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"These paintings are mounted as standing screens, but the visible door-handle marks indicate that they were originally mounted as sliding doors. If we set the two screens side-by-side, as they would have been as sliding-door panels, the figures on the right-hand side of the scene look upwards at something outside the screen. It is possible that a fairy may have been flying into the sky in a neighboring door panel. Some art historians believe that these paintings came from the sliding door panels of a sub-temple of Kenninji temple, but this remains to be proven conclusively."
(Source: https://www.kyohaku.go.jp/eng/collection/meihin/kinsei/item04/.)

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"The brush stokes and depiction of facial features are quite similar to those of the Tokyo National Museum's Kyoyu and Soho (Hermits Xuyou and Chaofu) by Kano Eitoku, which suggests that this may also be Eitoku's work. These two screens have an unsurpassed dramatic tension that makes them true masterpieces of Momoyama ink painting."
(Source: https://www.kyohaku.go.jp/eng/collection/meihin/kinsei/item04/.)

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Famous Views of Sagano (Top) and Famous Views of Uji (Bottom) (1560)

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Famous Views of Sagano (Top) and Famous Views of Uji (Bottom) (1560)

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"Pair of four-panel screens by Kanō Eitoku."
(Source: https://commons.wikimedia.org/wiki/File:%27Famous_Views_of_Sagano%27_and_%27Famous_Views_of_Uji%27,_pair_of_four-panel_screens_by_Kano_Eitoku.jpg?uselang=en.)

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"He drew two shishis (lions) that most people have not seen though there were no zoo in Japan at that time. He did not see an actual lion and depicted it. A shishi (獅子), which was regarded as a symbol of power in India or Persia.Then it came through the Silk Road as a sacred beast to Japan. In other words, shishi is imaginary creature, and became unified with koma-inu (guardian dogs) located in shrines, and they have been thought of as guardians."
(Source: https://www.masterpiece-of-japanese-culture.com/paintings/huge-folding-screen-chinese-lions-painting-kano-eitoku.)

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(Left Half) Views Inside and Outside of Kyoto (1561)

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(Left Half) Views Inside and Outside of Kyoto (1561)

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"This work is a folding screen picture said to have been drawn by Kanō Eitoku (1543-1590) at the age of 23, and is famous for being presented to Uesugi Kenshin (1530-1578) by Oda Nobunaga (1534-1582) who were daimyo in the Warring States period. On the left screen, the mansions of high-ranking people such as senior samurais and aristocrats are depicted."
(Source: https://www.masterpiece-of-japanese-culture.com/paintings/views-in-around-city-kyoto-kano-eitoku.)

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(Right Half) Views Inside and Outside of Kyoto (1561)

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(Right Half) Views Inside and Outside of Kyoto (1561)

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"The right screen shows famous buildings such as the Imperial Palace, To-ji Temple and Kiyomizu-dera Temple, and also the scene of the bustling city at the Gion Festival."
(Source: https://www.masterpiece-of-japanese-culture.com/paintings/views-in-around-city-kyoto-kano-eitoku.)

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"Time Period: Momoyama. Materials: Ink and gold on paper. Dimensions: W: 20 in. (fan) 13-3/8 x 21-7/8 in. (image mount)
48-15/16 x 26-1/2 in. (overall) W: 28-1/2 in. (with knobs)
H: 1-1/4 in. (hanging cord). Artist's seal reads: Kuninobu."
(Source: http://collection.imamuseum.org/artwork/71560/.)

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“When I started working here, we had just begun our digital imaging project, and we photographed this piece. I was kind of shocked, because it’s so dynamic compared to other Japanese screen paintings. I then found out that the artist—Kano Eitoku—was an official painter of the Ashikaga shogunate in the 16th century, and that he developed large-scale paintings for people like Oda Nobunaga and Toyotomi Hideyoshi [two of the most famous daimyo of the 16th century]. I learned later that this particular painting was meant to be displayed in a shogun’s castle, and that it was just the bottom one-fourth of what would have been a large wall painting. Now when I look at this piece, it makes me feel like I’m a shogun.” -Kiyoe Minami
(Source: http://blog.honoluluacademy.org/staff-pick-how-a-japanese-screen-painting-makes-kiyoe-minami-feel-like-a-shogun/.)

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"Motonobu’s grandson Kano Eitoku (1543–1590) introduced a new strength and dynamism to his large compositions that appealed to the warlords who dominated the Momoyama period and suited the grand interiors of their massive and impressive castles. His series of sliding doors (fusuma) and folding screens (byōbu) painted with oversize animals, figures, and nature scenes set against scintillating gold foil well illustrated the power and energy the daimyo patrons wished to express."
(Source: https://www.metmuseum.org/toah/hd/kano/hd_kano.htm.)

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Birds and Flowers Of the Four Seasons (1573)

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Birds and Flowers Of the Four Seasons (1573)

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"This composition of flowers in a seasonal progression from spring to winter celebrates longevity with its auspicious motif of cranes. The brilliant colors, strong ink outlines, gold-leaf background, and profusion of pictorial elements are typical of the decorative formula established by Kano Motonobu (1476–1559), founder of the Kano school, while the boldness is reminiscent of Motonobu’s grandson, the prolific Kano Eitoku (1543–1590)."
(Source: https://www.metmuseum.org/art/collection/search/44523.)

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"Cypress Trees (檜図 hinoki-zu) is a Kanō-school byōbu or folding screen attributed to the Japanese painter Kanō Eitoku (1543–1590), one of the most prominent patriarchs of the Kanō school of Japanese painting. The painting dates to the Azuchi–Momoyama period (1573–1615). Now in Tokyo National Museum, it has been designated a National Treasure."
(Source: https://www.wikiart.org/en/kano-eitoku/cypress-trees-1590.)