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Tomio Kinoshita
Modern/Contemporary Printmaker
Japanese, b. 1923
Kinoshita Tomio was born in Yokka-ichi, Mie prefecture, in 1923. He graduated from Nagoya City Crafts High School in 1941, and then went to work in Manchuria for two years as a lens polisher. He learned the art of carving seals from his wife. In 1956, inspired by the work of Hiratsuka Un'ichi, Kinoshita began to design prints of Yokka-ichi scenery and carve jagged lines with a flat chisel. He exhibited with Nihon Hanga Kyokai from 1957, and with Kokugakai from 1958, and was a member of both groups.
Kinoshita was represented in many international competitions including Northwest 1960, Philadelphia International Prints Exhibition 1963, and the Tokyo Biennale in 1962 and 1968.
As a printmaker Kinoshita created a variation in the use of woodgrain patterns during his career, often carving blocks with a single cutting tool, a U-shaped gouge. He used it to cut irregularly shaped but roughly parallel lines to form and define shapes such as the faces and bodies of partly abstracted human beings. These were printed as needed, the same blocks sometimes printed in different colors and dated when printed.
Kinoshita expressed a strong interest in making rather bold statements about the suffering of all human beings, which led him to develop his typology of abstracted faces or masks.
Modern/Contemporary Printmaker
Japanese, b. 1923
Kinoshita Tomio was born in Yokka-ichi, Mie prefecture, in 1923. He graduated from Nagoya City Crafts High School in 1941, and then went to work in Manchuria for two years as a lens polisher. He learned the art of carving seals from his wife. In 1956, inspired by the work of Hiratsuka Un'ichi, Kinoshita began to design prints of Yokka-ichi scenery and carve jagged lines with a flat chisel. He exhibited with Nihon Hanga Kyokai from 1957, and with Kokugakai from 1958, and was a member of both groups.
Kinoshita was represented in many international competitions including Northwest 1960, Philadelphia International Prints Exhibition 1963, and the Tokyo Biennale in 1962 and 1968.
As a printmaker Kinoshita created a variation in the use of woodgrain patterns during his career, often carving blocks with a single cutting tool, a U-shaped gouge. He used it to cut irregularly shaped but roughly parallel lines to form and define shapes such as the faces and bodies of partly abstracted human beings. These were printed as needed, the same blocks sometimes printed in different colors and dated when printed.
Kinoshita expressed a strong interest in making rather bold statements about the suffering of all human beings, which led him to develop his typology of abstracted faces or masks.
Artist Objects
Face 2002.4.1