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==History==
==History==
The school is generally said to trace its origins to [[Kano Motonobu|Kanô Motonobu]] (1476-1559), or [[Kano Masanobu|Kanô Masanobu]] (1434-1530), both of whom lived in the late 15th to early 16th centuries.
The school is generally said to trace its origins to [[Kano Masanobu|Kanô Masanobu]] (1434-1530), who was appointed court painter by the [[Ashikaga shogunate]] at some point, being joined in that position by his son [[Kano Motonobu|Kanô Motonobu]] (1476-1559) in [[1481]]. Masanobu, Motonobu, and the members of their atelier produced a wide range of works for both the Ashikaga and for other samurai clans, among other patrons, including religious icons, formal portraits, and interior decorations, in both Chinese and Japanese styles/modes.<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 135-136.</ref>
Motonobu was followed as head of the school by his son [[Kano Shoei|Kanô Shôei]] (1514-1562), who was in turn succeeded by his son, [[Kano Eitoku|Kanô Eitoku]] (1543-1590). Eitoku's style was dramatically innovative in a variety of ways, and quickly came to define the Kanô style; Eitoku's works are among the most famous or defining works of the Azuchi-Momoyama period, and indeed he has been described as "the most celebrated painter of his time."<ref>Sasaki Johei. "The Era of the Kano School." ''Modern Asian Studies'' 18:4 (1984), 648.</ref> He was introduced to [[Shogun]] [[Ashikaga Yoshiteru]] by his grandfather in [[1552]], and soon began working alongside his father and grandfather, and their students, to paint wall paintings for major Kyoto temples such as [[Daitoku-ji]], among other elite locations.
Motonobu was followed as head of the school by his son [[Kano Shoei|Kanô Shôei]] (1514-1562), who was in turn succeeded by his son, [[Kano Eitoku|Kanô Eitoku]] (1543-1590). Eitoku's style was dramatically innovative in a variety of ways, and quickly came to define the Kanô style; Eitoku's works are among the most famous or defining works of the Azuchi-Momoyama period, and indeed he has been described as "the most celebrated painter of his time."<ref>Sasaki Johei. "The Era of the Kano School." ''Modern Asian Studies'' 18:4 (1984), 648.</ref> He was introduced to [[Shogun]] [[Ashikaga Yoshiteru]] by his grandfather in [[1552]], and soon began working alongside his father and grandfather, and their students, to paint wall paintings for major Kyoto temples such as [[Daitoku-ji]], among other elite locations.
After becoming head of the school himself, Eitoku and members of his atelier painted works for [[Oda Nobunaga|Oda Nobunaga's]] [[Azuchi castle]] in the 1570s, 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'').
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'').
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/>
[[Kano Tanyu|Kanô Tan'yû]] was named an official court painter to the Tokugawa shogunate in [[1617]], marking the beginning of the school's official relationship with the shogunate. Tan'yû was easily one of the most significant artists of the early decades of the Edo period. As the core Kanô school relocated with Tan'yû to Edo, Kanô Sanraku became the leading Kanô artist still active in Kyoto, where he continued to produce commissions for the Imperial Court and the [[Toyotomi clan]], among other patrons.<ref>Timon Screech, ''Obtaining Images'', University of Hawaii Press (2012), 37.; Mason, 258-259.</ref>
[[Kano Tanyu|Kanô Tan'yû]] was named an official court painter to the Tokugawa shogunate in [[1617]], two years after his great-uncle [[Kano Naganobu|Kanô Naganobu]] moved to [[Edo]] and was granted that same honor, thus marking the beginning of the school's official relationship with the shogunate. Tan'yû was easily one of the most significant artists of the early decades of the Edo period. As the core Kanô school relocated with Tan'yû to Edo in [[1621]], Kanô Sanraku became the leading Kanô artist still active in Kyoto, where he continued to produce commissions for the Imperial Court and the [[Toyotomi clan]], among other patrons.<ref>Screech, 37.; Mason, 258-259.</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]].
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]].
