Prizes, Exhibitions, Collections
Winner of the highest prize of the Japan Print Association Exhibition in 1958 and the Seattle Thirty-first International Print Exhibition in 1960, Kinoshita was represented in many international competitions including Northwest 1960, Philadelphia International Prints Exhibition 1963, and the Tokyo Biennale 1962 and 1968.
He exhibited with Nihon Hanga Kyōkai (Japan Print Association) from 1957, Kokugakai (National Picture Association) from 1958 and was a member of Nihon Hanga Kyōkai from 1959 and a member of Kokugakai.
His works are in the collections of major museums around the world including the British Museum; London National Gallery; New York Museum of Modern Art; Los Angeles County Museum of Art; Brooklyn Museum; Art Institute of Chicago: Philadelphia Museum; Houston Museum, Honolulu Academy of Arts; Oregon State University, Corvallis; Portland Art Museum; Art Gallery of Greater Victoria; University of Calgary; Niigata Prefectural Museum of Modern Art and Mie Prefectural Art Museum (which holds the largest collection of the artist’s prints.)
Special Exhibition: 100th Anniversary of Tomio Kinoshita's Birth
A retrospective exhibition will be held to commemorate the 100th anniversary of the birth of Tomio Kinoshita (1923-2014), a printmaker from what is now Yokkaichi City, Mie Prefecture. Tomio Kinoshita began producing woodblock prints in the 1950s, inspired by Shiko Munakata's woodblock prints that received international acclaim. He soon won the Japan Print Association Award in 1958 and the Kokuga Award in 1960. He has also received high praise overseas, winning the Seattle Art Museum Award at the Northwest International Print Exhibition.
Kinoshita's works are characterized by human faces created by jagged lines carved using a technique called "tsukibori."11 Faces reduced to geometric shapes such as squares, triangles, and circles fill the entire print. These faces, which appear primitive at first glance, reflect the social issues and social conditions of the time, and provide deep insight into human nature.
This exhibition will display Tomio Kinoshita's rare early works to his later works and explore the charm of his prints.12
1 Images of a Changing World: Japanese Prints of the Twentieth Century, Donald Jenkins, Portland Art Museum, 1983, p. 131.
2 44 Modern Japanese Print Artists, Gaston Petit, Kodansha International Ltd., 1973, p. 186.
3 The Modern Japanese Print - An Appreciation, James Michener, Charles E. Tuttle Co., 1968, p. 32.
4 Op. cit. Jenkins, p. 131.
5 Modern Impressions: Japanese Prints from the Berman and Corazza Collections 1950-1980, Frank L. Chance and Matthew Mizenko, Philip and Muriel Berman Museum of Art at Ursinus College, 2005, p. 90.
6 Who's Who in Modern Japanese Prints, Frances Blakemore, Weatherhill, 1975, p. 80.
7 Website of Saru Gallery http://www.sarugallery.com/japanese_woodblock_prints_ukiyoe/artists/tomio_kinoshita.html
8 Op. cit. Michener, p. 32.
9 Collecting Modern Japanese Prints, Then and Now, Mary and Norman Tolman, Charles E. Tuttle Company, 1994, p. 122.
10Op. cit. Petit, p. 186.
11Source: website of John Fiorillo https://www.viewingjapaneseprints.net/texts/sosaku_hanga/kinoshita_tomio.html "Kinoshita would have seen the jagged-edge manner of line carving in Hiratsuka Un'ichi's prints, the result of a technique called tsukibori or "poking strokes" made with a small, flat, square-end chisel with slightly curved tip called an aisuki, or else a U-shaped gouge (komasuki), rocking the blade side to side in short strokes to create a jagged edge while carving the lines. This method was very demanding. Moreover, the printing was very time-consuming, requiring three or more hours to complete a single impression, and so Kinoshita produced only a few print designs each year. He believed (or more appropriately, felt) that the more difficult the carving and printing, the more convincing the final work would be, and the more expressive of his motivations for making the image."
12My translation of exhibition summary appearing on website of Mie Prefectural Art Museum.