All exhibitions are curated with love, care and precision, but Yoshida: Three Generations of Japanese Printmaking is one that weaves a heartfelt narrative the further one delves through the exhibition, right up until its final moments. Yoshida Hiroshi (1876 -1950) was a prolific artist and pushed the boundaries of woodblock printing with his pieces not just of Japanese life and architecture, but that of landscapes he saw around the world.
From the beginning, viewers are invited to experience and understand the complexity and precision involved in creating a print, from the piece’s concept, to the carving of the woodblock and the layers of colours involved. The beauty of Hiroshi’s work is undeniable, yet the exhibition truly comes to life as we see the work of his wife, Fujio, his sons Tōshi and Hodaka, Hodaka’s wife Chizuko and their daugther Ayomi.
This exhibition is the first time Fujio’s works have been displayed in the UK, and most striking is her clear, bold and individual artistic voice. Hiroshi himself was once a visitor to the gallery, and therefore perhaps there is no other place that is more fitting to display Fujio’s work for the first time in this country.
Art is passion and dreams made real, and the exhibition’s magic comes from displaying how such passion has been transmitted from generation to generation. His sons’ varying depictions of life in various parts of the world, as well as their views on modern culture and pop art show both a clear connection to their father and mother’s perspectives on the world, whilst also conveying the influences of their time.
The fine, delicate inks and lines of their parents give way to bolder colours, shapes and a sense of the growing claustrophobia and confusion of post-war life. Chizuko’s work also captures the imagination, with works like Looking at the Sea (1972) demonstrating the use of woodblock printing alongside other artistic techniques such as photo etching to stunning effect.
The exhibition reaches a triumphant climax with Ayomi’s piece Transient Beauty (2024), which combines woodblock prints, wallpaper, and a multitude of paper flowers. To speak upon it any further would spoil not just the feat of the work itself, but also the way it creates a truly rewarding, full-circle experience for the audience. Upon witnessing Ayomi’s work (that will be dismantled after the exhibition, never to be shown in the same form again), surely many a visitor will be compelled to go right back to the start to see Hiroshi’s work once more and the direct connections between the generations.
The exhibition is a great introduction to woodblock printing for those only lightly familiar with the art form (or not at all), but its greatest strength lies in showing the depth and complexities of this artistic dynasty, a true through-line displaying the power of artistic connection in one family and one art form. It is a profound exhibition that creeps up on you emotionally, and is one that deserves multiple viewings (both chronologically, and backwards) in one session.
More information about Yoshida: Three Generations of Japanese Printmaking can be found here. The exhibition runs until the 3rd of November.
