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Hiroshi Yoshida'Chion-in Temple Gate' from 'Eight Scenes of Cherry Blossoms' — Jizuri Seal1935
1935
$3,600
£2,764.65
€3,168.25
CA$5,067.91
A$5,677.18
CHF 2,958.33
MX$69,249.88
NOK 37,593.57
SEK 35,448.06
DKK 23,646.95
About the Item
Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist.
Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted.
Provenance: M. Nakazawa, Tokyo.
Literature: Japanese Landscapes of the 20th Century (Hotei Publishing calendar), 2001, May.
Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston.
ABOUT THE IMAGE
Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a broad set of stairs leads to the main temple grounds.
ABOUT THE ARTIST
Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement.
Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development.
In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting Association). He again traveled to the US, Europe, and North Africa in 1903-7, with his stepsister and fellow artist Fujio, whom he married on their return. From then until 1920, he achieved great success as a painter in oils and watercolor—his impeccable draftsmanship and harmonious colors receiving widespread appreciation. Yoshida’s success, coupled with his independent spirit, led him into conflict with the tradition-laden artistic establishment in Japan.
In 1920, Yoshida began to design woodblock prints for the esteemed publisher Shōzaburō Watanabe, who wanted a Western-style artist in his stable. The Kanto earthquake of September 1923 destroyed Watanabe’s workshop, and all the blocks for Yoshida’s prints and existing stock were lost. Soon after that, he returned to the US—this time to raise funds for himself and his fellow artists. In touring the western US he discovered that expertly produced prints were eagerly sought after. On his return to Japan, he established his workshop to have autonomy over his woodblock print designs.
From 1925 onwards Yoshida devoted his career principally to producing woodblock prints. He carefully supervised every aspect of the printmaking process, ensuring that his exacting standards were met. Many of his print series were inspired by his foreign travels, including those of the US, Canada, Europe, Egypt, India, Korea, and China (visited in 1936). In 1938 he went on the first of three further trips to China as an official war artist. He designed his last print in 1946 while still continuing to paint. He was the prime Japanese organizer of the Toledo Museum Exhibitions of modern Japanese prints in 1930 and 1936, including many of his own works: nine were shown in the first exhibition and sixty-six in the second. Both shows increased his popularity in the US, which led to his being widely collected in that country. His cultivation of a Western audience was further supported by his 1939 publication of the book 'Japanese Woodblock Printing' produced in English.
Yoshida’s woodblock prints are held in every major museum collection of Japanese prints including the Art Institute of Chicago, Dallas Museum of Art, Harvard Art Museums, Museum of Fine Arts Boston, Fine Art Museum of San Francisco, Cleveland Museum of Art, Metropolitan Museum of Art, Philadelphia Museum of Art, Fukuoka Art Museum (Japan), and the National Museum of Modern Art, Tokyo.
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