Training

A figure in the act of practice, almost certainly drawn from Hosoya's recurring circus, musician, or dance subjects — a body in a posture of repetition rather than performance. The compositional logic of his linocuts favors the held pose: an arm raised, a leg extended, an instrument or prop indicated by a few carved lines. The single-figure format allows the carved silhouette to dominate the sheet, with internal anatomy reduced to a vocabulary of flat shapes and sparse parallel hatchings that register as shadow rather than modeling. Printed on hand-made [washi](/glossary/washi), the work shows the textural softness that the absorbent paper imparts to inked relief — an effect quite distinct from linocut printed on Western paper, where the same blocks read as harder graphic statements. The training subject also connects to the broader European print-and-painting lineage of rehearsal scenes — Degas's dancers, Toulouse-Lautrec's circus studies — that Hosoya engages with on his own terms in the medium and material register of postwar Japanese printmaking.