![]() ![]() ![]() There was a long tradition of animal studies in Japanese painting and prints, classified as kachôga (flower and bird pictures: 花鳥画). ![]() He cut some of the blocks, but was not yet skilled enough to carve the most detailed parts. One of Tôshi's early prints (his fourth known print design) is titled Raichô ("Thunderbird" or grouse: 雷鳥), a woodcut from 1930. Woodcut, unlimited edition, pencil signature, image: 248 x 356 mm Yoshida Tôshi: Raichô ("Thunderbird" or grouse: 雷鳥), 1930 Even so, he continued to make representational art throughout his career. Soon after his Hiroshi's death, Tôshi's rebellion fully emerged when he began making abstract prints in the sôsaku hanga manner without the collaboration of the Yoshida workshop. Tôshi, working in the shadow of his demanding father, adopted Hiroshi's naturalistic drawing and compositional style. However, he sometimes selected subjects that his father did not embrace, such as views of the sea and wildlife. ![]() Tôshi once said that it was Hodaka's modernist works that inspired his own abstract oils starting around 1949 and prints beginning at least by 1952. In fact, years before, Tôshi had protected his brother from their father's condemnation of abstraction by maintaining Hodaka's "secret" - that he was designing abstract prints in the mid-1940s. He also supported experimentation in a more modern, international style, as could be found in his brother Hodaka's more adventurous oeuvre. He took on the leadership of the Yoshida studio, promoting his father's work while encouraging expansion of the idiom that his father had established. With the death of his father, Tôshi became the head of the family, initially focusing on restoring their finances, which had suffered after the war. Woodcut, unlimited edition, pencil signature, image: 330 x 445 mm Hiroshi-san used this technique too, I believe.Yoshida Tôshi: "Dance of Eternal Love," 1994Īlternate title, in Japanese, Seirei no mai (Dance of pure serenity: 清麗の舞) The embossed places would not be pressed down onto the wood, and would thus remain white, while the unembossed area would catch the colour. They would then print the relevant area again using a completely flat block, inked with a light pigment, but using only a very light pressure. They carved a positive block for the snowflakes (the largest ones) and then pressed the paper over this (with no pigment), to leave it deeply embossed. A lot of the snow on that one was done with an interesting technique. One day he brought something to show us – the letter that he had received from the Prize Committee commissioning the works he was quite proud of the fact that no price had been set – this was completely up to his own discretion. They wanted to have some special items honouring Kawabata Yasunari, who had previously been awarded the prize for literature. Subjects Snow and ice Nobel Committee commission Remarks ".made by Toshi-sensei for a commission that came to him from the Nobel prize committee in the mid 1980-s. Image dimensions (h × w) Edition size 100 Artist Toshi Yoshida 吉田遠志 Title Snowstorm and Yoko: Snow Country II Series titleĭate 1986 Medium Colour woodblock print on paper ![]()
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