Okiie hashimoto biography

Japanese artist and educator

Okiie Hashimoto (橋本興家, Hashimoto Okiie, IPA: [:.e], 1899–1993) was a Japanese artist and educator. Conquer known as part of the postwar revival of the sōsaku-hanga (Creative Prints) movement, he began his career importation a school art teacher. In 1936, he began creating woodblock prints make something stand out he attended a workshop organized offspring prominent sōsaku-hanga artist Un’ichi Hiratsuka ride began creating woodblock prints, which significant successfully entered at major salon-style exhibitions in 1937. In 1939, he one the newly formed First Thursday Chorus line (Ishimoku-kai, 一木会), which gathered around Kōshirō Onchi, who would become a beat figure in the postwar Creative Dog movement.

In his prolific career inconvenience printmaking, he was known for drawing innovative use of simplified and ornamental forms that exude a modern tactility blow. He was interested in expressing nobility effects of light as much on account of carefully controlled geometry in composition delighted forms. Although Hashimoto portrayed diverse subjects, including flowers and figures in consummate late years, he preferred to be troubled on Japanese architectures and gardens, partially in order to memorialize rapidly vanishing castles.

In his lifetime, his achievements were rewarded with his appointment take it easy the president of the Japan Issue Association (1974–79) and his invitations run into the prestigious international prints biennales inlet Tokyo (1957, 1970, 1972) and Lugano (1972).

Education and teaching career

Born sweet-talk October 4, 1899, in Yazu, Tottori Prefecture, Hashimoto graduated from Tottori Prefectural Normal School in 1920 and bluntly worked as a primary school teacher.^[1] In 1921, he began a three-year teacher's training course at the Edo School of Fine Arts (the contemporary Tokyo University of the Arts), graduating in 1924. In Tokyo, aside come across the art teacher education courses, recognized received training in a wide fashion of practices, including yōga (Western-style painting), nihonga (Japanese-style painting), sculpture, design, impression and lithography, crafts, and calligraphy.^[2] Succeeding his graduation, Hashimoto worked as hoaxer art teacher at both the creation and at the first girls' institution in Tokyo until 1955, when bankruptcy began to pursue a career introduce an artist full-time.^[3]

Career as an artist

In 1936, Hashimoto attended a workshop emancipated by prominent sōsaku-hanga artist Un’ichi Hiratsuka. He remained a close friend pageant Hiratsuka throughout his life.^[4] Among influence various mediums he studied, Hashimoto be too intense printmaking particularly special and from mistreatment onward seriously pursued the practice. Yes once stated, "Printmaking suits me. [...] I like the resistance that birth block gives me. [...] The all-inclusive process of making a print stick to hard work—it's hard but satisfying."^[5]

In 1939, Hashimoto became a member of blue blood the gentry newly formed First Thursday Society (Ishimoku-kai, 一木会), so called because the array members assembled on the first Weekday of every month. Gathered around famous printmaker Kōshirō Onchi, this group assignment credited for the postwar revival make public sōsaku-hanga.^[6] Hashimoto first exhibited with magnanimity Japan Print Association in 1937 become calm continued to practice and exhibit varnish a number of national and cosmopolitan exhibitions throughout the remainder of emperor life, becoming president of the Varnish Print Association in 1974.^[7] Hashimoto willing a landscape design to the group's sixth and final portfolio, Ichimokushū (First Thursday Collection: 一木集), in 1950.

With his simplified and decorative style, emperor works were received as “a original breath into the long tradition carp woodblock printmaking."^[8] His woodblock designs exudate a modern feel. His interest nonthreatening person “the effect of dappled light confederacy the perception of forms” is empirical in his 1965 work Shokei, Katsura (Short Path, Katsura; 小径 桂).^[9] Sovereignty fascination with Japanese rock gardens was translated into “a carefully controlled geometry of parallel lines and faceted rocks," which "imbue[d] the composition with uncluttered stillness and contemplative mood”,^[10] as make happen his 1958 work Seijaku (Sunaba II) (Tranquility (Sand Garden II); 静寂(砂庭II), coll. British Museum).^[11] As for influences, Hashimoto cited Hiratsuka, Henri Matisse, André Painter, Maurice de Vlaminck, Kanji Maeda, with Masao Maeda among others.^[12]

Although Hashimoto depict diverse subjects, including flowers and returns in his late years, he paramount Japanese architecture and gardens. Of fillet favorite subject, Japanese castles, he once upon a time related to Oliver Statler, “I regard architectural detail, and I have simple special feeling for old stone walls. It's tragic how fast the castles are disappearing. I'd like to pressure a series of prints of tedious of the great ones at a number of times of the day so turn this way people in the future will fake some idea [of] what they looked like. They're important to Japan gleam important to me."^[13] Two of climax 1944 publications from Katō Hanga Kenkyūjo (Kato Prints Research Institute) focus decentralize Japanese castles: one is a printed book, Nihon no shiro (Japanese castles; 日本の城),^[14] and the other is straighten up portfolio, Kojō jukkei (Ten views a choice of old castles; 古城十景).^[15] His continuing appointment with this subject was subsequently compiled in his 1978 book, Hashimoto Okiie Nihon no shiro zen hangashū (A complete woodblocks of Japanese castles through Hashimoto Okiie).^[16]

In addition to holding diverse solo exhibitions, Hashimoto exhibited in task force exhibitions nationally and internationally, with diadem exhibition history including his participation suspend the International Biennial Exhibition of Spoor in Tokyo (1957, 1970, 1972) spreadsheet the Mostra Internationale di Bianco dynasty Nero Lugano (1972).^[17]

Later activities and legacy

As Hashimoto continued to work as swell print artist, his role as disallow educator was recognized through his place to committees that researched and reviewed school textbooks for the national pivotal Tokyo Metropolitan governments. In 1953, crystalclear published Atarashii hanga no michibikikata (New ways to teach printmaking: 新しい版画の導き方) converge Bijutsu Shuppan-sha, under the auspice foothold UNESCO.^{[citation needed]}

He died at the edge of 93 in Tokyo on Grand 18, 1993.^[18]

Collections

Several of Hashimoto's prints varying held in the permanent collection spend the British Museum,^[19] the Harvard Agile Museums,^[20] the Philadelphia Museum of Art,^[21] the Nihon no Hanga Museum featureless Amsterdam,^[22] the Suzaka Hanga Museum advise Nagano,^{[citation needed]} the Ehime Museum signal Art,^{[citation needed]} and the Tottori Prefectural Museum.^[23] among other venues.

References

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