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School of Ukiyo-e Utagawa school was one of the main schools of ukiyo-e,founded by Utagawa Toyoharu, the largest ukiyo-e school became a power in bijin-ga and uki-e (perspective picture) from the end of the Edo period through the Meiji era.
Family According to the encyclopedia of Ukiyo-e in the late 1980s, Utagawa school had 151 students, and 147 people from Kuniyoshi, and 173 people from Kuniyoshi. Students who study at Utagawa school had the possibility to have the Utagawa name when their skill is approved. The chief will gives out the Utagawa surname, and the use of “Toshinomaru”, which is Utagawa's own family crest that is only found within the Utagawa family. The “Yearball”, rounded design, was the symbol of the Utagawa family. This symbol was easy to recognize, so the crested kimono replaced the admission ticket to the Edo theater hut at that time. The “Tatsunori no Maru”,crest of the same shape with added a line, was used only by the head of Muneya and his tracer and wore this crested kimono. It is that the next head was decided as a convention of Utagawa Ichimon who can be a big family, and the condition of trace is mainly personality and skill of Ukiyoe, but the name at the beginning has already shown a big relationship. There were gifts such as crests from the shogunate in the house using this family crest]. Utagawa Kazumon does not only pays attention to the aesthetic of the picture, but also tries to maintain a close relationship with the masses, calling himself “painter” with some disagreement with the words painter and painter.
Shita-e Shita-e and drawing is still used in the present time, with rough sketches and more refined brush paintings, on different kinds of paper with and without corrections, depending on the artist. Moreover, since the final drawing will be carved away, drawings that would remain will be either the sketches, copies of the final shita-e. It is still uncertain who produced the final shita-e, however the question lays on the series of sketches that remain are the corrections in red ink, which seem to be fairly certain to be the suggestions made by a master to a pupil. More research remains to be done in this area, yet one reason for the vast success of the Utagawa School and its ability to support so many artists was the studio nature of printmaking in the nineteenth century. Paradoxically, the focus on a limited number of great printmakers of the day actually increased their standing and sales, and so supported the pupils beneath them.