The year was 1814 and the lively metropolis of Edo - now Tokyo - was teeming with a diverse population consisting of farmers, samurais, aristocrats, artists, courtesans, and even supernatural entities. Tetsuzo, a highly proficient artisan in his mid-fifties, had amassed a multitude of patrons from all corners of Japan and dedicated himself strenuously to his craft in the hectic milieu of his untidy residence-turned-studio. His formidable collection of work ranged from a colossal Bodhidharma portraiture on a whopping 180 square meter sheet of paper to a dainty duo of sparrows on a single grain of rice. Despite his short fuse and caustic wit, he exclusively accepted projects that truly excited him and charged a steep fee for his services. His bold and outspoken 23-year-old daughter, O-Ei - the third out of four daughters from his second marriage - had inherited her father's talent and obstinacy. She frequently painted in his place but failed to be given proper credit due to the potential upheaval her potent art could cause. Decades later, as Tetsuzo's renown spread to Europe, he was christened Katsushika Hokusai and enraptured the likes of Renoir, van Gogh, Monet, and Klimt. Alas, O-Ei's significant contributions to his father's oeuvre remained largely obscured. This is the untold saga of Master Hokusai's daughter, O-Ei; a valiant woman eclipsed by her larger-than-life father and depicted through the four seasons.