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Chôbunsai Eishi was an ''[[ukiyo-e]]'' painter and print designer, known primarily for his depictions of tall, thin, graceful beauties.

Chôbunsai Eishi was an ''[[ukiyo-e]]'' painter and print designer, known primarily for his depictions of tall, thin, graceful beauties.

The eldest son of a local Edo samurai official, Eishi received [[Kano school|Kanô school]] training and served as an official court painter to the shogunate for a number of years. His [[art-name]], Eishi, was granted him by the shogun himself.

The eldest son of a local Edo samurai official of the Hosoda family, Eishi studied under [[Kano Michinobu|Kanô Michinobu]], and served as an official court painter to the shogunate for a number of years. He held ''[[hatamoto]]'' rank and had an income of 500 ''[[koku]]''. His [[art-name]], Eishi, was granted him by the shogun [[Tokugawa Ieharu]] himself.

In the mid-1780s, however, Eishi made a dramatic change, and moved from the realm of elite painting to ''ukiyo-e''. His style shows influence from [[Utamaro]], [[Torii Kiyonaga]] and others, but bears distinctive elements as well. Eishi's women are tall and slender, a continuation and development of a trend begun by Utamaro and Kiyonaga, and they bear a refinement and grace rarely exceeded by the figures in ''[[bijinga]]'' by other artists.

In the mid-1780s, however, Eishi made a dramatic change, and moved from the realm of elite painting to ''ukiyo-e''. After working on illustrations for ''[[kibyoshi|kibyôshi]]'' for several years, in [[1789]], he began producing ''ukiyo-e'' works in earnest, including single-sheet prints and paintings. His style shows influence from [[Utamaro]], [[Torii Kiyonaga]] and others, but bears distinctive elements as well. Eishi's women are tall and slender, a continuation and development of a trend begun by Utamaro and Kiyonaga, and they bear a refinement and grace rarely exceeded by the figures in ''[[bijinga]]'' by other artists.

Around 1800, he quit print designs, and turned his attention more fully to painting. It is said that one of his [[emaki|handscrolls]], depicting scenes along the [[Sumidagawa]], so impressed the wealthy patrons for whom it was painted that they presented it at a special showing to the Imperial family. This was an especially rare honor for a plebian ''ukiyo-e'' piece, one which perhaps no other ''ukiyo-e'' artist ever enjoyed.

Around 1798, he quit print designs, and turned his attention more fully to painting. It is said that one of his [[emaki|handscrolls]], depicting scenes along the [[Sumidagawa]], so impressed the wealthy patrons for whom it was painted that they presented it at a special showing to the Imperial family. This was an especially rare honor for a plebian ''ukiyo-e'' piece, one which perhaps no other ''ukiyo-e'' artist ever enjoyed.

Though Eishi never formally established a school and trained but a few direct pupils, ''ukiyo-e'' connoisseur [[Richard Lane]] identifies a number of artists who followed in Eishi's footsteps, describing them as "among the most fascinating secondary figures in ukiyo-e history"<ref>Lane. p142.</ref>. They include [[Eishosai Choki|Eishôsai Chôki]], [[Chokosai Eisho|Chôkôsai Eishô]], [[Rekisentei Eiri]], [[Chokyosai Eiri|Chôkyôsai Eiri]], and [[Ichirakutei Eisui]].

Though Eishi never formally established a school and trained but a few direct pupils, ''ukiyo-e'' connoisseur [[Richard Lane]] identifies a number of artists who followed in Eishi's footsteps, describing them as "among the most fascinating secondary figures in ukiyo-e history"<ref>Lane. p142.</ref>. They include [[Eishosai Choki|Eishôsai Chôki]], [[Chokosai Eisho|Chôkôsai Eishô]], [[Rekisentei Eiri]], [[Chokyosai Eiri|Chôkyôsai Eiri]], and [[Ichirakutei Eisui]].

==References==

==References==

*Lane, Richard. ''Images from the Floating World''. New York: Konecky & Konecky, 1978. pp141-145.

*Lane, Richard. ''Images from the Floating World''. New York: Konecky & Konecky, 1978. pp141-145.

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