was a designer of ukiyo-e

Ukiyo-e

' is a genre of Japanese woodblock prints and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters...

 style Japanese woodblock prints

Woodblock printing in Japan

Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only...

. He first studied with his father, Eiji, a minor painter of the Kanō school

Kano school

The ' is one of the most famous schools of Japanese painting. The Kanō school of painting was the dominant style of painting until the Meiji period.It was founded by Kanō Masanobu , a contemporary of Sesshū and student of Shūbun...

. He then studied with Suzuki Nanrei (1775-1844), an artist of the Shijō school

Shijo school

The Shijō school , also known as the Maruyama-Shijō school, was an offshoot school of the Maruyama school of Japanese painting founded by Maruyama Ōkyo, and his former student Matsumura Goshun in the late 18th century. This school was one of several that made up the larger Kyoto school...

. He is believed to have also studied with the ukiyo-e

Ukiyo-e

' is a genre of Japanese woodblock prints and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters...

 artist Totoya Hokkei (1790-1850). He produced numerous woodblock prints of beautiful women in the 1830s, but then abandoned printmaking in favor of painting.

This artist should not be confused with Harukawa Eizan

Harukawa Eizan

was a Japanese designer of ukiyo-e style Japanese woodblock prints who was active in the 1790s. He is believed to have been a student of Chōbunsai Eishi, and was the teacher of Harukawa Goshichi....

, a designer of ukiyo-e

Ukiyo-e

' is a genre of Japanese woodblock prints and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre, and pleasure quarters...

 woodblock prints

Woodblock printing in Japan

Woodblock printing in Japan is a technique best known for its use in the ukiyo-e artistic genre; however, it was also used very widely for printing books in the same period. Woodblock printing had been used in China for centuries to print books, long before the advent of movable type, but was only...

who was active in the 1790s.

Gallery

Eizan was the most prolific, longest-lived and ultimately the best of the late followers of Utamaro, who attempted to carry on the master's bijin style after his death in 1806.
Along with Kikumaro, Tsukimaro and Utamaro II, Eizan has generally been dismissed by connoisseurs as a plagiarist of Utamaro's late style, but his work in fact develops, like that of most ukiyo-e artists, from a close identification with a leading master to a studied independence, and contains pieces of remarkable beauty and interest.
ukiyo-e artists with whom he is often associated, Eizan was not an actual pupil of Kitagawa Utamaro, but studied originally with his father, Kikugawa Eiji, a Kano style painter and fan maker, and later with the Shijo artist Suzuki Nanrei and the Hokusai pupil Hokkei. Few traces of this eclectic training can be seen in Eizan's early work, produced shortly after the death of Utamaro and for the most part in that master's style.
In the following decade, however, as Eizan reached artistic maturity, he began to develop his own figural style, still focused for the most part on prints of beautiful women (bijin-ga). Eizan's work retains the sensitivities and lyricism that marks the Utamaro style, however, not following the earthier realism and more overt sensuality of Kunisada and Ikeda Eisen in their .
Eizan, like Toyokuni I in actor prints, is the last manifestation of the classical ukiyo-e style in bijin work, with harmonious colors and graceful lines and subjects. After him, one senses the introduction of a different aesthetic, with harsher colors, angular lines and less ethereal material, more of an emphasis, in sum, on the material weight of earthly life, rather than its transformation into something of elegance.
With Eizan, the alchemy of elegance is still alive, and in his best work, properly produced, he can cast a magic glow over the forms of the world and create lightness and grace.
He is also left-handed, which was strange at such a time in Japan.