Chizuko Yoshida – Water Lilies

Out of stock

Additional information

Artist

Yoshida, Chizuko

Condition

(A) Very Fine Condition

Date

1960s-1970s

Edition

First Edition, Limited, Numbered

Movement

Sosaku hanga

Publisher

Self published

Size

Dai Oban (13.75"x18.25")

Subjects

Insects, Plants & Flowers

This beautiful and very large woodblock print brings a bright, delicate, and feminine perspective to what is a very male-dominated artform within Japanese culture. Vibrant color, coupled with the detailed treatment water lilies, their blossoms, and monarch butterflies, yields a powerful and compelling composition that is easy to fall in love with.

The Woodblock Print

A large double oban with the image measuring 13″x17″ (paper size of 16″x21″), this large print is in excellent condition with color that is vibrant and captivating. Pencil signed. Clean margins and a clean verso.

About the Artist

Chizuko Yoshida (吉田 千鶴子, March 20, 1924 – April 1, 2017 Yokohama) was a Japanese printmaker and painter known for her captivating works that bridged traditional Japanese art with modern sensibilities.  Chizuko studied art at the Sato Girl’s High School in Tokyo, where she began watercolor painting. Following graduation, she began studying under painter and printmaker, Fumio Kitaoka. While interning at Kitaoka’s studio, Chizuko practiced oil painting and was first exposed to woodblock printing, which would later become an essential part of her practice. However, Chizuko’s artistic journey went beyond mere technical skill as she became a leading figure in the feminist art movement in Japan.

Chizuko became a member of two important art associations. The first was Taiheiyō-Gakai (“Pacific Painting Society”), an art group established in 1902 by her future father-in-law Hiroshi Yoshida and Ishikawa Toraji. In 1949, Chizuko was made an associate and would go on to exhibit with the group. The second art coalition was Shuyōkai (“Vermillion Leaf Society”), a group for female oil painters established by her future mother-in-law Fujio Yoshida and her artist associates in 1920.

Yoshida’s art style evolved over time, reflecting her experiences as a woman in a male-dominated art world. Initially inspired by the traditional ukiyo-e woodblock print style, she skillfully captured the beauty of nature, with intricate details and vibrant colors. However, she soon began to challenge gender norms and explore themes of female empowerment, identity, and social commentary through her works. As a feminist artist, Chizuko Yoshida drew inspiration from the women’s liberation movements happening globally during the mid-20th century. Her art became a powerful medium to express her feminist perspectives, highlighting the experiences and struggles of women in Japanese society. Through her works, Yoshida aimed to challenge societal expectations and stereotypes, advocating for gender equality and women’s empowerment. She was inspired by Western art movements such as Impressionism and Post-Impressionism, particularly admiring the works of female artists like Frida Kahlo and Georgia O’Keeffe. These artists’ ability to explore personal experiences and push artistic boundaries resonated with Yoshida, fueling her own artistic exploration.

Chizuko was noted for providing a connective link between widespread modern art movements (such as abstract expressionism and op art) and traditional Japanese imagery. She was also important as the middle link in the succession of three generations of women artists in the widely recognized Yoshida family. She was the wife of artist Hodaka Yoshida (1926–1995). Hodaka’s mother, Fujio Yoshida (1887–1987), was a noted artist alongside of her husband Hiroshi Yoshida (1876–1950). Chizuko’s daughter, Ayomi Yoshida (born 1958), is well known for her modernist woodblock prints and room-size woodblock-chip installations. Three generations of women artists in one family is a rare phenomenon in Japanese art history.

Chizuko Yoshida’s feminist art garnered both praise and controversy. Her bold and thought-provoking works were exhibited in Japan and internationally, generating dialogue around gender issues and women’s rights. Yoshida’s commitment to feminism extended beyond her art, as she actively participated in feminist collectives and organizations, advocating for social change. Despite the challenges she faced as a female artist, Yoshida left an indelible mark on the art world. Her powerful, introspective works continue to inspire and provoke discussions around feminism and societal norms. Chizuko Yoshida’s artistic legacy stands as a testament to the transformative power of art and its potential to challenge and reshape the world we live in.

Sources

  • Yoshida Chizuko.” NMAO Collection. Accessed May 23, 2023.
  • Whitney, Chad. “Feminism, Gender and Art in Japan: 1970s-1980s.” The Asia-Pacific Journal, Vol. 11, Issue 45, No. 3, November 11, 2013.
  • Kondo, Dorinne K. “Art and Aesthetics in Japan.” In: Routledge Handbook of Japanese Culture and Society, edited by Victoria Lyon Bestor, Theodore C. Bestor, and Akiko Yamagata. Routledge, 2011.