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Sanraku's style has been described as a "retreat from some of Eitoku's dynamic imagery, substituting first a naturalism of expression and then a quality of elegant ornamentation"<ref>Mason. p259.</ref>. His time was marked by a slightly more intellectual or historically-minded approach both on the part of the artist and the patron, as elements or aspects of the ''[[yamato-e]]'' and ''[[kara-e]]'' (''kanga'') styles of the Heian and medieval periods were re-examined and revived.

Sanraku's style has been described as a "retreat from some of Eitoku's dynamic imagery, substituting first a naturalism of expression and then a quality of elegant ornamentation"<ref>Mason. p259.</ref>. His time was marked by a slightly more intellectual or historically-minded approach both on the part of the artist and the patron, as elements or aspects of the ''[[yamato-e]]'' and ''[[kara-e]]'' (''kanga'') styles of the Heian and medieval periods were re-examined and revived.

Following Eitoku's death, [[Kano Mitsunobu|Kanô Mitsunobu]] became head of the Kanô school, and Sanraku returned to a closer relationship with the [[Toyotomi clan]]. During this time, he produced works for [[Fushimi-Momoyama castle]], and for a number of temples and shrines in Kyoto. Among his many other works, Sanraku also created a series of ''fusuma'' panels depicting scenes from the ''[[Genji monogatari]]'', on commission from the [[Kujo family|Kujô family]].

Following Eitoku's death, [[Kano Mitsunobu|Kanô Mitsunobu]] became head of the Kanô school, and Sanraku returned to a closer relationship with the [[Toyotomi clan]]. During this time, he produced works for [[Fushimi-Momoyama castle]], and for a number of temples and shrines in Kyoto. Among his many other works, Sanraku also created a series of ''fusuma'' panels depicting scenes from the ''[[Genji monogatari]]'', on commission from the [[Kujo family|Kujô family]], though only one scene, a carriage fight from the ''Aoi'' chapter, survives, refashioned at some point into a four-fold ''[[byobu|byôbu]]''.

Though not the head of the school, his style would prove extremely influential in shaping the Kanô style of the 17th-18th centuries.

Though not the head of the school, his style would prove extremely influential in shaping the Kanô style of the 17th-18th centuries.