Toko Shinoda

Listing 81 Works   |   Viewing 73 - 81
< BACK  
Toko Shinoda Stream
Stream
Lithograph
17 x 12 in
SOLD
Toko Shinoda Symphony
Symphony , 1995
Lithograph
28 x 21 in
SOLD
Toko Shinoda Transient
Transient , 1988
Lithograph
18 x 25 in
SOLD
Toko Shinoda Whisper in the glass
Whisper in the glass , 1980
Lithograph
18 x 15 in
SOLD
Toko Shinoda Wind Moon
Wind Moon , 1960
Lithograph
26 x 19.5 in
SOLD
Toko Shinoda Wind Shadow
Wind Shadow , 1980
Lithograph
22 x 25 in
SOLD
Toko Shinoda Yorokobi
Yorokobi
Lithograph
11 x 15 in
SOLD
Toko Shinoda Yume
Yume (Dream) , 2000
Lithograph
11 x 15 in
SOLD
Toko Shinoda Zest
Zest , 1993
Lithograph
11 x 15 in
SOLD
< BACK 
3, 6, 12, 24, 48, 120, Works per page

formatting

Toko Shinoda

Toko Shinoda

Toko Shinoda Biography

Biography of Toko Shinoda

 

Toko Shinoda is a Japanese artist working with sumi* [ink] paintings and prints. Her art merges traditional calligraphy with modern abstract expression*. A 1983 interview in Time magazine noted that "her trail-blazing accomplishments are analogous to Picasso's". Shinoda's works have been exhibited in the Hague National Museum, the Art Institute of Chicago, Cincinnati Art Museum and other leading museums in the world.

Shinoda was born in Manchuria where her father managed a tobacco factory. Two years later, her family returned to Japan. Influenced by her father's love of sumi [ink] painting, calligraphy* and Chinese poetry, Shinoda practiced calligraphy since she was six.

Shinoda traveled the United States from 1956 to 1958. During this time her works were bought by Charles Laughton and John Lewis of the Modern Jazz Quartet. Shinoda also became involved in the abstract expressionist movement of the time. She turned 100 in March 2013.

The artist prefers her paintings and original drawings, because sumi [ink] presents unlimited color spectrum. In printmaking, Shinoda uses lithograph as her medium. Unlike woodcut* that requires chisel, or etching that requires acid, lithograph allows Shinoda to work directly and spontaneously on the plate with her fluid brushstroke. 

Shinoda's strokes are meant to suggest images and vitality of nature. She says, "Certain forms float up in my mind's eye. Aromas, a blowing breeze, a rain-drenched gust of wind -the air in motion, my heart in motion. I try to capture these vague, evanescent images of the instant and put them into vivid form."

Shinoda's print editions are small, usually ranging from twelve to fifty-five, and after each edition has been pulled, she often adds a stroke or two of sumi color by hand to each print.

Top of Page