Hoso­da EISHI (1756–1829) came from a wealthy samu­rai fam­i­ly. After study­ing paint­ing, he entered the ser­vice of the Shogun. At 30 he left the court and devot­ed him­self to the art of col­or wood­cut. Eishi ran his own school and is one of the lead­ing painters of his time. His reper­toire pre­ferred to depict beau­ti­ful women ( bijin- ga), beau­ties who cor­re­spond­ed to the con­tem­po­rary ide­al of beau­ty, erot­ic images ( shun­gas ) and the rep­re­sen­ta­tion of famous leg­ends ( musha‑e ). His style is char­ac­ter­ized by expan­sive fig­ures, ele­gant lines, extreme elon­ga­tions and slim­ness of the fig­ures and lit­tle inte­ri­or. His mod­els includ­ed Torii Kiy­on­a­ga (1752–1815) and Kita­gawa Uta­maro (around 1753 / 54–1806).
In 1800, Eishi end­ed his career as a wood­cut artist and ded­i­cat­ed him­self exclu­sive­ly to paint­ing ( nikuhit­su-ga ).

Hoso­da EISHI (1756–1829) came from a wealthy samu­rai fam­i­ly. After study­ing paint­ing, he entered the ser­vice of the Shogun. At 30 he left the court and devot­ed him­self to the art of col­or wood­cut. Eishi ran his own school and is one of the lead­ing painters of his time. His reper­toire pre­ferred to depict beau­ti­ful women ( bijin- ga), beau­ties who cor­re­spond­ed to the con­tem­po­rary ide­al of beau­ty, erot­ic images ( shun­gas ) and the rep­re­sen­ta­tion of famous leg­ends ( musha‑e ). His style is char­ac­ter­ized by expan­sive fig­ures, ele­gant lines, extreme elon­ga­tions and slim­ness of the fig­ures and lit­tle inte­ri­or. His mod­els includ­ed Torii Kiy­on­a­ga (1752–1815) and Kita­gawa Uta­maro (around 1753 / 54–1806).
In 1800, Eishi end­ed his career as a wood­cut artist and ded­i­cat­ed him­self exclu­sive­ly to paint­ing ( nikuhit­su-ga ).


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