Kitao’s work is defined by its japanese (culture or style) sensibility — an enduring influence on generations that followed. Most artists are dead; following is a declaration of love.
Two Beauties on a Veranda
Kitao Masanobu (Santo Kyoden) Japanese, 1761–1816
The Courtesans Utagawa and Nanasato from the Yotsumeya, from the album "Comparing New Beauties of the Yoshiwara - A Mirror of Their Own Writings (Keisei shin bijin awase jikihitsu kagami)"
Ichikawa Monnosuke II as Haya no Kanpei in "Chushingura Nagori no Kura."
Flowers of Yamashita (Yamashita hana), from the series "Contest of Contemporary Beauties (Tosei bijin iro kurabe)"
Enjoying the Evening Cool in Hirokoji (Hirokoji no ryosho), from the series "Eight Contemporary Views of Ryogoku (Tosei Ryogoku hakkei)"
The Courtesan Hitomoto of the Daimonjiya, from the album "Comparing New Beauties of the Yoshiwara - A Mirror of Their Own Writings (Keisei shin bijin awase jikihitsu kagami)"
Courtesan and Young Man Under Umbrella
Two Women Taking a Stroll
Young Couple under Cherry Tree
Two Women at a Wayside Tea Booth
Goten Hill (Gotenyama), from the series "Famous Places for Flowers in the Eastern Capital (Toto hana meisho)"
Attributed to Kitao Masanobu Japanese, 1761-1816
Returning Sails of the Bamboo Knives (Takenaga no kihan), from the series ”Eight Views of Maids' Utensils (Jochu tedogu hakkei)"
Attributed to Kitao Masanobu (Santo Kyoden) Japanese, 1761–1816
Surimono
Sagi-ga-oka Kanjin Ontomi Kōgyō Soga
Kitao Masanobu 北尾政演 Japanese, 1761-1816
Senden enju hangondan
Shiki no yukikai
Kitao Masanobu Kitao Shigemasa 1761-1816
Edo umare uwaki no kabayaki
Kokkei Ryakuga shiki