Four Landscapes
About This Series
Four Landscapes is the English designation under which a small landscape cycle of Toshi Yoshida circulates in Western cataloguing, a body of work belonging to the post-1950 period in which the artist developed his mature manner across the decades after his inheritance of the Yoshida family print workshop following his father's death in 1950. Toshi Yoshida, born in 1911 as the eldest son of the great independent shin-hanga landscapist Yoshida Hiroshi and the painter Yoshida Fujio, grew up within the family jizuri production system that his father had established in 1925 and trained from childhood in every stage of the woodblock process, from drawing and design through block cutting and printing, becoming on his father's death the heir to one of the most accomplished independent shin-hanga workshops of the twentieth century. The early phase of Toshi's career, conducted under his father's direction and in the shin-hanga landscape vocabulary that the family workshop had developed, was followed after 1950 by a sustained period of artistic independence in which he developed his own manner across multiple modes, including the realist landscape that inherited his father's tradition, the celebrated animal subjects through which he addressed wildlife from across the world in conscious dialogue with the kacho-ga tradition, and the abstract compositions of the late 1950s and 1960s through which he engaged the international postwar print movements. The Four Landscapes group accordingly belongs to one of these strands of Toshi's mature output, most likely the realist landscape that carried forward his father's tradition, although the cycle's date and specific composition place within his oeuvre would require further confirmation from museum records. The Yoshida workshop's jizuri production method, in which the family carvers and printers worked under the artist's personal supervision and in which each print was stamped jizuri to attest the artist's direct oversight, continued under Toshi's direction as the principal independent shin-hanga workshop of the postwar period, and the prints accordingly carry the same registration and pigment fidelity that distinguished the Hiroshi-period output. Within Toshi's career the landscape work stands as the strand that most directly carried forward the family tradition, and modern scholarship treats his prints as evidence of the continuity of independent shin-hanga across the prewar and postwar divide, in contrast to the more sharply transformed sosaku-hanga of the same period. Representative impressions of Toshi's landscape work are held by major Western collections of twentieth-century Japanese print, including the Art Institute of Chicago, the Museum of Fine Arts in Boston, the Toledo Museum of Art, and the Honolulu Museum of Art.
Prints in This Series (1)
Frequently Asked Questions
Four Landscapes is the English designation under which a small landscape cycle of Toshi Yoshida circulates in Western cataloguing, a body of work belonging to the post-1950 period in which the artist developed his mature manner across the decades after his inheritance of the Yoshida family print workshop following his father's death in 1950. Toshi Yoshida, born in 1911 as the eldest son of the great independent shin-hanga landscapist Yoshida Hiroshi and the painter Yoshida Fujio, grew up within the family jizuri production system that his father had established in 1925 and trained from childhood in every stage of the woodblock process, from drawing and design through block cutting and printing, becoming on his father's death the heir to one of the most accomplished independent shin-hanga workshops of the twentieth century. The early phase of Toshi's career, conducted under his father's direction and in the shin-hanga landscape vocabulary that the family workshop had developed, was followed after 1950 by a sustained period of artistic independence in which he developed his own manner across multiple modes, including the realist landscape that inherited his father's tradition, the celebrated animal subjects through which he addressed wildlife from across the world in conscious dialogue with the kacho-ga tradition, and the abstract compositions of the late 1950s and 1960s through which he engaged the international postwar print movements. The Four Landscapes group accordingly belongs to one of these strands of Toshi's mature output, most likely the realist landscape that carried forward his father's tradition, although the cycle's date and specific composition place within his oeuvre would require further confirmation from museum records. The Yoshida workshop's jizuri production method, in which the family carvers and printers worked under the artist's personal supervision and in which each print was stamped jizuri to attest the artist's direct oversight, continued under Toshi's direction as the principal independent shin-hanga workshop of the postwar period, and the prints accordingly carry the same registration and pigment fidelity that distinguished the Hiroshi-period output. Within Toshi's career the landscape work stands as the strand that most directly carried forward the family tradition, and modern scholarship treats his prints as evidence of the continuity of independent shin-hanga across the prewar and postwar divide, in contrast to the more sharply transformed sosaku-hanga of the same period. Representative impressions of Toshi's landscape work are held by major Western collections of twentieth-century Japanese print, including the Art Institute of Chicago, the Museum of Fine Arts in Boston, the Toledo Museum of Art, and the Honolulu Museum of Art.
The Four Landscapes series contains 1 prints, created by Toshi Yoshida.
The Four Landscapes series was created by Toshi Yoshida (吉田遠志).
We currently have 1 of 1 known prints from the Four Landscapes series indexed in our collection. Browse them all on this page.
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