Saito Kiyoshi

Copyright © 2021 The John & Mable Ringling Museum of Art and Scala Arts Publishers, Inc. Book copyright © 2021 Scala Arts Publishers, Inc. First published in 2021 by Scala Arts Publishers, Inc. c/o CohnReznick LLP 10th floor, 1301 Avenue of the Americas New York, NY 10019, USA www.scalapublishers.com Scala – New York – London In association with The John & Mable Ringling Museum of Art 5401 Bay Shore Road Sarasota, FL 34243, USA www.ringling.org

Printed and bound in China ‘The Art of Saitō Kiyoshi: Internationalism and Regionalism’ has been translated from Japanese into English by Chiaki Ajioka 10 9 8 7 6 5 4 3 2 1 All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the written permission of Scala Arts Publishers, Inc. and The John & Mable Ringling Museum of Art. Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints.

Contents

Foreword vi

CATALOGUE 43

Acknowledgments viii Japanese Names and Titles of Works ix Detailed List of Works 193

All artworks by Saitō Kiyoshi (1907–1997), unless otherwise stated

Signatures and Seals 202 Distributed outside of The John & Mable Ringling Museum of Art in the book trade by ACC Art Books 6 West 18th Street Suite 4B New York, NY 10011, USA ISBN: 978-1-78551-301-5 Library of Congress Cataloguing-in-Publication Data Names: Paget, Rhiannon, editor | The John & Mable Ringling Museum of Art, organizer, host institution. Title: Saitō Kiyoshi: Graphic Awakening /edited by Rhiannon Paget. Description: John & Mable Ringling Museum of Art in association with Scala Arts Publishers, Inc., 2021. | Includes bibliographical references and index. | Summary: Japanese Art. Survey of the life and career of Japanese print artist Saitō Kiyoshi (1907–1997) accompanies first major exhibition of his work in the United States since his death. Provided by publisher. Identifiers: LCCN 2020034941 | ISBN 978-1-78551-301-5 Subjects: LCSH: Art, Japanese Art--Exhibitions. | Art—Private collections— Exhibitions | John & Mable Ringling Museum of Art—Exhibitions.

Classification: LCC NE1325.S3 A4 2021 | DDC 769.952—dc23 LC record available at https://lccn.loc.gov/2020034941

Half title: Steady Gaze, 1948 (Cat. 99) Frontispiece: Manjushage, 1959 (Cat. 76) Front cover: Shinadera, Nagasaki, designed 1955, printed 1956 (Cat. 38) Page 42–43: Katsura, Kyoto, 1955 (Cat. 30) Page 190–91: Dog, designed 1954, printed 1956 (Cat. 110) Page 192: Ancient City (C), Nara, 1954 (Cat. 36)

ESSAYS

Selected Chronology 205 Selected Bibliography 209

The Art of Saitō Kiyoshi: Index 211 Internationalism and Regionalism 1 Noriko Kuwahara Saitō’s Katsura 17 Rhiannon Paget Woodblock Printing in Japan: Ukiyo-e, Shin Hanga, and Sōsaku Hanga 25 Judith A. Stubbs Woodblock Printmaking Techniques 33 Paul Binnie

Edited by Theresa Huntsman Designed by Jo Ellen Ackerman / Bessas & Ackerman

iv

v

Copyright © 2021 The John & Mable Ringling Museum of Art and Scala Arts Publishers, Inc. Book copyright © 2021 Scala Arts Publishers, Inc. First published in 2021 by Scala Arts Publishers, Inc. c/o CohnReznick LLP 10th floor, 1301 Avenue of the Americas New York, NY 10019, USA www.scalapublishers.com Scala – New York – London In association with The John & Mable Ringling Museum of Art 5401 Bay Shore Road Sarasota, FL 34243, USA www.ringling.org

Printed and bound in China ‘The Art of Saitō Kiyoshi: Internationalism and Regionalism’ has been translated from Japanese into English by Chiaki Ajioka 10 9 8 7 6 5 4 3 2 1 All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the written permission of Scala Arts Publishers, Inc. and The John & Mable Ringling Museum of Art. Every effort has been made to acknowledge correct copyright of images where applicable. Any errors or omissions are unintentional and should be notified to the Publisher, who will arrange for corrections to appear in any reprints.

Contents

Foreword vi

CATALOGUE 43

Acknowledgments viii Japanese Names and Titles of Works ix Detailed List of Works 193

All artworks by Saitō Kiyoshi (1907–1997), unless otherwise stated

Signatures and Seals 202 Distributed outside of The John & Mable Ringling Museum of Art in the book trade by ACC Art Books 6 West 18th Street Suite 4B New York, NY 10011, USA ISBN: 978-1-78551-301-5 Library of Congress Cataloguing-in-Publication Data Names: Paget, Rhiannon, editor | The John & Mable Ringling Museum of Art, organizer, host institution. Title: Saitō Kiyoshi: Graphic Awakening /edited by Rhiannon Paget. Description: John & Mable Ringling Museum of Art in association with Scala Arts Publishers, Inc., 2021. | Includes bibliographical references and index. | Summary: Japanese Art. Survey of the life and career of Japanese print artist Saitō Kiyoshi (1907–1997) accompanies first major exhibition of his work in the United States since his death. Provided by publisher. Identifiers: LCCN 2020034941 | ISBN 978-1-78551-301-5 Subjects: LCSH: Art, Japanese Art--Exhibitions. | Art—Private collections— Exhibitions | John & Mable Ringling Museum of Art—Exhibitions.

Classification: LCC NE1325.S3 A4 2021 | DDC 769.952—dc23 LC record available at https://lccn.loc.gov/2020034941

Half title: Steady Gaze, 1948 (Cat. 99) Frontispiece: Manjushage, 1959 (Cat. 76) Front cover: Shinadera, Nagasaki, designed 1955, printed 1956 (Cat. 38) Page 42–43: Katsura, Kyoto, 1955 (Cat. 30) Page 190–91: Dog, designed 1954, printed 1956 (Cat. 110) Page 192: Ancient City (C), Nara, 1954 (Cat. 36)

ESSAYS

Selected Chronology 205 Selected Bibliography 209

The Art of Saitō Kiyoshi: Index 211 Internationalism and Regionalism 1 Noriko Kuwahara Saitō’s Katsura 17 Rhiannon Paget Woodblock Printing in Japan: Ukiyo-e, Shin Hanga, and Sōsaku Hanga 25 Judith A. Stubbs Woodblock Printmaking Techniques 33 Paul Binnie

Edited by Theresa Huntsman Designed by Jo Ellen Ackerman / Bessas & Ackerman

iv

v

Foreword

Among the treasures of The John & Mable Ringling Museum of Art are

Sarasota) in 1953. Karl credited the idea for the exhibition to his friend the

nearly five hundred sōsaku hanga, or “creative prints,” a term that refers to

Sarasota painter and art teacher Hilton Leech (1906–1969). With Fujikake

a movement that emerged in early twentieth-century Japan. Previously,

Shizuya’s 1949 edition of Japanese Wood-Block Prints—then the only

Japanese woodblock prints were produced by a designer, a block carver,

English-language book that addressed modernist prints—as his guide, Karl

and a printer working collaboratively under the direction of a commercial

engaged his United Press contacts in Tokyo to purchase artworks directly

publisher. Inspired by new ideas from Europe about individual expression,

from contemporary print artists, commenting that stiff competition from

sōsaku hanga artists began to claim complete authorship by carving and

other collectors made it difficult to source desirable material. The exhibition

printing their own designs, thereby asserting the print as a mode of expres-

was well received by Sarasota’s creative community, which boasted the

sion equivalent to painting. The Ringling’s collection encompasses works by

largest population of artists per capita of any city in the U.S. at that time.

key artists of the movement, including Onchi Kōshirō (1891–1955), Hiratsuka

Saitō Kiyoshi’s presence at The Ringling has since gained strength

Un’ichi (1895–1997), Azechi Umetarō (1902–1999), Inagaki Tomo’o (1902–

through the generosity of additional supporters, including Mr. and Mrs. T. H.

1980), and Saitō Kiyoshi (1907–1997).

Burkhardt and Gordon Brodfuehrer. In 2014 local collectors Robyn and

Saitō longed to be a painter but emerged instead as a seminal figure of

Charles Citrin began donating Japanese prints to the museum, including

sōsaku hanga after the Second World War. His superb technique, keen

over 100 works by Saitō. Avoiding the inferior designs and commercial

sense of design, and appealing variety of themes have made him one of the

impressions that flooded the market during Saitō’s rising fame, the Citrins

best known and most popular Japanese artists of the twentieth century. He

sought artworks produced in the first half of Saitō’s printmaking career and

flourished as the movement attracted patrons among members of the

built a collection that represents not only the artist’s creative triumphs but

occupying forces and, later, Western journalists, tourists, and business

also his stylistic and technical negotiations of a medium in which he had no

travelers. Honors at the 1951 São Paulo Biennial launched him and the

formal training. This collection has made The Ringling one of the most

Creative Print movement to prominence at home and abroad. When new

important public repositories of Saitō’s work in America.

diplomatic ties between the U.S. and Japan provided opportunities for

The Citrins’ vision encompassed an exhibition and publication that

Japanese artists to exhibit, teach, and live abroad, Saitō was among the first

reflect upon Saitō’s achievements. With this in mind, The Ringling has

to do so.

sought to include examples of the artist’s work from other museums and

The Ringling’s sōsaku hanga collection began in 1961 with the first

private collections. We are deeply grateful to our donors and partners in

installment of a multistage gift of Japanese prints from Karl (1882–1972) and

this project for making it possible to share the work of Saitō Kiyoshi with

Madira Bickel (1891–1964). Their gift included eight works by Saitō, some of

our community in Sarasota and beyond.

which are included in this volume. A retired director of the United Press Association and collector who served on The Ringling’s first advisory board,

Steven High

Karl amassed the collection with the view of opening one of the first U.S.

Executive Director, The John & Mable Ringling Museum of Art

exhibitions of sōsaku hanga at the Sarasota Society of Art (now Art Center

vi

vii

Foreword

Among the treasures of The John & Mable Ringling Museum of Art are

Sarasota) in 1953. Karl credited the idea for the exhibition to his friend the

nearly five hundred sōsaku hanga, or “creative prints,” a term that refers to

Sarasota painter and art teacher Hilton Leech (1906–1969). With Fujikake

a movement that emerged in early twentieth-century Japan. Previously,

Shizuya’s 1949 edition of Japanese Wood-Block Prints—then the only

Japanese woodblock prints were produced by a designer, a block carver,

English-language book that addressed modernist prints—as his guide, Karl

and a printer working collaboratively under the direction of a commercial

engaged his United Press contacts in Tokyo to purchase artworks directly

publisher. Inspired by new ideas from Europe about individual expression,

from contemporary print artists, commenting that stiff competition from

sōsaku hanga artists began to claim complete authorship by carving and

other collectors made it difficult to source desirable material. The exhibition

printing their own designs, thereby asserting the print as a mode of expres-

was well received by Sarasota’s creative community, which boasted the

sion equivalent to painting. The Ringling’s collection encompasses works by

largest population of artists per capita of any city in the U.S. at that time.

key artists of the movement, including Onchi Kōshirō (1891–1955), Hiratsuka

Saitō Kiyoshi’s presence at The Ringling has since gained strength

Un’ichi (1895–1997), Azechi Umetarō (1902–1999), Inagaki Tomo’o (1902–

through the generosity of additional supporters, including Mr. and Mrs. T. H.

1980), and Saitō Kiyoshi (1907–1997).

Burkhardt and Gordon Brodfuehrer. In 2014 local collectors Robyn and

Saitō longed to be a painter but emerged instead as a seminal figure of

Charles Citrin began donating Japanese prints to the museum, including

sōsaku hanga after the Second World War. His superb technique, keen

over 100 works by Saitō. Avoiding the inferior designs and commercial

sense of design, and appealing variety of themes have made him one of the

impressions that flooded the market during Saitō’s rising fame, the Citrins

best known and most popular Japanese artists of the twentieth century. He

sought artworks produced in the first half of Saitō’s printmaking career and

flourished as the movement attracted patrons among members of the

built a collection that represents not only the artist’s creative triumphs but

occupying forces and, later, Western journalists, tourists, and business

also his stylistic and technical negotiations of a medium in which he had no

travelers. Honors at the 1951 São Paulo Biennial launched him and the

formal training. This collection has made The Ringling one of the most

Creative Print movement to prominence at home and abroad. When new

important public repositories of Saitō’s work in America.

diplomatic ties between the U.S. and Japan provided opportunities for

The Citrins’ vision encompassed an exhibition and publication that

Japanese artists to exhibit, teach, and live abroad, Saitō was among the first

reflect upon Saitō’s achievements. With this in mind, The Ringling has

to do so.

sought to include examples of the artist’s work from other museums and

The Ringling’s sōsaku hanga collection began in 1961 with the first

private collections. We are deeply grateful to our donors and partners in

installment of a multistage gift of Japanese prints from Karl (1882–1972) and

this project for making it possible to share the work of Saitō Kiyoshi with

Madira Bickel (1891–1964). Their gift included eight works by Saitō, some of

our community in Sarasota and beyond.

which are included in this volume. A retired director of the United Press Association and collector who served on The Ringling’s first advisory board,

Steven High

Karl amassed the collection with the view of opening one of the first U.S.

Executive Director, The John & Mable Ringling Museum of Art

exhibitions of sōsaku hanga at the Sarasota Society of Art (now Art Center

vi

vii

Noriko Kuwahara

The Art of Saitō Kiyoshi Internationalism and Regionalism

Saitō Kiyoshi (1907–1997) was among Japan’s representative sōsaku hanga (Creative Prints) artists. His career as a printmaker spanned over sixty years, from 1936 until his death.1 Sōsaku hanga denotes modern prints that are distinct from traditional ukiyo-e prints in their production method; while a ukiyo-e print was commercially produced by three separate sets of hands (designer, blockcutter, and printer), a sōsaku hanga work, in contrast, was created by a single artist responsible for the design, blockcutting, and printing. Thus, the resultant work was an individual artistic expression.

Saitō was one of the most popular Japanese artists outside Japan in the postwar period, especially among Americans. In the 1950s, he achieved international acclaim by winning prizes at the São Paulo Biennial (1951) and the Ljubljana Biennial of Graphic Arts (1957). His success overseas contributed to the re-recognition of Japan as the “country of prints,” as well as the worldwide appreciation of modern Japanese printmaking.2 But why was Saitō’s art so appealing to an American audience? An examination of Saitō’s creative development in the context of Japan’s changing artistic environment from prewar through postwar decades reveals the reasons behind his popularity.

Early Career Saitō Kiyoshi was born in 1907 in a country village in Aizu, Fukushima prefecture, in northwest Japan. When Saitō was four years old, his father’s Detail of Bookshop, Siene, Paris, 1960 (Cat. 122)

1

Noriko Kuwahara

The Art of Saitō Kiyoshi Internationalism and Regionalism

Saitō Kiyoshi (1907–1997) was among Japan’s representative sōsaku hanga (Creative Prints) artists. His career as a printmaker spanned over sixty years, from 1936 until his death.1 Sōsaku hanga denotes modern prints that are distinct from traditional ukiyo-e prints in their production method; while a ukiyo-e print was commercially produced by three separate sets of hands (designer, blockcutter, and printer), a sōsaku hanga work, in contrast, was created by a single artist responsible for the design, blockcutting, and printing. Thus, the resultant work was an individual artistic expression.

Saitō was one of the most popular Japanese artists outside Japan in the postwar period, especially among Americans. In the 1950s, he achieved international acclaim by winning prizes at the São Paulo Biennial (1951) and the Ljubljana Biennial of Graphic Arts (1957). His success overseas contributed to the re-recognition of Japan as the “country of prints,” as well as the worldwide appreciation of modern Japanese printmaking.2 But why was Saitō’s art so appealing to an American audience? An examination of Saitō’s creative development in the context of Japan’s changing artistic environment from prewar through postwar decades reveals the reasons behind his popularity.

Early Career Saitō Kiyoshi was born in 1907 in a country village in Aizu, Fukushima prefecture, in northwest Japan. When Saitō was four years old, his father’s Detail of Bookshop, Siene, Paris, 1960 (Cat. 122)

1

Rhiannon Paget

Saitō’s Katsura

Saitō’s birthplace of Aizu provided a leitmotif throughout his entire oeuvre, but some of his most innovative and powerful print designs were inspired

by Kyoto, Japan’s capital during the Heian period (794–1185). He traveled there in 1954 at the urging of his American patrons. “Until then,” he wrote, “I had only depicted subjects directly around me. The Americans taught me the splendor of Kyoto and Nara.”1 Slated for Allied bombing during the final stages of the war, Kyoto escaped obliteration because of its cultural assets, which encompass thousands of temples, shrines, palaces, gardens, and other historical sites, some dating back to the eighth century. Saitō visited and created designs featuring some of these noted places, including Saihōji, also known as Kokedera or the “Moss Temple” (Cat. 31); Ryōanji, famous for its rock garden (Cat. 29); and Katsura Rikkyū, an imperial villa in southwest Kyoto. The villa, or “detached palace,” was constructed over a fifty-year period between the early and mid-seventeenth century by Prince Hachijō Toshihito (1579–1629) and his descendants. At the time of Saitō’s first trip, the villa was in a poor state of repair and closed to the public, but Saitō was able to gain admittance through an associate at the Mainichi Shimbun newspaper company.

He was struck by the design of the building. “When I saw Katsura Villa, I felt it to be made up of many simple compositions similar to [the Dutch artist] Piet Mondrian’s paintings. So much so that I sketched it as if in a Detail of Shōji, Katsura Detached Palace, designed 1954 (Cat. 32)

17

Rhiannon Paget

Saitō’s Katsura

Saitō’s birthplace of Aizu provided a leitmotif throughout his entire oeuvre, but some of his most innovative and powerful print designs were inspired

by Kyoto, Japan’s capital during the Heian period (794–1185). He traveled there in 1954 at the urging of his American patrons. “Until then,” he wrote, “I had only depicted subjects directly around me. The Americans taught me the splendor of Kyoto and Nara.”1 Slated for Allied bombing during the final stages of the war, Kyoto escaped obliteration because of its cultural assets, which encompass thousands of temples, shrines, palaces, gardens, and other historical sites, some dating back to the eighth century. Saitō visited and created designs featuring some of these noted places, including Saihōji, also known as Kokedera or the “Moss Temple” (Cat. 31); Ryōanji, famous for its rock garden (Cat. 29); and Katsura Rikkyū, an imperial villa in southwest Kyoto. The villa, or “detached palace,” was constructed over a fifty-year period between the early and mid-seventeenth century by Prince Hachijō Toshihito (1579–1629) and his descendants. At the time of Saitō’s first trip, the villa was in a poor state of repair and closed to the public, but Saitō was able to gain admittance through an associate at the Mainichi Shimbun newspaper company.

He was struck by the design of the building. “When I saw Katsura Villa, I felt it to be made up of many simple compositions similar to [the Dutch artist] Piet Mondrian’s paintings. So much so that I sketched it as if in a Detail of Shōji, Katsura Detached Palace, designed 1954 (Cat. 32)

17

Judith A. Stubbs

Woodblock Printing in Japan Ukiyo-e, Shin Hanga, and Sōsaku Hanga

The earliest extant woodblock prints in Japan are associated with the introduction of Buddhism from Korea in the sixth century c.e. and were used by Buddhist monks to disseminate religious texts and images. It was not until the late seventeenth century that commercial publishers in the capital city of Edo (present-day Tokyo) began issuing inexpensive, single-sheet prints depicting famous—or infamous—figures of the pleasure quarters. This genre of popular prints came to be called ukiyo-e, or “pictures of the floating world.” The term, originally Buddhist, carried the connotation of the transient nature of existence, but in Edo-period Japan (1615–1868), it came to refer to the transient pleasures of urban life. Demand spurred production and innovation, and by 1765, full-color printing that employed teams of skilled designers, block cutters, and printers became the norm. Publishers provided their audience with prints of famous Kabuki actors, beautiful young women and men, legendary heroes, landscapes, and scenes of everyday life. Until the 1850s, the content of woodblock prints changed very little beyond reacting to popular styles and employing innovative printing techniques.

In 1853 Commodore Matthew C. Perry (1794–1858) of the United States Navy arrived with a squadron of fully armed ships. He brought a request from President Millard Fillmore (1800–1874) for Japan to open its ports, which the shogun Tokugawa Ieyasu (1543–1616) had closed by 1640 to all but a limited number of Dutch and Chinese traders. Japan’s isolation of more than two hundred years was at an end. The Tokugawa government Detail of Winter in Aizu, ca. 1960s (Cat. 27).

25

Judith A. Stubbs

Woodblock Printing in Japan Ukiyo-e, Shin Hanga, and Sōsaku Hanga

The earliest extant woodblock prints in Japan are associated with the introduction of Buddhism from Korea in the sixth century c.e. and were used by Buddhist monks to disseminate religious texts and images. It was not until the late seventeenth century that commercial publishers in the capital city of Edo (present-day Tokyo) began issuing inexpensive, single-sheet prints depicting famous—or infamous—figures of the pleasure quarters. This genre of popular prints came to be called ukiyo-e, or “pictures of the floating world.” The term, originally Buddhist, carried the connotation of the transient nature of existence, but in Edo-period Japan (1615–1868), it came to refer to the transient pleasures of urban life. Demand spurred production and innovation, and by 1765, full-color printing that employed teams of skilled designers, block cutters, and printers became the norm. Publishers provided their audience with prints of famous Kabuki actors, beautiful young women and men, legendary heroes, landscapes, and scenes of everyday life. Until the 1850s, the content of woodblock prints changed very little beyond reacting to popular styles and employing innovative printing techniques.

In 1853 Commodore Matthew C. Perry (1794–1858) of the United States Navy arrived with a squadron of fully armed ships. He brought a request from President Millard Fillmore (1800–1874) for Japan to open its ports, which the shogun Tokugawa Ieyasu (1543–1616) had closed by 1640 to all but a limited number of Dutch and Chinese traders. Japan’s isolation of more than two hundred years was at an end. The Tokugawa government Detail of Winter in Aizu, ca. 1960s (Cat. 27).

25

Paul Binnie

Woodblock Printmaking Techniques

Introduction Japanese multicolor woodblock printmaking is a creative method that produces multiples of a single image. Because of the complexity of the printing process and subtle differences in the impressions yielded, each print is considered a unique work of art, not a reproduction. The long history of woodblock printing was brought to a stage of refinement in Japan in the mid-eighteenth century with the invention of kentō—registration marks carved into each block so that colors can be perfectly aligned each time.

The basic process of woodblock carving and printing is simple. Starting with a flat wooden surface, every cut into that surface leaves a white area when the surface is inked and printed. This is the principle of all “relief” prints (e.g., linoleum cuts or wood engravings), where the marks become blanks. This is opposed to “intaglio” prints (e.g., etchings or metal engravings), where the marks hold ink and the flat surface is cleaned for printing.

To produce lines in woodblock prints, those lines must be left untouched and the surrounding area cut away, thus leaving them in relief.

A block in Japanese printmaking refers to one side of a plank of wood; most planks are deep enough to carve on either side, giving two blocks per piece of wood. Japanese color woodblock prints traditionally use multiple blocks, often one for each color, though two or three colors may be used on one block, sometimes shading into each other. When two colors blend into each other, or fade out into blank paper, it is called bokashi (shading).

33

Paul Binnie

Woodblock Printmaking Techniques

Introduction Japanese multicolor woodblock printmaking is a creative method that produces multiples of a single image. Because of the complexity of the printing process and subtle differences in the impressions yielded, each print is considered a unique work of art, not a reproduction. The long history of woodblock printing was brought to a stage of refinement in Japan in the mid-eighteenth century with the invention of kentō—registration marks carved into each block so that colors can be perfectly aligned each time.

The basic process of woodblock carving and printing is simple. Starting with a flat wooden surface, every cut into that surface leaves a white area when the surface is inked and printed. This is the principle of all “relief” prints (e.g., linoleum cuts or wood engravings), where the marks become blanks. This is opposed to “intaglio” prints (e.g., etchings or metal engravings), where the marks hold ink and the flat surface is cleaned for printing.

To produce lines in woodblock prints, those lines must be left untouched and the surrounding area cut away, thus leaving them in relief.

A block in Japanese printmaking refers to one side of a plank of wood; most planks are deep enough to carve on either side, giving two blocks per piece of wood. Japanese color woodblock prints traditionally use multiple blocks, often one for each color, though two or three colors may be used on one block, sometimes shading into each other. When two colors blend into each other, or fade out into blank paper, it is called bokashi (shading).

33

Cat. 70 The Eye (White Camellia), ca. 1950 Collection of Bill and Roberta Stein

126

127

Cat. 70 The Eye (White Camellia), ca. 1950 Collection of Bill and Roberta Stein

126

127

Picture credits

Picture credits to come

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