![]() Toshi first studied the techniques of woodblock printing in his father's studio, and the subject matter of his earlier prints is reminiscent of Hiroshi's work. Together father and son traveled widely in East Asia, completing sketching tours of India, Burma, and Ceylon by the time the younger Yoshida was twenty. ![]() From as early as the age of three, Toshi Yoshida showed exceptional talent in woodblock print design, amazing and delighting his father. Branching into other art media, later generations of Yoshida artists have continued to burnish the Yoshida name. The movement’s principles involved the idea that a single artist would draw, carve, and print his own works, rather than dividing the tasks for assistants to carry out.īorn in Tokyo, the eldest son of renowned painter and woodblock print artist Hiroshi Yoshida (1876-1950) and artist Fujio Yoshida (1887-1987), Toshi Yoshida was raised immersed in art. Tōshi Yoshida was a Japanese printmaking artist associated with the sōsaku-hanga movement, and son of shin-hanga artist Hiroshi Yoshida. His works are in the collections of The Museum of Modern Art in New York, the Art Institute of Chicago, and the Los Angeles County Museum of Art. The artist died at 93 years old on Jin Tokyo, Japan. He wrote his own short stories and made illustrations in the "Animal Picture Book" series. Tōshi was also a children's book illustrator. From 1971 to 1994, until the last years of his life, Tōshi worked almost exclusively on animal prints. His "Humming Bird and Fuchsia" in 1971 was a prelude to the African works that he began the following year. In 1971, Yoshida returned to his innate affinity for animals and focused on birds and animals again. From 1954 to 1973, Yoshida made three hundred nonobjective prints. He made presentations in thirty museums and galleries in eighteen states. In 1953, Tōshi traveled to the United States, Mexico, London, and the Near East. In 1952, Yoshida began a series of abstract woodcuts, influenced by his brother, Hodaka Yoshida. ![]() The death of his father in 1950 marked Tōshi's total break from his past and from naturalism. After the war, because of economic hardship, Yoshida published seventeen landscape works in 1951 for American personnel and their wives. In 1943, Yoshida produced oil paintings that depict factory workers and civilians engaging in war production. 1936 was the beginning of military dictatorship, under which art was under censorship. He had little, if any, artistic autonomy from his father. Yoshida was still an apprentice in the Yoshida family system. Yoshida's adult career began under adverse circumstances. From 1930 to 1931, Hiroshi and Tōshi traveled to India, Shanghai, Hong Kong, Malaysia, Singapore, Calcutta, and Burma. Father and son traveled together and even painted side by side. However, in the 1930s, Tōshi started making landscape paintings and prints similar to his father's works. In 1926, Tōshi chose animals as his primary subjects to distinguish himself from his father, who was a landscape printmaker. Hiroshi Yoshida, a shin-hanga landscape artist, dictated Tōshi's early artistic development. Yoshida's artistic career was a long struggle between fidelity to his father's legacy and freedom from it.
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