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Yoshida Hiroshi

Hiroshi Yoshida painted in the Western style and printed in the Japanese style - wet streets glisten, pagodas are reflected in still ponds.


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Yoshida Hiroshi
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Museum Quality Art Prints
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Yoshida Hiroshi

Hiroshi Yoshida painted in the Western style and printed in the Japanese style - wet streets glisten, pagodas are reflected in still ponds. more about the artist
Japan · 1876–1950 · Shin-hanga, Yōga · 90 artworks found
Yoshida Hiroshi
1876–1950
Born 1876 (Kurume)
Died 1950 (Shimo-Ochiai)
Nationality Japan
Epochs Shin-hanga, Yōga
Profession Druckgrafiker, Maler
Family
Spouse: Fujio Yoshida
Child: Hodaka Yoshida, Tōshi Yoshida
Teacher Soritsu Tamura, Koyama Shōtarō
Memberships
Meiji Fine Arts Society
Taiheiyo Art Association
Notable works Sailing Boats (1926), Road with Ox Cart and Coolies, Nude Woman with Lions (1909), Harbor View, Sailboats on the Inland Sea
Museums Cleveland Museum of Art

Yoshida Hiroshi

    1876   -   1950

The textbook that introduced Japanese colour woodblock prints to the world was published in 1939 under the English title *Japanese Wood-Block Printing*. It was written by Yoshida Hiroshi, a Japanese painter and woodblock artist who had spent half his professional life painting watercolours and oil paintings before having his first printing block carved. His life began on 19 September 1876 in Kurume on the southern island of Kyushu, where he was born as Hiroshi Ueda; he had borne the name Yoshida since 1891, when his art teacher, Kasaburo Yoshida, adopted him. In the 1890s, he studied European-style painting, first in Kyoto, then at the private Fudosha School in Tokyo.

In 1899, he took a risk based on this training. Together with his fellow painter Nakagawa Hachiro, he set sail from Yokohama for America, with one-way tickets, travel money for a month, and his own watercolours in his luggage. A fire broke out on board during the voyage; both the men and the paintings survived. In the very same year, the Detroit Museum of Art exhibited 92 of his watercolours, and the city’s residents purchased Yoshida’s large painting ‘Memories of Japan’ for the museum through a public fundraising campaign for 500 dollars. An exhibition in Boston in early 1900 raised nearly 3,000 dollars; this was followed by the World’s Fair in Paris and, in 1904, a bronze medal in St Louis. The young Japanese artist had learnt Western painting and successfully sold it back to the West.

He did not take up woodblock printing, his country’s traditional printmaking technique, until he was 44. In 1920, he designed his first prints for the publisher Watanabe Shozaburo; in 1923, the Great Kanto Earthquake, which devastated Tokyo, destroyed the publisher’s workshop along with the printing blocks. Yoshida subsequently travelled through America and Europe once more, returned in August 1925 and became independent of publishers. He set up his own workshop and, in keeping with the Japanese printing tradition, employed his own carvers and printers under his strict supervision; Sheets whose printing he personally supervised bear the ‘jizuri’ seal, meaning ‘self-printed’. His prints underwent an unusually high number of colour passes, averaging around thirty, and in some cases approaching a hundred. For ‘The Plum Gate’ from 1935 - a courtyard gate in Ome near Tokyo featuring a blossoming plum tree - he himself stated that it required 14 blocks and 55 passes; some blocks were therefore inked multiple times and reprinted.

This effort is most evident where light falls on water. In ‘Kagurazaka Street at Night, After the Rain’ from 1929, a print from the series ‘Twelve Scenes of Tokyo’, a deep-blue night sky hangs over a shopping street; lanterns and illuminated signs hang against the darkness of the wooden façades, a fruit stall glows orange, and the entire row of lights is reflected as a jagged shimmer on the wet pavement. The rain has passed, and the street continues to act as a mirror. ‘Sarusawa Pond’ from 1933 brings the same idea into the light of day. Above the pond in Nara rises the five-storey pagoda of Kofukuji; willow branches hang into the picture, and the pagoda is reflected a second time in the pale water. And ‘The Golden Pavilion (Kinkaku)’, also from 1933, places the temple in Kyoto by the pond in such a way that its reflection in the greenish water fills the lower half of the page.

He explored the locations for these prints on foot. Yoshida was a passionate mountaineer and spent nearly half the year on sketching trips; around 1930, a long journey took him as far as India and South-East Asia, resulting in 32 prints. His most productive year, however, was 1926, with 41 prints, including series on the Seto Inland Sea, the Japanese Alps and Mount Fuji. That same year saw the creation of ‘Kumoi Cherry Trees’, a print of enormous proportions for a woodcut, measuring 58.4 by 74.5 centimetres, which had to be divided into three blocks due to its size; around fifty prints were produced from it. The model for this was a 27-year-old work, the watercolour ‘Memories of Japan’, which Detroit had purchased in 1899. The print depicts women beneath blossoming cherry trees on Mount Yoshino in the moonlight.

The art prints based on these sheets are produced by Meisterdrucke using the giclée process, at the highest resolution and with deliberate care taken over the printing process. This stands in contrast to Yoshida’s working method - which involved dozens of passes over a single motif - with a process that also takes its time.

Yoshida printed his last woodcut in 1946; in 1947, the Taiheiyo Gakai artists’ association elected him as its president. In the spring of 1950, he undertook a final journey to Izu and Nagaoka, after which he returned to Tokyo, where he died on 5 April 1950. What he had built up remained within the family. His wife Fujio was a painter; his sons Toshi and Hodaka both became woodblock artists; he had named the younger son, born in 1926 during his father’s most productive year, after his favourite mountain, Hotaka.

Artworks by Yoshida Hiroshi

90 artworks found
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90 artworks found

Yoshida Hiroshi
Das Kagurazakadôri bei Nacht, na...
Undated | printmaking

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Yoshida Hiroshi
Der Sarusawa Teich
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Yoshida Hiroshi
Twelve Scenes of Tokyo: Kaguraza...
1929 | color woodcut

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Yoshida Hiroshi
The Golden Pavilion (Kinkaku)
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Yoshida Hiroshi
Eight Scenes of Cherry Blossoms:...
1935 | color woodcut

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Yoshida Hiroshi
Kumoi Cherry Trees (Kumoi sakura)
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Autumn in Hundred Flower Garden ...
19th century |

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Yoshida Hiroshi
Das Schloss von Ôsaka
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Goshiki Mountains (Goshikihara),...
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Yoshida Hiroshi
Windstille
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Grapes and Apples (Budo to ringo)
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Sphinx - Night (Sufinkusu yoru),...
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Yoshida Hiroshi
Frühlingsregen
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Yoshida Hiroshi
 
1924 | unmounted hanging scroll; ink and color on silk

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Yoshida Hiroshi
Lugano machi
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
1929 | color woodcut

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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
1940 | color woodcut, wove paper

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Yoshida Hiroshi
 
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Yoshida Hiroshi
Warten auf die Flut
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Yoshida Hiroshi
Goldener Pavillon
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Yoshida Hiroshi
Sarusawa Pond (Sarusawa ike)
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Yoshida Hiroshi
 
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Yoshida Hiroshi
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Das Schloss von Hirosaki
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Yoshida Hiroshi
Das Aquarium, Honolulu
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Die Hirakawa Brücke
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Ellora, Cave Temple No. 3 (Erora...
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Snake Charmers (Hebizukai)
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Yoshida Hiroshi
 
1927 | color woodblock print

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Yoshida Hiroshi
Mount Hodaka (Hodakayama)
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
1927 | color woodblock print

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Yoshida Hiroshi
 
Undated | printmaking

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Yoshida Hiroshi
 
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Yoshida Hiroshi
Der Sankei Park
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
Undated | color woodblock print

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Yoshida Hiroshi
Lugano machi
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Yoshida Hiroshi
Der Takinoo Schrein
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Das Binnenmeer
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Ghat in Benares (Benaresu no gatto)
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Yoshida Hiroshi
Ruhige Gewässer der Nördlichen S...
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Yoshida Hiroshi
Great Temple in Madura (Madeyura...
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Yoshida Hiroshi
Die Niagara Wasserfälle
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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Yoshida Hiroshi
Udaipur Castle (Udaipuru no shiro)
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Yoshida Hiroshi
A Little Restaurant [at Night] (...
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Yoshida Hiroshi
Obatan Sittich
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Yoshida Hiroshi
 
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Yoshida Hiroshi
 
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About the artist

Yoshida Hiroshi
1876–1950
Born1876 (Kurume)
Died1950 (Shimo-Ochiai)
NationalityJapan
EpochsShin-hanga, Yōga
ProfessionDruckgrafiker, Maler
Family
Spouse: Fujio Yoshida
Child: Hodaka Yoshida, Tōshi Yoshida
TeacherSoritsu Tamura, Koyama Shōtarō
Memberships
Meiji Fine Arts Society
Taiheiyo Art Association
Notable worksSailing Boats (1926), Road with Ox Cart and Coolies, Nude Woman with Lions (1909), Harbor View, Sailboats on the Inland Sea
MuseumsCleveland Museum of Art

The textbook that introduced Japanese colour woodblock prints to the world was published in 1939 under the English title *Japanese Wood-Block Printing*. It was written by Yoshida Hiroshi, a Japanese painter and woodblock artist who had spent half his professional life painting watercolours and oil paintings before having his first printing block carved. His life began on 19 September 1876 in Kurume on the southern island of Kyushu, where he was born as Hiroshi Ueda; he had borne the name Yoshida since 1891, when his art teacher, Kasaburo Yoshida, adopted him. In the 1890s, he studied European-style painting, first in Kyoto, then at the private Fudosha School in Tokyo.

In 1899, he took a risk based on this training. Together with his fellow painter Nakagawa Hachiro, he set sail from Yokohama for America, with one-way tickets, travel money for a month, and his own watercolours in his luggage. A fire broke out on board during the voyage; both the men and the paintings survived. In the very same year, the Detroit Museum of Art exhibited 92 of his watercolours, and the city’s residents purchased Yoshida’s large painting ‘Memories of Japan’ for the museum through a public fundraising campaign for 500 dollars. An exhibition in Boston in early 1900 raised nearly 3,000 dollars; this was followed by the World’s Fair in Paris and, in 1904, a bronze medal in St Louis. The young Japanese artist had learnt Western painting and successfully sold it back to the West.

He did not take up woodblock printing, his country’s traditional printmaking technique, until he was 44. In 1920, he designed his first prints for the publisher Watanabe Shozaburo; in 1923, the Great Kanto Earthquake, which devastated Tokyo, destroyed the publisher’s workshop along with the printing blocks. Yoshida subsequently travelled through America and Europe once more, returned in August 1925 and became independent of publishers. He set up his own workshop and, in keeping with the Japanese printing tradition, employed his own carvers and printers under his strict supervision; Sheets whose printing he personally supervised bear the ‘jizuri’ seal, meaning ‘self-printed’. His prints underwent an unusually high number of colour passes, averaging around thirty, and in some cases approaching a hundred. For ‘The Plum Gate’ from 1935 - a courtyard gate in Ome near Tokyo featuring a blossoming plum tree - he himself stated that it required 14 blocks and 55 passes; some blocks were therefore inked multiple times and reprinted.

This effort is most evident where light falls on water. In ‘Kagurazaka Street at Night, After the Rain’ from 1929, a print from the series ‘Twelve Scenes of Tokyo’, a deep-blue night sky hangs over a shopping street; lanterns and illuminated signs hang against the darkness of the wooden façades, a fruit stall glows orange, and the entire row of lights is reflected as a jagged shimmer on the wet pavement. The rain has passed, and the street continues to act as a mirror. ‘Sarusawa Pond’ from 1933 brings the same idea into the light of day. Above the pond in Nara rises the five-storey pagoda of Kofukuji; willow branches hang into the picture, and the pagoda is reflected a second time in the pale water. And ‘The Golden Pavilion (Kinkaku)’, also from 1933, places the temple in Kyoto by the pond in such a way that its reflection in the greenish water fills the lower half of the page.

He explored the locations for these prints on foot. Yoshida was a passionate mountaineer and spent nearly half the year on sketching trips; around 1930, a long journey took him as far as India and South-East Asia, resulting in 32 prints. His most productive year, however, was 1926, with 41 prints, including series on the Seto Inland Sea, the Japanese Alps and Mount Fuji. That same year saw the creation of ‘Kumoi Cherry Trees’, a print of enormous proportions for a woodcut, measuring 58.4 by 74.5 centimetres, which had to be divided into three blocks due to its size; around fifty prints were produced from it. The model for this was a 27-year-old work, the watercolour ‘Memories of Japan’, which Detroit had purchased in 1899. The print depicts women beneath blossoming cherry trees on Mount Yoshino in the moonlight.

The art prints based on these sheets are produced by Meisterdrucke using the giclée process, at the highest resolution and with deliberate care taken over the printing process. This stands in contrast to Yoshida’s working method - which involved dozens of passes over a single motif - with a process that also takes its time.

Yoshida printed his last woodcut in 1946; in 1947, the Taiheiyo Gakai artists’ association elected him as its president. In the spring of 1950, he undertook a final journey to Izu and Nagaoka, after which he returned to Tokyo, where he died on 5 April 1950. What he had built up remained within the family. His wife Fujio was a painter; his sons Toshi and Hodaka both became woodblock artists; he had named the younger son, born in 1926 during his father’s most productive year, after his favourite mountain, Hotaka.



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Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

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+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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