Moreover, at the same time period of the Meiji Restoration, the Japanese art world was heavily influenced by western society as well, especially with new artist like Yoshida Hiroshi learning modern art tactics.\u00a0 In the early 1900\u2019s Yoshida Hiroshi \u201cbecame a member of Meiji Bijutsukai (Meiji Fine Arts Society) and, with other artists, later reorganized the society as Taiheiyo Gakai (Pacific Ocean Painting Circle)\u201d<\/a> and that was the same time that Japanese prints took a modern identity.<\/p>\n Unlike some artists, Hiroshi Yoshida took great pride in his art work, for he was a perfectionist who always wanted to increase his skills more than other artists and more than his employees.\u00a0 For instance, \u201csometimes he carved the blocks for his prints; at other times he combined pigments for color shades and tone that were difficult to create before instructing his printers \u2026 to create subtle and soft colors he took three times the painstaking effort of the ukiyo-e masters\u201d (Ogura Tadao, p. 8). When Hiroshi Yoshida wanted something done right, he would do the work himself. This characteristic along with his skills made him a creative genius who was able to apply new concepts to his foundation of traditional methods learned from other teachers like Koyama Shotaro.<\/p>\n In 1907 Yoshida Hiroshi married Fujio, the daughter of his adoptive father Yoshida Kasaburo (Yasunaga Koichi p.24). Fujio was an artist herself who did excellent color work for woodblock prints. Hiroshi and Fujio had two sons named Toshi and Hodaka, who would be the next generation of fine woodblock print scholar artists to carry on their parents\u2019 work.<\/p>\n When Hiroshi Yoshida would travel around the world to find different landscapes to depict in his woodblock print art work, he would take his son Toshi Yoshida along with him for support and training. Just like Hiroshi, Toshi was a hard worker always learning and looking for new innovative way to contextualize his art work, whether it\u2019s by colors or different shapes.<\/p>\n Likewise, Toshi said, \u201cI observed my father\u2019s painting method. He began his drawing in a different place on each canvas.\u00a0 He first drew outlines with a brush and quickly completed the drawing in a perspective composition.\u00a0 Then he painted the most important part in colors.\u00a0 Matching the tone of the colors with the essential part, he gradually filled the canvas with colors.\u00a0 When the whole canvas was covered with colors, the painting was completed.\u00a0 He avoided retouching.\u00a0 Once a picture was drawn or painted, it stayed as it was.\u00a0 He carefully completed works so that they would not require any further layering of colors\u201d (Yoshida, Toshi p.29).<\/p>\n These learning experiences help shape and develop Toshi life as an artist and were Hiroshi\u2019s way of passing on his artistic style to his son and the following generation of artists to come.<\/p>\n Furthermore, Toshi\u2019s favorite subjects was landscapes and animals, just like his father and he used colors in distinctive ways much like his father used.\u00a0 Toshi exercised his opportunity to study at various art institutions in the United States.\u00a0 Likewise, \u201cToshi reached the same level of fame as his father did.\u00a0 His works are in the collections of all “big name” museums like the Museum of Modern Art in New York, the Boston Museum of Fine Arts or the British Museum\u201d (Helen Merritt and Nanako Yamada).\u00a0 Just because Toshi became as famous as his father, the prices of both of their art works are not the same, because Toshi\u2019s prints are not as expensive as his father\u2019s prints.\u00a0 In fact, a good Toshi print only ranges from 200 to 500 U.S. dollars.<\/p>\n The 1967 \u201cHope\u201d woodblock print is one example of the creative and innovative works of Toshi.\u00a0 He used a wide range of colors to depict different images within the large image,\u00a0 using straight lines followed by sharp curvy line to illustrate angles.<\/p>\n In conclusion, the United States forcing Japan to open its border to the rest of the world lead Japanese culture, society, economy and art to become up to date with the rest of the world, allowing artists like Hiroshi and Toshi Yoshida to become famous worldwide, depicting images of historic places all over the world.\u00a0 With that world exposure, Hiroshi and Toshi Yoshida were able to sell their woodblock prints to museums in American, Britain, China and other parts of the world without the Tokugawa government intervening.\u00a0 In addition, Hiroshi and Toshi were able to study art in other countries around the world.<\/p>\n Helen Merritt and Nanako Yamada, “Guide to Modern Japanese Woodblock Prints: 1900-1975”<\/em>, published by University of Hawaii Press, Honolulu http:\/\/www.artelino.com\/articles\/toshi_yoshida.asp<\/a><\/p>\n Ogura Tadao, Toshi Yoshida, Yasunaga Koichi, \u201cThe Complete Woodblock Prints of Yoshida Hiroshi,\u201d<\/em> Tokyo: Abe Shuppan, 1991.<\/p>\n Penelope Mason, \u201cHistory of Japanese Art,\u201d New Jersey, Pearson Education Inc. 2005.<\/p>\n <\/a> Ogura Tadao, The Complete Woodblock Prints of Yoshida Hiroshi<\/em>, Tokyo: Abe Shuppan, 1991. p. 8<\/p>\n Disclaimer<\/em><\/span><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":" The Yoshida Family From One Generation to the Next Over two centuries Japan\u2019s economy, culture and people had been shut off from the rest of the world, but in 1853 the American Commodore Matthew Perry opened Japan\u2019s ports to the United States and the rest of the world.\u00a0 These ports allowed for new inventions, ideas … Continue reading “Latravis Henry”<\/span><\/a><\/p>\n","protected":false},"author":261,"featured_media":0,"parent":386,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"page-full_width.php","meta":{"footnotes":""},"class_list":["post-525","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/pages\/525","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/users\/261"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/comments?post=525"}],"version-history":[{"count":3,"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/pages\/525\/revisions"}],"predecessor-version":[{"id":613,"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/pages\/525\/revisions\/613"}],"up":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/pages\/386"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/kucera\/wp-json\/wp\/v2\/media?parent=525"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Hope\"](\"https:\/\/pages.stolaf.edu\/wp-content\/uploads\/sites\/13\/2013\/07\/hope.png\")
<\/a><\/p>\nWork Cited<\/h4>\n
\nBack<\/span><\/a><\/span> \/ \/ Gallery<\/span><\/a><\/span><\/h3>\n