TRAILBLAZERS

Five women artists who paved the way for future generations:

SHINODA Toko, YOSHIDA Chizuko, IWAMI Reika, YANAGISAWA Noriko, TATSUNO Toeko

Before the war, higher education in Japan was primarily funded by the government, and opportunities to participate were almost exclusively limited to males. Japanese academies for women were classified as special schools (senmon gakko) or training schools and did not achieve university status. Post-war, despite the 1947 Constitution ensuring equal education rights for everyone relative to their abilities, most universities remained largely occupied by male students. Positions in faculty and academia also remained elusive to female graduates—men needed a stable income to support a family, and women were expected to prioritize family life over their careers. In the pre-internet and social media age, networking opportunities were principally established through teaching positions in higher education institutions. This meant that due to a lack of representation, female graduates missed out on potential opportunities. Fine arts education was no exception to this pattern.

The five women artists featured in this show—Shinoda Toko (1913-2021), Yoshida Chizuko (1924-2017), Iwami Reika (1927-2020), Yanagisawa Noriko (1940-) and Tatsuno Toeko (1950-2014)—lived and worked in different times. But they share common traits: they all navigated social constraints to pursue their artistic ambitions. They were pioneers in overcoming social barriers and academic limitations to commit to professional careers in visual arts.

They adopted disparate but effective methods: some remained daringly independent, establishing careers abroad (Shinoda), while others laid the groundwork for societies dedicated to women artists, thereby creating invaluable opportunities for exhibitions (Iwami, Yoshida). Similarly, some secured prestigious academic positions to facilitate further participation in exhibitions and competitions, while sustaining their creative careers (Yanagisawa, Tatsuno).

These artists defied societal norms and challenged stereotypes through their distinctive creative styles. They embraced abstraction, expressionism, large-scale production, and a variety of themes and motifs that expanded beyond the traditional feminine artistic conventions. Through their bold endeavours and career choices, they became role models, paving the way for successive generations of female printmaking artists.

Today, Shinoda, Yoshida, Iwami, Yanagisawa, and Tatsuno are unequivocally acknowledged as masters and influential figures in the printmaking cosmos of Japan.

* CWAJ deeply appreciates the contribution of Ms Shinoda Soko, Prof. Yoshida Ayomi, Ms Kato Naoko, Prof. Yanagisawa Noriko, and Ms Hiraide Kanako to this exhibition.

SHINODA Toko (1913-2021)

Although born in Dalian, China, Shinoda returned to Japan at a very young age, engaging in the study of poetry and calligraphy under her father’s tutelage. She took a revolutionary path at age 23, deciding to make a living from calligraphy at a time when societal expectations directed most women towards marriage. Her unique abstract style, however, did not resonate with her audience in Japan, so she travelled alone to the U.S. and found success in New York, during the peak of the avant-garde movement. In 1958, Shinoda returned to Japan, establishing her creative base in Tokyo while continuing to display her works overseas. She began producing lithographs around 1960, occasionally enhancing her pieces with a  nal brush stroke or lines of poetry. Her artistry was further recognised through several commissions for large-scale murals, suchas those at the Kyoto International Conference Center and Zojoji temple, affrming her status as a prominent artist. Shinoda remained independent, not affiliating with any groups or associations. Nonetheless, she maintained a high degree of creative output well into her centenarian years, establishing her as one of Japan’s most renowned modern artists. She has garnered a vast base of admirers and collectors both in Japan and overseas.

Shinoda deeply understood CWAJ’s mission. She first exhibited her work in CWAJ Print Show in 1966 and has since participated in the event on 50 occasions.

YOSHIDA Chizuko (1924-2017)

Yoshida Chizuko’s career took a decisive turn when she married into the prestigious Yoshida family of artists and transitioned from oil painting to printmaking as her primary medium. Yoshida understood the importance of affiliation to stay active in Japan’s art scene and participated in several renowned artists’ societies. In 1956, together with Iwami Reika and other professional female printmakers, she co-founded the Joryu Hanga Kyokai, which translates to the Women’s Print Association. The group’s objective was to provide opportunities for showcasing work. Yoshida’s passion for music combined with her fascination with Western modernism and Japanese aesthetics, compelled her to continually experiment with novel themes and techniques. Repetition, color, and balance are signature elements in her works. Yoshida was one of only two women artists to participate in the first CWAJ Print Show in 1956. She exhibited 42 times in CWAJ shows.

Iwami attended art school while working full-timeas an office employee. Her debut at the Japan Print Association in 1953 marked the beginning of her career in the heavily male-dominated field of printmaking. In 1956, Iwami, along with Yoshida Chizuko, Shima Tamami, and other professional female printmakers, co-founded Joryu Hanga Kyokai (Women’s Print Association). It was a significant step for women in the world of printmaking. Her global prominence grew when James A. Michener featured her works in his definitive book on modern Japanese prints in 1962. Iwami soon gained widespread recognition for her powerful compositions and unique style, which combines sumi ink, gold and silver leaf, as well as wood grain to depict themes revolving around nature. Iwami participated 54 times in CWAJ shows, her works first appearing in the 2nd CWAJ Print Show in 1957.

Shinoda deeply understood CWAJ’s mission. She first exhibited her work in CWAJ Print Show in 1966 and has since participated in the event on 50 occasions.

YANAGISAWA Noriko (1940-)

Yanagisawa belongs to a new generation of postwar female artists who studied alongside talented and predominantly male artists. She followed her husband in his assignments overseas and lived in New York from 1971 to 1975. This period provided her the opportunity to meet notable artists, and produce works at the New York Printmaking Studio. In 1992, Yanagisawa completed a fellowship in London, sponsored by the Agency of Cultural A airs under the prestigious Overseas Study Program for Artists. Furthermore, during her tenure as a university professor, she created opportunities for her students to exhibit their work and establish themselves professionally. Yanagisawa frequently holds exhibitions both within Japan and overseas, creating and unveiling fresh works year after year. She employs a variety of copper plate printing techniques in each of her pieces, underlining her skills as an etcher and printer. Additionally, she creates largescale work and murals using mixed media. Through her art, she endeavors to explore “the relationship between body and spirit” using themes such as man and nature, civilization, and time. Since 1969, Yanagisawa has participated in the CWAJ Print Shows on 24 occasions.

Toko (1913-2021)