Biography
Kaoru Saito (born 1931, Kanagawa Prefecture) is a Japanese printmaker whose career sits at an unusual crossroads of postwar sōsaku-hanga sensibility and Western intaglio technique. Although he is sometimes grouped with the broader "creative prints" generation that came of age in the decades after the Second World War, his mature work is built almost entirely on mezzotint, a labor-intensive copperplate process rather than the woodblock medium more typical of his contemporaries. He should not be confused with the better-known sōsaku-hanga woodblock artist Saitō Kiyoshi (1907–1997), with whom he shares a family name but no biographical overlap. Saito began his formal training between 1948 and 1950 under the painters Tsuruta Gorō and a teacher recorded only as Arai, a course of study that emphasized both Western academic drawing and traditional Japanese painting (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). He is a long-standing member of the Shun'yō-kai (春陽会), the artist association founded in 1922 to promote a synthesis of Western and Japanese pictorial traditions and historically a hospitable home for artists who refused to choose strictly between yōga (Western-style painting) and nihonga (Japanese-style painting). That dual training, and that institutional affiliation, set the conceptual stage for the rest of his practice: a sustained attempt to deploy a Western intaglio technique on Japanese literary and seasonal subjects, while observing the small-edition, pencil-signed conventions of the postwar Japanese creative-print scene. His pencil-signed prints and small numbered editions—typically not exceeding sixty impressions—reflect the modest, studio-scale ethic that defined that milieu (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). Saito began as a painter and only gradually shifted to the print, drawn to mezzotint for its capacity to render extreme tonal subtlety. The technique requires roughening a copper plate with a curved, toothed rocker—run back and forth in dozens of directions over many hours—until the entire plate, if printed, would yield a velvety, uninterrupted black. The image is then drawn back out of that ground by burnishing the burr selectively to reveal half-tones, silver greys, and highlights. The process is slow, physically demanding, and unforgiving of revision; a finished mezzotint plate may take weeks of preparation before a single impression is pulled. Saito's prints exploit this process to achieve almost photographic gradations from deep sumi-like black into pearl, an effect he uses to evoke the dim interiors and gauzy night light of Heian-era court life. His best-known body of work is a long-running series of mezzotints based on chapters of Murasaki Shikibu's eleventh-century novel "The Tale of Genji." Individual sheets bear the chapter titles—"Aoi," "Kagerō," "Akashi," "Azumaya," "Tenarai," "Ukifune"—and each isolates a single emotionally weighted moment, often a solitary woman half-glimpsed behind a curtain or kichō screen, the rest of the composition dissolving into shadow (Artelino, https://www.artelino.com/articles/kaoru-saito.asp; SAKURA Fine Art, https://sakurafineart.com/collections/kaoru-saito-1931). The series functions as a quiet act of literary illustration: rather than narrating events, the prints catch the novel at its characteristic moments of arrested erotic and emotional attention, and the medium's tonal hush is well matched to a text in which the most important things are usually left unsaid. The Genji prints are the work for which he is collected outside Japan, although his catalogue also includes nature studies, festival subjects, cats, and landscapes such as "Tateyama to Raichō" — a mountain landscape with the rock ptarmigan native to the Northern Japan Alps — and the "Owara Kaze no Bon '95" sheet inspired by the late-summer folk dance of Etchū-Yatsuo in Toyama, in which dancers in straw hats move silently through narrow streets after dark (SAKURA Fine Art, https://sakurafineart.com/collections/kaoru-saito-1931). Saito has exhibited in solo and group shows across Japan, the United States, South Korea, and Europe (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). His most significant institutional appearance to date was inclusion in "Evocative Shadows: Art of the Japanese Mezzotint" at the Jordan Schnitzer Museum of Art at the University of Oregon in 2019–2020, a survey exhibition that placed him in the company of the major Japanese mezzotint artists of the late twentieth century, including Hamanishi Katsunori and Hamaguchi Yōzō (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). Comprehensive museum holdings are not well documented in the English-language sources; auction records and dealer archives note hundreds of his impressions in circulation, with prices ranging from roughly one hundred dollars for common sheets into the low thousands for scarce Genji subjects, and SAKURA Fine Art and Artelino both maintain large secondary-market archives of his work. Beyond the basic outline above, biographical detail for Saito remains thin in English-language scholarship: the precise chronology of his shift from painting to mezzotint, the exact dates of his major Japanese solo exhibitions, and the details of any teachers in the intaglio technique are not securely fixed in the sources consulted, and on those points the reader is referred to specialist Japanese-language print scholarship.
Key Facts
- Active Period
- 1931–2021
- Nationality
- 🇯🇵Japan
- Movement
- Sōsaku-hanga
- Works Indexed
- 75
Frequently Asked Questions
Kaoru Saito (born 1931, Kanagawa Prefecture) is a Japanese printmaker whose career sits at an unusual crossroads of postwar sōsaku-hanga sensibility and Western intaglio technique. Although he is sometimes grouped with the broader "creative prints" generation that came of age in the decades after the Second World War, his mature work is built almost entirely on mezzotint, a labor-intensive copperplate process rather than the woodblock medium more typical of his contemporaries. He should not be confused with the better-known sōsaku-hanga woodblock artist Saitō Kiyoshi (1907–1997), with whom he shares a family name but no biographical overlap. Saito began his formal training between 1948 and 1950 under the painters Tsuruta Gorō and a teacher recorded only as Arai, a course of study that emphasized both Western academic drawing and traditional Japanese painting (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). He is a long-standing member of the Shun'yō-kai (春陽会), the artist association founded in 1922 to promote a synthesis of Western and Japanese pictorial traditions and historically a hospitable home for artists who refused to choose strictly between yōga (Western-style painting) and nihonga (Japanese-style painting). That dual training, and that institutional affiliation, set the conceptual stage for the rest of his practice: a sustained attempt to deploy a Western intaglio technique on Japanese literary and seasonal subjects, while observing the small-edition, pencil-signed conventions of the postwar Japanese creative-print scene. His pencil-signed prints and small numbered editions—typically not exceeding sixty impressions—reflect the modest, studio-scale ethic that defined that milieu (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). Saito began as a painter and only gradually shifted to the print, drawn to mezzotint for its capacity to render extreme tonal subtlety. The technique requires roughening a copper plate with a curved, toothed rocker—run back and forth in dozens of directions over many hours—until the entire plate, if printed, would yield a velvety, uninterrupted black. The image is then drawn back out of that ground by burnishing the burr selectively to reveal half-tones, silver greys, and highlights. The process is slow, physically demanding, and unforgiving of revision; a finished mezzotint plate may take weeks of preparation before a single impression is pulled. Saito's prints exploit this process to achieve almost photographic gradations from deep sumi-like black into pearl, an effect he uses to evoke the dim interiors and gauzy night light of Heian-era court life. His best-known body of work is a long-running series of mezzotints based on chapters of Murasaki Shikibu's eleventh-century novel "The Tale of Genji." Individual sheets bear the chapter titles—"Aoi," "Kagerō," "Akashi," "Azumaya," "Tenarai," "Ukifune"—and each isolates a single emotionally weighted moment, often a solitary woman half-glimpsed behind a curtain or kichō screen, the rest of the composition dissolving into shadow (Artelino, https://www.artelino.com/articles/kaoru-saito.asp; SAKURA Fine Art, https://sakurafineart.com/collections/kaoru-saito-1931). The series functions as a quiet act of literary illustration: rather than narrating events, the prints catch the novel at its characteristic moments of arrested erotic and emotional attention, and the medium's tonal hush is well matched to a text in which the most important things are usually left unsaid. The Genji prints are the work for which he is collected outside Japan, although his catalogue also includes nature studies, festival subjects, cats, and landscapes such as "Tateyama to Raichō" — a mountain landscape with the rock ptarmigan native to the Northern Japan Alps — and the "Owara Kaze no Bon '95" sheet inspired by the late-summer folk dance of Etchū-Yatsuo in Toyama, in which dancers in straw hats move silently through narrow streets after dark (SAKURA Fine Art, https://sakurafineart.com/collections/kaoru-saito-1931). Saito has exhibited in solo and group shows across Japan, the United States, South Korea, and Europe (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). His most significant institutional appearance to date was inclusion in "Evocative Shadows: Art of the Japanese Mezzotint" at the Jordan Schnitzer Museum of Art at the University of Oregon in 2019–2020, a survey exhibition that placed him in the company of the major Japanese mezzotint artists of the late twentieth century, including Hamanishi Katsunori and Hamaguchi Yōzō (Artelino, https://www.artelino.com/articles/kaoru-saito.asp). Comprehensive museum holdings are not well documented in the English-language sources; auction records and dealer archives note hundreds of his impressions in circulation, with prices ranging from roughly one hundred dollars for common sheets into the low thousands for scarce Genji subjects, and SAKURA Fine Art and Artelino both maintain large secondary-market archives of his work. Beyond the basic outline above, biographical detail for Saito remains thin in English-language scholarship: the precise chronology of his shift from painting to mezzotint, the exact dates of his major Japanese solo exhibitions, and the details of any teachers in the intaglio technique are not securely fixed in the sources consulted, and on those points the reader is referred to specialist Japanese-language print scholarship.
Saito Kaoru was active from 1931 to 2021. They were associated with the Sōsaku-hanga movement.
Saito Kaoru's work was shaped by the Sōsaku-hanga tradition in Japanese woodblock printmaking. Sōsaku-hanga: ## What is sōsaku-hanga? Sōsaku-hanga (創作版画, "creative prints") was a twentieth-century Japanese print movement defined by a single commitment: the artist must design, carve, and print every work alone.
Original prints by Saito Kaoru can be found in collections including Japanese Art Open Database, Art Institute of Chicago, ukiyo-e.org, Ohmi Gallery.
Saito Kaoru was a printmaker whose work contributes to the rich tradition of modern Japanese printmaking. As a deceased artist, the supply of original prints is finite. Prices range from $150 for smaller works to $3,000 for major compositions. Most prints sell in the $300–$1,200 range. The market for modern Japanese prints has been gradually strengthening.
