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Perhaps as early as this time, the Kanô school had developed enough of a reputation that having Kanô works in one's castle or mansion conveyed an impression of elite status, of power, and of cultured aesthetic sense. Numerous ''[[daimyo|Sengoku daimyô]]'' vied for the attentions of the school.<ref name=screech137>Screech, 137.</ref>
Perhaps as early as this time, the Kanô school had developed enough of a reputation that having Kanô works in one's castle or mansion conveyed an impression of elite status, of power, and of cultured aesthetic sense. Numerous ''[[daimyo|Sengoku daimyô]]'' vied for the attentions of the school.<ref name=screech137>Screech, 137.</ref>
After becoming head of the school himself, Eitoku and members of his atelier painted works for [[Oda Nobunaga|Oda Nobunaga's]] [[Azuchi castle]] in [[1576]],<ref name=screech137/> for [[Emperor Ogimachi|Emperor Ôgimachi's]] retirement mansion in [[1586]], and for [[Toyotomi Hideyoshi|Toyotomi Hideyoshi's]] [[Jurakudai]] the following year, the latter alongside [[Hasegawa Tohaku|Hasegawa Tôhaku]].<ref>Penelope Mason, ''History of Japanese Art'', Second Edition, Upper Saddle River, NJ: Pearson Prentice Hall (2005), 259-263.</ref> His innovations in decorative schema included a variety of techniques to make the room appear larger than it was, and also to paint large trees in such a way that they echoed or paralleled the wooden pillars of the architecture.<ref name=mason255>Mason, 255-257.</ref> While commissioned to do the wall paintings (''fusuma-e'' or ''shôhekiga'') for many significant institutions in the 1570s-1580s, including temples, castles, elite mansions, and even the [[Kyoto Imperial Palace|Imperial Palace]], Eitoku and the members of his studio also produced many handscrolls, hanging scrolls, and folding screens (''byôbu'').
After becoming head of the school himself, Eitoku and members of his atelier painted works for [[Oda Nobunaga|Oda Nobunaga's]] [[Azuchi castle]] in [[1576]],<ref name=screech137/> for [[Emperor Ogimachi|Emperor Ôgimachi's]] retirement mansion in [[1586]], and for [[Toyotomi Hideyoshi|Toyotomi Hideyoshi's]] [[Jurakudai]] the following year, the latter alongside [[Hasegawa Tohaku|Hasegawa Tôhaku]].<ref>Penelope Mason, ''History of Japanese Art'', Second Edition, Upper Saddle River, NJ: Pearson Prentice Hall (2005), 259-263.</ref> His innovations in decorative schema included a variety of techniques to make the room appear larger than it was, and also to paint large trees in such a way that they echoed or paralleled the wooden pillars of the architecture.<ref name=mason255>Mason, 255-257.</ref> While commissioned to do the wall paintings (''[[fusuma|fusuma-e]]'' or ''shôhekiga'') for many significant institutions in the 1570s-1580s, including temples, castles, elite mansions, and even the [[Kyoto Imperial Palace|Imperial Palace]], Eitoku and the members of his studio also produced many handscrolls, hanging scrolls, and folding screens (''[[byobu|byôbu]]'').
Eitoku died in 1590 and was succeeded as head of the school by his son [[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608), though his pupil & adopted son [[Kano Sanraku|Kanô Sanraku]] would also be a significant artist of this next generation of the school's history.<ref name=mason255/>
Eitoku died in 1590 and was succeeded as head of the school by his son [[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608), though his pupil & adopted son [[Kano Sanraku|Kanô Sanraku]] would also be a significant artist of this next generation of the school's history.<ref name=mason255/>
Several heads of the school passed away in rapid succession in the early 1600s, with [[Kano Takanobu|Kanô Takanobu]] being succeeded by [[Kano Naonobu|Kanô Naonobu]] in [[1618]], and then [[Kano Sadanobu|Kanô Sadanobu]] by [[Kano Yasunobu|Kanô Yasunobu]] in [[1623]]. Around this time, the Edo Kanô school divided into four branches: the Kajibashi, Nakabashi, Kobikichô, and Hamachô Kanô, each named for the location of their studios, and founded, respectively, by Kanô Tan'yû, his brothers Naonobu and Yasunobu, and by Yasunobu's grandson [[Kano Minenobu|Kanô Minenobu]]. These four schools formed the top levels of a hierarchy of Kanô artists; the heads of each of these schools came to be known as ''oku eshi'', or "inner artists," and were granted samurai status and requisite [[stipends]]. As shogunal vassals, they were then obligated to present works to the shogun on a set day every month. Sixteen cadet branches, alongside a number of other Kanô artists, formed the next rung down; these ''omote eshi'' ("outer artists") did not possess samurai status or stipends, but still regularly received commissions from the shogunate. Other Kanô artists were not associated with the shogunate, but were retained as court artists by various ''daimyô''. Finally there were the ''machi Kanô'' - town artists - who served individual samurai and commoner clients.<ref name=guth96>Christine Guth, ''Art of Edo Japan'', Yale University Press (1996), 96.</ref>
Several heads of the school passed away in rapid succession in the early 1600s, with [[Kano Takanobu|Kanô Takanobu]] being succeeded by [[Kano Naonobu|Kanô Naonobu]] in [[1618]], and then [[Kano Sadanobu|Kanô Sadanobu]] by [[Kano Yasunobu|Kanô Yasunobu]] in [[1623]]. Around this time, the Edo Kanô school divided into four branches: the Kajibashi, Nakabashi, Kobikichô, and Hamachô Kanô, each named for the location of their studios, and founded, respectively, by Kanô Tan'yû, his brothers Naonobu and Yasunobu, and by Yasunobu's grandson [[Kano Minenobu|Kanô Minenobu]]. These four schools formed the top levels of a hierarchy of Kanô artists; the heads of each of these schools came to be known as ''oku eshi'', or "inner artists," and were granted samurai status and requisite [[stipends]]. As shogunal vassals, they were then obligated to present works to the shogun on a set day every month. Sixteen cadet branches, alongside a number of other Kanô artists, formed the next rung down; these ''omote eshi'' ("outer artists") did not possess samurai status or stipends, but still regularly received commissions from the shogunate. Other Kanô artists were not associated with the shogunate, but were retained as court artists by various ''daimyô''. Finally there were the ''machi Kanô'' - town artists - who served individual samurai and commoner clients.<ref name=guth96>Christine Guth, ''Art of Edo Japan'', Yale University Press (1996), 96.</ref>
For the ''oku eshi'' of the Kanô school, the first few decades of the Edo period were dominated by large-scale projects, as the Tokugawa shogunate and other elite patrons commissioned the Kanô to produce wall paintings and other large-scale works for [[Nijo castle|Nijô]], [[Osaka castle|Osaka]], [[Nagoya castle|Nagoya]], and [[Edo castle]]s, [[Nikko Toshogu|Nikkô Tôshôgû]], Daitoku-ji, the Kyoto Imperial Palace, the [[Kishu Tokugawa clan|Kishû Tokugawa clan]] summer mansion, and so forth. Later in the period, the school shifted to producing primarily smaller-scale works, including individual ''fusuma-e'', ''byôbu'', handscrolls, hanging scrolls, and the like.<ref>Guth, 97.</ref>
The popular/commoner art form ''[[ukiyo-e]]'' ("pictures of the floating world") developed out of Kanô, [[Tosa school|Tosa]], and other influences over the course of the 17th century, coming into its own by the end of that century. Many of the earliest greatest ''ukiyo-e'' artists, such as [[Iwasa Matabei]] and [[Hishikawa Moronobu]], had at least some background in Kanô school training.
The popular/commoner art form ''[[ukiyo-e]]'' ("pictures of the floating world") developed out of Kanô, [[Tosa school|Tosa]], and other influences over the course of the 17th century, coming into its own by the end of that century. Many of the earliest greatest ''ukiyo-e'' artists, such as [[Iwasa Matabei]] and [[Hishikawa Moronobu]], had at least some background in Kanô school training.
*[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608)
*[[Kano Mitsunobu|Kanô Mitsunobu]] (1561-1608)
*[[Kano Takanobu|Kanô Takanobu]] (1571-1618)
*[[Kano Takanobu|Kanô Takanobu]] (1571-1618)
*[[Kano Sadanobu|Kanô Sadanobu]] (d. 1623)
*[[Kano Sadanobu|Kanô Sadanobu]] (d. 1623)
*[[Kano Sanraku|Kanô Sanraku]] (1559-1635)
*[[Kano Sanraku|Kanô Sanraku]] (1559-1635)
*[[Kano Naonobu|Kanô Naonobu]] (1607-1650)
*[[Kano Sansetsu|Kanô Sansetsu]] (d. 1651)
*[[Kano Sansetsu|Kanô Sansetsu]] (d. 1651)
*[[Kano Tanyu|Kanô Tan'yû]]
*[[Kano Tanyu|Kanô Tan'yû]] (1602-1674)
*[[Kano Yasunobu|Kanô Yasunobu]] (1613-1685)
*[[Kano Masunobu|Kanô Masunobu]]
*[[Kano Masunobu|Kanô Masunobu]]
*[[Kano Tanshin|Kanô Tanshin]] (1653-1718)
*[[Kano Tanshin|Kanô Tanshin]] (1653-1718)
*[[Kano Shunko|Kanô Shunko]] (d. 1726)
*[[Kano Shunko|Kanô Shunko]] (d. 1726)
*[[Kano Michinobu|Kanô Michinobu]]
*[[Kano Michinobu|Kanô Michinobu]] (1730-1790)
*[[Kano Osanobu|Kanô Seisen'in]] (Osanobu)
*[[Kano Osanobu|Kanô Seisen'in]] (Osanobu, 1796-1846)
*[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]]
*[[Kano Tadanobu|Kanô Shôsen'in Tadanobu]]
*[[Kano Hogai|Kanô Hôgai]]
*[[Kano Hogai|Kanô Hôgai]] (1828-1888)
*[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891)
*[[Kano Tatsunobu|Kanô Tatsunobu]] (Eitoku, 1814-1891)