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[[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>

[[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]]. 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>

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 Hogai|Kanô Hôgai]] (1828-1888) is often cited as the last great Kanô painter. The son of [[Kano Seiko|Kanô Seikô]], a court painter for the lord of [[Chofu han|Chôfu domain]] in [[Shimonoseki]], Hôgai later moved to [[Tokyo]], where he produced a number of works on commission for the shogunate, including a ceiling painting for the Ôhiroma, the main audience hall of [[Edo castle]], following the building's reconstruction after a fire. In the 1880s, at the encouragement and patronage of [[Ernest Fenollosa]] and [[Okakura Kakuzo|Okakura Kakuzô]], Hôgai became one of the first leading ''[[Nihonga]]'' painters, combining Kanô techniques, aesthetics, and themes & motifs with Western ones to create and promote a new form of "neo-traditional" and "national" Japanese painting. While aspects of the Kanô tradition remain very much embedded in ''Nihonga'' painting today, perhaps as early as [[1900]], even in the comparatively conservative Kyoto art world, artists and works were no longer being described as belonging to specific Edo period schools.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; Conant, Ellen (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995. </ref>

[[Kano Hogai|Kanô Hôgai]] (1828-1888) is often cited as the last great Kanô painter. The son of [[Kano Seiko|Kanô Seikô]], a court painter for the lord of [[Chofu han|Chôfu domain]] in [[Shimonoseki]], Hôgai later moved to [[Tokyo]], where he produced a number of works on commission for the shogunate, including a ceiling painting for the Ôhiroma, the main audience hall of [[Edo castle]], following the building's reconstruction after a fire. In the 1880s, at the encouragement and patronage of [[Ernest Fenollosa]] and [[Okakura Kakuzo|Okakura Kakuzô]], Hôgai became one of the first leading ''[[Nihonga]]'' painters, combining Kanô techniques, aesthetics, and themes & motifs with Western ones to create and promote a new form of "neo-traditional" and "national" Japanese painting. While aspects of the Kanô tradition remain very much embedded in ''Nihonga'' painting today, perhaps as early as [[1900]], even in the comparatively conservative Kyoto art world, artists and works were no longer being described as belonging to specific Edo period schools.<ref>"[http://kotobank.jp/word/%E7%8B%A9%E9%87%8E%E8%8A%B3%E5%B4%96 Kanô Hôgai]," ''Asahi Nihon rekishi jinbutsu jiten'' 朝日日本歴史人物事典, Asahi Shimbunsha.; Conant, Ellen (ed.). ''Nihonga: Transcending the Past''. The Saint Louis Art Museum, 1995. </ref>