The yakusha-e, or actor portraits, of Sharaku Toshusai first emerged circa May 1794 when twenty-eight prints were displayed in the three most popular Kabuki theatres in Edo. These early works revealed not only the qualities of characters but also the personalities of actors with a bold realism and psychological poignancy that captivated the Edo populace. Several months after his initial debut, the mysterious artist abandoned his formatting and began designing prints featuring two full-length actors. Sharaku further replaced dark mica, which he had used as a backdrop in the original twenty-eight prints, with white mica. However, after the technique of using mica backgrounds was abandoned (c. 1800), he produced yakusha-e with yellow backgrounds in smaller formatting. 

Although audiences were deeply intrigued by this phantom of the art world, he produced only one hundred and fifty prints over ten months. By spring 1795, both Sharaku and his prints had vanished, as suddenly and unexpectedly as they appeared, like a ghost. 

Virtually nothing is known about Sharaku other than the identity of his publisher: Tsutaya Juzaburo. Multiple theories have suggested that Sharaku's real identity was the Noh actor Saito Jurobei of Awa province. Another speculation is that Sharaku's publisher designed and produced these woodblock prints under a pseudonym. Whatever the case may be, it was not until the beginning of the twentieth century that Sharaku's prints were rediscovered, and his reputation as a yakusha-e master was firmly established. 

Though his works were certainly radical for his time, Sharaku's portraits allow for an intimate understanding of the subject and character, further marking the beginning of realistic interpretation in yakusha-e portraiture.