profession of the Torii school in his youth. He first studied under Kobori Tomoto and later under Kaburaki Kiyokata, earning widespread acclaim for his bijin-ga (paintings of beautiful women), particularly those produced for the Taishō shin-hanga (new print) movement.

Kiyokata himself belonged to the artistic lineage of Utagawa Kuniyoshi, making Kotondo the only artist who may truly be regarded as the heir to the artistic traditions of both the Torii and Utagawa schools—the two great lineages of ukiyo-e.

Undeterred by the weighty responsibility of carrying on the Torii school tradition, Kotondo devoted himself wholeheartedly to Kabuki art, producing a vast number of theater signboards and stage designs. His hand-painted works depicting Kabuki themes likewise include many masterpieces.

The year 2026 marks the 50th anniversary of Kotondo’s death. This exhibition is the first major retrospective of his work since the museum’s exhibition in 2000. Featuring approximately 70 works, it offers a fresh perspective on Kotondo’s artistic career and invites visitors to rediscover the enduring appeal of his art.

① The Torii School’s Specialty: Kabuki Paintings

In 1929, following the retirement of his father, Torii Kiyotada VII, Kotondo is believed to have succeeded as the eighth head of the Torii School. While balancing his personal interest in bijin-ga with the responsibilities of preserving the family tradition, he devoted himself to the production of kabuki-e (Kabuki prints). Combining tradition with a modern sensibility, he produced many outstanding kabuki-e. This section features his hand-painted kabuki-e together with rare theater signboards that were actually used.

②“Morning Hair,” Admired by Steve Jobs: Beauty Prints of the Taishō Era

An essential aspect of Kotondo’s artistic career is represented by the bijin-ga (paintings of beautiful women) he created for the Taishō shin-hanga (new print) movement. These delicate portrayals of the beauty found in women’s everyday lives received widespread acclaim. Even today, Kotondo’s portraits of beautiful women continue to enjoy a unique popularity. This exhibition presents all 22 of Kotondo’s shin-hanga bijin-ga, including Morning Hair, which is said to have been confiscated by the Metropolitan Police Department under contemporary censorship regulations, as well as rare trial impressions.

③ Introducing “Verdant Rain” and Other Rare Hand-Painted Beauty Paintings

Torii Kotondo is believed to have begun studying bijin-ga (paintings of beautiful women) under Kaburaki Kiyokata at around the age of 20 or 21. A highlight of this exhibition is Verdant Rain, a masterpiece in the form of a folding screen, admired for its graceful figure and delicate coloring. Records indicate that it was exhibited at the Kyōdokai Exhibition in May 1928, making it an especially valuable work. The exhibition also features celebrated paintings such as the triptych Shubi-no-matsu Pine / Cooling Off by the Sumida River / Ryōgoku Bridge, which showcases Kotondo’s refined approach to hand-painted bijin-ga.

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

＊Student ID required for junior high school students and above.
＊¥100 discount with a disability ID (Valid for the holder and 1 caregiver).
＊We accept cash only. No credit cards or mobile payments.

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Animals & Monsters: Cute, Scary, and a Little Weird

Various animals and monsters appear in ukiyo-e. From cats and dogs depicted as beloved pets to weird, terrifying demons and giant earth spiders, their portrayals are incredibly diverse. You will find anthropomorphized animals and even humorous, strangely shaped characters.

This exhibition showcases 140 works, ranging from popular pieces known for their charm and humor to newly acquired works shown for the first time (full rotation between terms). Explore the fascinating world of ukiyo-e through three keywords: “Cute,” “Scary,” and “A little weird.”

Highlight 1: Adorable Animals and Monsters

The world of ukiyo-e is filled with charming animals and monsters (yōkai). There are beloved cats and dogs, and even foxes and elephants that move with comical, human-like expressions.

Not all monsters are spine-chilling; some are surprisingly cute, like the Nekomata (mythical two-tailed monster cat), often depicted dancing with a hand towel on its head. Come and see an all-star lineup of popular animals and monsters!

Highlight 2: Anthropomorphized “Mimic” Animals

In ukiyo-e, animals like cats, rabbits, and octopuses—and even plants like Chinese lanterns and pumpkins—are transformed into lively, human-like figures. Cats are especially popular, often depicted relaxing at soba shop and eel eateries, and public baths. This exhibition features a full lineup of anthropomorphized characters from the Ota Memorial Museum of Art collection.

Highlight 3: “A little weird” Characters: What on Earth is this?

Ukiyo-e features more than just well-known animals and monsters. You’ll encounter a bizarre array of mysterious characters: the “Torako-ishi” (a mythical creature with a stone body and a tiger’s legs and tail), fish with human faces, and a single creature merging all twelve signs of the Chinese zodiac. Even abstract concepts like diseases, medicines, and money are transformed into human forms. This collection is full of the rich imagination of ukiyo-e artists.

Highlight 4: Nearly One-Fifth of the Exhibition on Display for the First

The Ota Memorial Museum of Art has hosted several exhibitions focused on animals and monsters in the past. This time, alongside our most popular masterpieces, we are showcasing a large number of works for the very first time. In fact, 27 out of the 140 pieces on display—nearly one-fifth of the entire exhibition—are new acquisitions. Even if you have seen our previous shows, there is plenty of new material for you to enjoy!

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

＊Student ID required for junior high school students and above.
＊¥100 discount with a disability ID (Valid for the holder and 1 caregiver).
＊We accept cash only. No credit cards or mobile payments.

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Utagawa Hiroshige “One Hundred Famous Views of Edo” －His Final Challenge

Utagawa Hiroshige (1797–1858), a master of ukiyo-e, transformed meisho-e (pictures of famous places) in the late Edo period. Throughout his career, he remained at the forefront of the genre. His celebrated series, One Hundred Famous Views of Edo, is widely regarded as a masterpiece that vividly captures the spirit of the city.

Hiroshige devoted the final three years of his life (aged 60–62) to this ambitious series. Several prints were published after his death, and the series is the culminating achievement of his career and his most extensive project, comprising his largest body of prints.

The works are notable for their bold and unconventional compositions, employing striking perspectives rarely seen in earlier landscape prints. Depicting over one hundred sites in Edo, Hiroshige identified and introduced “new” famous places that had previously received little attention, while also incorporating elements of contemporary life and popular culture. In this sense, the series represents a highly inventive and experimental undertaking in the artist’s later years. Presented here for the first time in approximately 8 years, the complete set of 120 prints from the series is shown in 2 terms. We invite you to explore the remarkable artistic achievements that Hiroshige attained in his final years and to experience the enduring appeal of these works.

①A final masterpiece: The art of exquisite carving and printing

Created by the artist between the ages of 60 and 62, One Hundred Famous Views of Edo represents Hiroshige’s final artistic testament, with several prints published posthumously. The exhibition is divided into 2 terms to showcase the complete set of 120 works: 118 designs by Hiroshige, 1 by Hiroshige II, and the series index. Our museum’s collection is renowned for its exceptional preservation and the vibrant beauty of its early-edition carving and printing, offering a rare opportunity to experience the full brilliance of this masterpiece.

② Innovation in landscape art: The challenge of bold composition

One of the most striking features of this series is the “foreground-dominant” style (kinzō-gata kōzu), in which a large motif is placed prominently in the immediate foreground. Hiroshige also utilized dramatic cropping and bird’s-eye perspectives to create innovative, highly graphic compositions. This series exerted a profound influence on Western art and remains pivotal in redefining landscape art worldwide.

③ Capturing the “now” of Edo: Discovering new landmarks and social trends

Hiroshige introduced numerous innovations beyond just composition. Expanding his vision from the city center to the suburbs—including scenic areas such as Ōji and Meguro—he actively redefined and popularized new “famous views.”

He also keenly captured the turbulent social conditions of the late Edo period. For instance, he depicted how Mt. Goten was carved away to provide soil for constructing coastal artillery batteries (Odaiba) following the arrival of the “Black Ships.”

These works demonstrate Hiroshige’s diverse innovations—particularly how he redefined the landscape genre by weaving the pulse of the era into his art.

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

＊Student ID required for junior high school students and above.
＊¥100 discount with a disability ID (Valid for the holder and 1 caregiver).
＊We accept cash only. No credit cards or mobile payments.

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Beauty of Mounting – Enhancing Hand-Painted Ukiyo-e

The Supporting Role of Ukiyo-e: Its Unseen Beauty

“Hyōsō” (traditional mounting) is the craft of finishing paintings or calligraphy into formats such as hanging scrolls or handscrolls. Using specialized fabric and paper, this process ensures the artwork’s preservation while significantly enhancing its visual appeal. Although mounting is rarely the focus of exhibitions or catalogs, it plays a vital role in elevating the artwork’s presence. Supervised by researcher Maiko Hamamura, this exhibition features approximately 40 works with exceptional mounting, selected from the Ota Memorial Museum of Art’s collection of over 600 hand-painted ukiyo-e (Nikuhitsu Ukiyo-e). By bringing the often-overlooked element of mounting to the forefront, we invite you to experience the profound and complete allure of these ukiyo-e masterpieces.

Unveiling the Harmony Between Painting and Mounting

The colors, patterns, and materials of a mounting significantly influence the impression a painting leaves on the viewer. A truly fine mounting is one meticulously crafted to enhance the artwork’s inherent charm. This exhibition presents mountings that are deeply intertwined with their subjects, effectively expanding the world within the scroll. Examples include Katsukawa Shunshō’s work, which features a peacock pattern echoing the motifs on the woman’s kimono, and Furuyama Moroshige’s work, adorned with waterfowl motifs that perfectly resonate with the riverside. We invite you to explore the creativity and ingenuity imbued in every detail of these mountings.

A Must-See for Kimono Lovers: Sarasa and Noh Costumes in Mountings

Since the Edo period, the rich textile culture of Japan has been deeply integrated into the art of mounting, utilizing a diverse variety of exquisite fabrics. In this collection, Kitagawa Utamaro’s masterpieces are framed with sarasa (chintz)—its delicate and charming patterns were a favorite choice for mounting bijin-ga (paintings of beautiful women). Katsukawa Shunshō’s works are adorned with elegant Noh theater costumes, while Miyagawa Isshō’s paintings feature vibrant kimonos with intricate embroidery and dyed patterns. These textiles work in harmony with the artwork, adding an extra layer of brilliance and sophistication to the works.

Displaying One’s Favorite Star

Hand-painted ukiyo-e are admired for the freedom and creativity of their mountings. Some are decorated with the family crests of Kabuki actors such as Ichikawa Danjūrō and Sawamura Gennosuke, delighting devoted fans with these playful references. The exhibition also includes mountings that reflect the owners’ affection and their desire to display and appreciate their favorite works in the most beautiful way possible.

Masterpieces on Display: Featuring Shunshō, Utamaro, and Hokusai

The exhibition features a stunning selection of hand-painted ukiyo-e from the Ota Memorial Museum of Art’s prestigious collection, including masterpieces by legendary artists such as Katsukawa Shunshō, Kitagawa Utamaro, and Katsushika Hokusai. By exploring the key aesthetic elements of the mounting alongside these original paintings, visitors will have a unique opportunity to appreciate the beauty of these famed works on a deeper level.

Maiko Hamamura Lecturer at Kyoto University of the Arts (both the Graduate School and Undergraduate programs) and at Waseda University. Her field of expertise is the history of early modern Japanese painting. She is currently conducting extensive research on the culture of mounting in Japan.

Admission

Adult	1000 yen
University and High school students	700 yen
Junior High School Students and below (under 15 years old)	Free

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Ukiyo-e Ojisan Festival

Ukiyo-e “Ojisan Festival”: The main character in every work is the Ojisan!

Tucked away in the corner of many ukiyo-e landscape prints, you can often find figures full of character—”Ojisan” (middle-aged men). They are depicted joyfully traveling, diligently working, or savoring gourmet food. Far from being mere background figures, the more you look at them, the more you discover their unique personalities and charm.

This exhibition introduces the various of Ojisan depicted in ukiyo-e through more than 150 works, shown across the first and second terms. Featuring works by artists spanning different styles and eras, including Utagawa Hiroshige, this is truly an “Ojisan Festival.” Taking a closer look at the details of ukiyo-e through these Ojisan, you are sure to rediscover the works’ new charms and the unexpected individuality of the artist.

※This exhibition is a newly curated presentation based on the concept of the highly successful “Ukiyo-e Ojisan Festival” exhibition previously held at the Nakasendo Hiroshige Museum of Art.

Beyond Hiroshige! Discover numerous Ojisan created by Hokusai, Kuniyoshi, Kiyochika, and more.

In recent years, the fascinating figures often small and full of character, depicted in landscape prints, particularly those by Utagawa Hiroshige, have garnered attention. Exhibitions showcasing their appeal have been held in various locations across Japan.

The Ota Memorial Museum of Art presents an “Ojisan Exhibition” for the first time in about three years, following the successful “Hiroshige’s Ojisan Encyclopedia” exhibition in 2023. This time, in addition to the familiar Ojisan from Utagawa Hiroshige, the exhibition significantly expands the selection of works by a wider range of Ukiyo-e artists, including Katsushika Hokusai, Utagawa Kuniyoshi, and Kobayashi Kiyochika. This showcase presents a much deeper and richer “Ojisan World” to enjoy.

Rediscover the charm of Ukiyo-e by finding your “Oshi-Oji” (Favorite Middle-Aged Man)

When you deliberately focus on the Ojisan in well-known Ukiyo-e masterpieces, the appeal of details you might have previously overlooked emerges, such as the differentiation in the characters’ expressions, gestures, and clothing. The Ojisan subtly placed in the works were often subjects where the artist could relax and let the brush wield freely. Through them, the artist’s genuine individuality, keen observation skills, and reliable descriptive power become apparent. We invite you to find your own “Oshi-Oji” and rediscover the profound charm and depth of ukiyo-e.

Admission

Adult	1000 yen
University and High school students	700 yen
Junior High School Students and below (under 15 years old)	Free

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Utagawa Hirokage -Comic Views of Edo

The unknown artist, Utagawa Hirokage

The ukiyo-e artist, Utagawa Hirokage, is rarely recognized, even among experts in the field. However, his work has recently garnered significant attention on the social media accounts of the Ota Memorial Museum of Art.

His pieces, like a man falling dramatically on a snowy road or a “yuki daruma” (snowman) literally shaped like a daruma doll, have a comical charm that makes them instantly shareable and popular, regardless of the artist’s fame.

“Comical Views of Famous Places in Edo,” a series full of comical happenings.

He was a pupil of Utagawa Hiroshige, who is also famous for his series The Fifty-three Stations of the Tōkaidō. However, his active period was short and his identity remains largely　unknown. His masterpiece is “Comical Views of Famous Places in Edo,” a series of 50 prints. It is a series that can be said to be a “comedy ukiyo-e” set at the end of Edo period (around 1853-1868). It is full of funny events from the daily lives of Edo citizens, such as a stray dog stealing their fish, a person getting a bowl of soba dumped on their head, or being tricked by a tanuki or foxes. These works are easy even for ukiyo-e beginners to enjoy. 

All 50 works are exhibited at once, and the work of HiroshigeⅡare also introduced.

The Ota Memorial Museum of Art is holding a special exhibition, showcasing all 50 pieces from the series “Comical Views of Famous Places in Edo” for the first time in eight years. Explore Hirokage’s hilarious world, from the works that went viral on social media to rare pieces you have never seen before. To provide an even richer experience, we also exhibit 20 works by another of Hiroshige’s pupils, Utagawa Hiroshige II. This exhibition will be a precious opportunity to experience the diverse world of the Hiroshige school.

Admission

Adult	1000 yen
University and High school students	700 yen
Junior High School Students and below (under 15 years old)	Free

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Tsutaya Jūzaburō and the Chronicles of Publishers

During the Edo period (1603–1868), Hanmoto (publishers) oversaw ukiyo-e production by managing ukiyo-e artists and craftsmen, and directed the planning, creation, and sales of the prints. Among them, Tsutaya Jūzaburō(Tsutajū) played a major role in the history of ukiyo-e, such as producing Kitagawa Utamaro and Tōshūsai Sharaku with outstanding talent, garnering a golden age for ukiyo-e.

Publishing culture flourished during the Edo period; not only Tsutaya Jūzaburō, several other publishers played active roles. Therefore, this exhibition will feature twelve publishers who were prominent over approximately 230 years, from the dawn to the decline of ukiyo-e, spanning from the Edo period through the Meiji era (1868–1912). Through a selection of works, we invite you to enjoy this glimpse into the publishers’ dedication hidden in the shadow of the masterpieces and human drama with the artists.

Tsutaya Jūzaburō is famous for producing works by Kitagawa Utamaro and Tōshūsai Sharaku, but he also worked with other leading artists of the time, such as Kitao Shigemasa, Katsukawa Shunshō, and Torii Kiyonaga. A highlight of this exhibition is the collection of masterpieces created by Jūzaburō and these top artists. Among them, Utamaro’s works include beautiful kyōka (humorous poems) picture books and masterpieces of the ” Head shot portraits of beautiful women” (bijin ōkubi-e) that became huge hit with their close-up portrayals of women’s faces. In addition, you can see all 15 works of Sharaku in the first and second periods, including the ” Kabuki Actor Kataoka Nizaemon Ⅶ as Kino Natora”, which is only held by the Ota Memorial Museum of Art in the world.

Tsutaya Jūzaburō wasn’t the only brilliant publisher who nurtured top artists whose names would be remembered by later generations. There was also Tsuruya Kiemon and Urokogataya, who teamed up with Hishikawa Moronobu, the first ukiyo-e artist. Nishimuraya Yohachi recognized the talent of Katsushika Hokusai and produced the renowned “Thirty-Six Views of Mt. Fuji” series, while the up-and-coming publisher Takeuchi Magohachi succeeded with Utagawa Hiroshige’s “Fifty-three Stations of the Tōkaidō Road” series. In the Meiji era, seeking new forms of expression, Matsuki Heikichi collaborated with Kobayashi Kiyochika to release “Kōsen-ga” (light-ray paintings), and Akiyama Buemon produced masterpieces by Tsukioka Yoshitoshi one after another, such as the “One Hundred Views of the Moon” series. This exhibition will introduce the achievements of these publishers who released masterpieces that have been passed down through history.

Tsutaya Jūzaburō was not just one person, but actually continued until the fifth generations. In this exhibition, we will introduce the works published by the second generation in collaboration with Katsushika Hokusai.

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

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Katsushika Hokusai Thirty-six Views of Mt. Fuji

Masterpieces by Katsushika Hokusai on Full Display for the First Time in Approximately Eight Years

“Thirty-six Views of Mt. Fuji” is a series consisting of 46 prints created by Katsushika Hokusai when he was in his seventies. This masterpiece depicts various views of Mt. Fuji seen from a wide area extending from Edo (Tokyo) to the Tokai region. This series is not only Hokusai’s most famous work, but also a symbol of ukiyo-e, which continues to captivate audiences worldwide.

In this exhibition, we will display the entire series together for the first time in approximately eight years. Rare proof prints and later impressions will also be shown, along with works that inspired this series such as “Hokusai Manga,” Hokusai’s early prints, and related pieces by Utagawa Hiroshige and Utagawa Kuniyoshi. While recent research has focused on Hiroshige’s works from geographical and topographical perspectives, this exhibition highlights the relationship between Hokusai’s depictions of Mt. Fuji and the actual geography. Using photos and maps, we explore the geographical elements that influenced his compositions to better understand his creative intent.

①Hokusai’s Diverse Views of Mt. Fuji: Presenting All 46 Prints

Hokusai captured Mt. Fuji from various perspectives across a wide region, from Edo (Tokyo) to Tokai. The exhibition features 46 prints, allowing visitors to appreciate Hokusai’s innovative ideas and diverse compositions. Highlights include the so-called “Three Masterpieces”: the dynamic waves of “The Great Wave off Kanagawa,” “South Wind, Clear Sky,” and “Rainstorm beneath the Summit.” Other notable works are “Fujimigahara in Owari Province,” which captures Mt. Fuji from the unusual perspective of inside a barrel, and “Ejiri in Suruga Province,” which skillfully depicts a sudden gust of wind. In addition, valuable materials, such as early and later impressions, are displayed.

②Deciphering the “Thirty-six Views of Mount Fuji” through Topography

When Hokusai created the “Thirty-six Views of Mt. Fuji,” the actual topography of the depicted locations significantly influenced his compositions. The key elements to note are elevational differences and waterscapes. Many works capture Mt. Fuji seen from the edges of plateaus or mountains or across the waterfronts of rivers or the sea, skillfully incorporating terrain into the viewpoint and composition. In this exhibition, we examine his works using local photographs and topographical maps to reveal his ingenious techniques and details, which are not apparent at first glance.

③From Hokusai Manga to Hiroshige and Kuniyoshi: A Wealth of Related Works

Hokusai began creating landscape prints from his youth, when he went by the name Katsukawa Shunrō. Even in his famous “Hokusai Manga,” he drew several images that would later serve as the basis for the “Thirty-six Views of Mt. Fuji.” That series, completed in his seventies, is considered the culmination of his artistic career. This exhibition presents not only these masterpieces and Hokusai’s earlier works, but also related materials, including works by Utagawa Hiroshige and Utagawa Kuniyoshi that depict the same famous sites as the “Thirty-six Views of Mt. Fuji.”

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

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Hirezaki Eiho

Hirezaki Eihō, the “last ukiyo-e artist” who disappeared between eras.

Hirezaki Eihō (1880-1968) was an artist who flourished from the late Meiji to the Shōwa era. He studied under Migita Toshihide, a pupil of the ukiyo-e artist Tsukioka Yoshitoshi, and created kuchi-e (frontispieces: multicolored woodblock prints inserted at the beginning of books), covers, and illustrations for novels and literary magazines, capturing the hearts of the general public. However, his achievements are rarely mentioned. This exhibition shines a light on the little-known “last ukiyo-e artist,” exploring how Eihō was flourished during the final era when ukiyo-e prints were a part of everyday life.

 The last ukiyo-e beauty painting: Approaching Eihō’s bewitching beauty.

Hirezaki Eihō painted many women with bewitching beauty in the kuchi-e of novels and literary magazines. His popularity rivaled that of Kaburaki Kiyokata, a renowned modern painter of beautiful women. During the Taisho era, when ukiyo-e prints were nearing the end of their role as mass media, Eihō was the last artist to depict beautiful women through woodblock prints. We will explore the charm of his fascinating beauties, which marks the end of the history of ukiyo-e prints.

The unknown charm of lithographs that took the place of ukiyo-e prints.

Hirezaki Eihō has created many lithograph frontispieces as well as woodblock prints. However, his lithograph frontispieces have rarely been introduced until now. Therefore, in this exhibition, to reveal the full scope of his works, we will introduce not only his woodblock prints but also his lithographs in great volume. Please enjoy the unknown appeal of lithographs, which took the place of entertainment for the masses from ukiyo-e prints.

A large retrospective exhibition showcasing 187 pieces, including woodblock prints, lithographs, and original paintings.

In addition to published woodblock and lithograph prints, this exhibition will also feature works that reveal the production process, such as original drawings and paintings with coloring instructions (presentations). This large-scale retrospective will also feature rare hanging scrolls and sketches that reflect Eihō’s spirit. (All works will be rotated between the 1st and 2nd terms of the exhibition).

Admission

Adult	1200 yen
University and High school students	800 yen
Junior High School Students and below (under 15 years old)	Free

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