1

The Asian Modern © John Clark, 2013

Ono Tadashige, 19 January 1909 – 17 October 1990 Notes and Chronology

Training for artists *teachers Nagase Yoshio (1891-1978) Whilst in Urawa Middle School, Nagase sent a water-colour to Mizue magazine and was awarded the Ôshita Prize. He came to in 1909 as an oil student of Nagahara Kôtarô (1864-1930), and also studied nihonga with Araki Juppo (1872-1944), Nagase often did covers and illustrations for the important literary magazine Kamen [The Mask] from 1912. From 1913 friends with Hasegawa Kiyoshi (1891-1980) and Hiroshima Shintarô (1889-1951, later called Kôho). Illustrated Salome for Kamen in 1915, but this new expression of eroticized physicality led to the magazine being banned and then closing. In 1916 he was one founder of the Nihon Sôsaku Hanga Kurabu [ Creative Prints Club] which led to the Nihon Sôsaku Hanga Kyôkai whose first exhibitions in Tokyo and Osaka were held in 1919. A friend of the writer and critic Moriguchi Tari he was well aware by 1920 of the work of Munch, Beardsley. Lautrec, the Futurists, and Kandinsky. He published the early print-making manual Hanga wo tsukuru hito e [To those who make prints] in 1922. Ono quotes him as saying ‘The block carving of the creative woodblock pictures was almost all done with a maru-nomi [a round-ended chisel]. The technique of tôga [blade picture] is the sole free technique of block carving in modern creative woodblocks’. [Ono, 1978, p.110] A member of Nihon Sôsaku Hanga Kyôkai and Nihon Hanga Kyôkai, he was awarded the Culture Medal in 1954.

Yamaguchi Susumu (1897-1982) First exhibited at 2nd Nihon Sôsaku Hanga Kyôkai in 1920 and subsequently at various open entry exhibitions. Came up to Tokyo when aged 24 (1921) and became a student at Nihon Bijutsu Gakkô in Waseda and at the school of Kuroda Seiki at Aoibashi, he became a high school dormitory official at former First High School in Hongô from 1922. Also responsible for teaching art to Ministry of Education officials and taking high school students on teaching tours. Judged by his 1925-1930’s works, Suzuki was familiar with Cubist, neo-abstractionist, expressionist, and Rouault-like styles.

Contemporary discourses with period of artist’s activity Groups Shinhanga Shûdan 22 members of Shinhanga Shûdan from April 1932 Group followed Shinkôhangakai-ten and Nihon Hanga Kyôkai-ten of previous year where young artists met to form Shinhanga Shûdan. Also followed the line of proletarian art in ‘mass-ification [popularization] of contents’ as the ‘mass-ification of prints’

Activities: Regular exhibitions Intermittent, experimental exhibitions Public sketching trips Public seminars on prints Publications: Shin Hanga, the group magazine Shinhanga Leaflets Mimeo Newsletter S.H.S. News 2

The Asian Modern © John Clark, 2013

Zôkei Hanga Kyôkai Founded March 1937 with 6 member plus 2 more for exhibition in June with same declarations as SHS with addition. Ono did not exhibit after third exhibition in 1939 and devoted himself to historical exhibitions and books. ‘To mark the establishment of pictoriality (plastic formativity) in prints’ which would also recognize other than self cut and self-printed works those which were cut or printed by people other than the artist or machine prints. [Takizawa, 2009, 89] Of young artists active before the war, those prominent after it among its members were Saitô Kiyoshi and Kitaoka Fumio.

Successor or peer discourses Fujimaki Yoshio (1909-1935) Born in Tatebayashi, Gumma Prefecture, lost his mother when an infant and father remarried her elder sister. After he graduated in a higher primary school, came up to Tokyo with his own elder sister and family. Self-taught as an illustrator from cheap editions such as Shôgyô Bijutsu Zenshû [Complete Commercial Art] and employed in an illustrations company from 1928, taught himself woodblocks in 1929 from book of Hiratsuka Un’ichi, he depicted the streets of Tokyo and its people. He first exhibited Spark under the rail at the Shun’yôkai and at Nihon Hanga Kyôkai in 1931 and took part in formation of Shinhanga Shûdan in 1932, whose covers and posters he also did. Used a triangular chisel to carve blocks. From inadequate photographs knew the work of Kirchner, Dix and Kollwitz. In 1933 exhibited Petrol Station at Teiten which was very unusual recognition for a newcomer outsider. Also showed at Shinhanga Shûdan in 1933 and 1934. Returned to Tatebayashi in July 1934 to treat his tuberculosis, also started spiritual training with Nichiren sect. One-man show in June 1935 in Tokyo which was rare at that time was praised by both Onchi Kôshirô and Maekawa Senpan [Ono, 1978, p.270]. He also started etching at studio of Nishida Takeo. Started Scroll of Banks of Sumida River after scroll borrowed from Honjo library by Ono but suffering poverty, hunger, and neurosis in September of same year, just after visiting Ono Tadashige at home, disappeared, Ono hints by drowning suicide in the Sumida River. [Ono, 1978, p.272] ‘followers’ of

Left critiques of Ono and others On ‘Barricade’, which Ono published in Bakuchiku no 7, a critique by Honmon Fûjin [ an alias] in Bokushin, no4, July 1930, p.14, cited by Takizawa, 2009, 93 & 97. Its strange it seems as if we look at a mountain of dead people where the figures for the most part are all mixed up and cannot be distinguished. Maybe it’s because these cannot be clearly grasped these are no more than a trivial sentimental feeling. They are the struggle of the proletariat against the bourgeois or its treason, that they are clearly and correctly or with spirit fighting would be the right thing, [but] this work doesn’t go beyond a bourgeois work and if the proletariat is to be proud of the proletariat I’d rather it stopped [right now]. Takizawa, 2009, p.93.

Kollewitz was later criticized by Suyama Keiichi as follows: Because in the age of proletarian art is demanded a clear strong inflammatory painting, her darkly melancholic and bitter motifs were probably not fully understood. In Bijutsu Undô no.81, February 1968, p.31, cited by Takizawa, 2009, 93 & 97.

Yet however many times you repeat it, Kollwitz has no analytical proletarian subjectivity. All she has is a clear depiction of the proletariat. And, formally speaking, she has not completely got away from bourgeois painting of the past. 3

The Asian Modern © John Clark, 2013

Nagata Kazunori in ‘Kete Koruwitzu –doitsu no kakukmei gaka’, Puro Bijutsu, no.3 January 1930, p.65. Earlier there had been Senda Koreya, ‘Kete Kolwitzu’, Chûô Bijutsu, vol.14, no.1, January 1928. Both cited by Takizawa, 2009, 93 & 97.

Ono Tadashige’s ‘Illustrations of Industrial Rationalization’ are an interesting attempt but they are too literary (humanistic naturalistic) and they have separated from reality. The materials are not from reality but as if through a literary veil and their results are not alive and vital. Okamoto Tôki, ‘Daisankai puroten no ippan kaiga’, Puro Bijutsu, vol.2, no.1, January 1931, p.23, cited by Takizawa, 2009, 94 & 97.

Chronology of Ono Tadashige (Mostly abbreviated after chronologies by Nagato Saki in Ono Tadashige Zenhanga, 2005; Takizawa Kyôji, in Ono Tadashige-ten: Shôwa no Jigazô, 2009). Also referred to Merritt, 1990; Hanga Meiran, 1984;) Iam also very grateful to Takizawa Kyôji for photocopies of some materials.

1904 July, Yamamoto Kanae’s print Fisherman published in Myôjô [The Daystar] journal, marking inception of sôsaku hanga, [creative prints, not reproductive prints carved and printed by the artist, not reproducible prints made by technicians] and of modern prints in general. 1909 19th January, Ono Tadashige born in Tokyo, Honjo, Koume [Present-day Sumida-ku, Mukaijima], oldest son of a sake shop owner, Ono Tadahira. 1911 Exhibition of famous Western prints held by Shirakaba [White Birch] magazine. 1919 Nihon Sôsaku Hanga Kyôkai (Japan Creative Prints Association) formed in Tokyo with Onchi Kôshirô (1891-1955) as head. 1921 Ono graduated from primary school. Entered Waseda Practical School where literary figure Kobayashi Yoshio (1881-1946) taught English and Commercial Art, to whom Ono was to be indebted for life. 1923 September, natal home burnt down in Great Kantô Earthquake. 1924 For a while belonged to water-colour society Sôgenkai after seeing call for members in Mizue. (Ono, 1978, p.196). A member of this group, Yamaguchi Susumu (1897-1982, Ono recalls visiting Yamaguchi when he was a dormitory officer at the former First Class High School in Hongo just before the Japanese reign name changed to Shôwa in 1926. Suzuki taught Ono how to do block printing with use of sculpture chisels to produce blocks with the effect of the baren over four blocks, how to put on alum [to reduce ink penetration into paper]how to print with dampness applied to the paper. Also impressed Ono over the next few years by his work in print series magazines like Hanga print magazine. [See Ono 1978, 244-253, for an impressive list of these magazines] Ono was also stimulated by Nagase Yoshio (1891-1978) who had published ‘To those who make prints’, the first instruction manual on carving and printing, in 1922. 1925 formed small painting group at Waseda Practical School, would publish coterie magazine Minoru the following year. 1925 At same time also went to learn painting at Hongô kaiga kenkyûsho [Hongô Painting Research Studio] of Okada Saburôsuke. 1925 May, first exhibition of a work, a watercolour River bank in 2nd Fine Arts exhibition of Shirabi-kai. Other exhibitors included Inokuma Genichirô, Ikebe Hitoshi, Fuwa Aki, Inoue Chôsaburô, and Okamoto Ippei. 1925 June, visited exhibition of theatre models from Tsukiji Little Theatre, and later wrote to set designer Itô Kisaku (1899-1967). 1926 February, with group peers published 1st issue of small coterie magazine at Waseda, Minoru which he designed and laid out. 1926 August, exhibited oil in group show in Gamagôri. 4

The Asian Modern © John Clark, 2013

1926 October visited performance of ‘Yokomen wo hanareta kare’ at Tsukiji Little Theatre [which had many performances of translations from Expressionist and Russian theatre] with ticket from Itô Kisaku. 1927 March, graduated at Waseda Practical School. Wanted to follow recommendation of Kobayashi Yoshio but could not proceed to Tokyo School of Fine Arts because of current admission regulations. Returned home to follow on sake shop business. 1927 March, also interested in puppet theatre and assisted puppet theatre activities and assisted in puppet making, copying scripts and model work for Itô Kisaku. 1927 March, mass arrest of Communist Party members on a national scale. 1927 May 23, visited New Russian Art Exhibition held by Asahi Shinbum. The Russian painting was as reputed, but it was full of safe works with just a bit from the Constructivists. There was nothing really surprising’ [Diary, aged 18 years] 1927 June 20, saw an announcement for a lecture on theatre from Nihon Musanha Geijutsuka Dômei [League of Japanese Proletarian Artists] on proletarian art when he suddenly thought he wouldn’t go it and records his foolish wavering: The reason for thinking I wanted to go was to know what proletarian performing art was (in antithesis to that of bourgeois performing arts), but when the moment arrived various fantasies arose. I thought it would be terrible to be forced to go in that direction. I realized my own will was not very strong. I knew I didn’t want to believe in Proletarian Art et cetera. I probably went in hoping to hear a systematic lecture about theatre other than the antithetical [bourgeois] type….There were very few people there [thirteen] I listened to the proletarian art theory of Suzuki Kikô and the socialist sociology of Nakagawa Toshio. I wasn’t really interested. My interest was in theatre theory. Cited by Murata Tetsurô in OnoTadashige-ten, 2009, p.13 citing his diary, see Sogawa, 2001. 1927 October, exhibition of Soviet paintings to commemorate 10th anniversary of Soviet Revolution. Later this year appeared various small theatrical roles. 1928 continued family business with mother as well as helping out with various small theatre attachments, unable to abandon his dreams of being a writer, theatre person, or painter. 1928 November-December, 1st Proletarian Art Exhibition. 1929 January, mother died. 1929 January, end, saw 4th Production of Left Wing Theatre ‘Death of Danton’ [original by Tolstoy, Murayama Tomoyoshi, Sano Suzuri directed] 1929 June, saw 12th Production of Left Wing Theatre, ‘The General Line’ [Murayama Tomoyoshi, original and direction], commented on need to protest censorship over cutting of Senki [War Flag] no.7. 1929 June, Peace Preservation Law effected. Special Higher Police established as also was a Thought Section in the Kempeitai [Military Secret Police]. 1929 December, said to have shown woodblock prints Landscape of a demonstration and Pledging to the victims and the oil painting Workers reading a pamphlet at 2nd Proletarian Art Exhibition [in exhibition catalogue]. This exhibition also included Soviet Russian works by P. Koncharovski, I. Mashukov, and L Fuaritsuku [phonetic]. A handbill insert also included works not in the catalogue and works withdrawn. Invited to run print workshops for workers 1930 circa April, published 16-sheet print series Fight in the Streets. 1930 April, showed Avant Garde at the Court and many other works at 16th May, May-Day Commemoration Proletarian Statistics Exhibition. 1930 November, exhibited at 3rd Proletarian Art Exhibition prints in series titled Illustrations of Industrial Rationalization, including Bankruptcy of little people, The Red Flag enters the factory, From the life of the proletariat (1-10), as well as oil paintings titled Unemployed man and locked-out factory, The Red Flag enters the factory, and posters For the proletarians’ hospital A & B [catalogue]. Many more Soviet and international works were exhibited. The catalogue advertised Seinen Bijutsu [Youth Art] with a special issue on Proletarian Art for the New Year. 5

The Asian Modern © John Clark, 2013

1930 Taking out the coffin He later recalled It was in 1930 [Takizawa, 2009, p.91, considers evidence that Ono mis-remembered this year which could have been 1929, but finds for 1930] that I found a poster calling for entries to the ‘Proletarian Fine Arts Exhibition’ and took along a 10 carré oil painting and some black and white woodcuts which I had only just begun, to the reception at the Proletarian Art Research Studio [in 1929 called the Zôkei Bijutsu Kenkyûjo, Plastic Arts Research Studio] in the middle of some fields near the Musashino railway Shiina Station. Someone who could have been Kiire Iwao, who had painted the representative work of this era Strike Declaration looked at my woodcut print, and I was astonished to hear him say: ‘Now the problem is one of printing and popularizing art. Do a training meeting for us right away!’ The training meeting really did take place a week later, and even if the faces of those who took part come into my head, I can connect them with neither names nor work. At the 3rd Proletarian Fine Arts Exhibition my work was lined up along with many others apart from those in this training meeting, just before which were the works of Yoshikawa Shin and Katsugi Sadao from the group of the print magazine Bakuchiku [Firecracker] with whom I had a few contacts with before. See ‘Kaisô Danpen’, Asahi Jaanaru, 1973, no.12/13. 1930 this year, married Hashimoto Hatsue.

1931 January, Nihon Sôsaku Hanga Kyôkai [since 1919, 28 members, head was Onchi Kôshirô] and Yôfu Hangakai [since 1930, 5 members, head was Oda Kazuma] amalgamated to form Nihon Hanga Kyôkai. 1931 June, unclear if Ono exhibited at 1st Shinkô Hanga, but there met Mutô Rokurô (b. 1907, TSFA Nihonga student and print-maker). Others included Fujimaki Yoshio, Taninaka Yasunori(1897-1946) 1931 September, went to see 1st Nihon Hanga Kyôkai exhibition which included Mutô Rokurô, Fujimaki Yoshio, Shiba Hideo. 1931 November, NAPP, the peak proletarian art body under the Japanese Communist Party, declared illegal under Peace Preservation Law, Proletarian Artists League had to re- organize itself. 1931 December, issue of Hanzai Kagaku [Criminal Science] edited by Murayama Tomoyoshi, included the photographic series by Horino Masao, Shuto kanryû – Sumidagawa no Arubamu [Flowing through the City – The Sumida River Album]. 1931 This year, Completed print series, Three Generations of Death [Dying]: a novel without script [words], 50 images, in manner of Fritz Masereel [Sun, 1919] Otto Nückel [Fate, 1930, in Ono’s collection], Lynd Ward [God’s man, 1929]. Other possible connected works are Carl Meffert (Clément Monro) [Cement, 1927/28, colotype reprint of Lu Xun in Shanghai 1931, February] and works of Käthe Kollewitz [The living and the dead [memorial for Karl Liebknecht], 1921, known in Japan at end of 1920s, Ono did a poster for a memorial day to Liebknecht and Luxemburg published December 29, 1930], or subtitle-less films of Carl Meyer [Tragedy at the end of night, 1923 & The Last Man, 1924]. [above from Takizawa, 2009, p.92-93. The backing paper on Sydney set is different to the complete set now with the Ono family. Takizawa has separately identified that the Sydney set was probable gift to Yamaguchi Susumu from whom provenanced via heirs]. 1932 January, birth of oldest daughter. 1932 February, around now separates from Proletarian Art Movement. [Takizawa, 2009, p.95] 1932 Kojô [Factory] series re-bound. Ono begins to make works thematizing elements of urban landscapes – factories, gangsters, bank robberies, prostitution, bar streets, jazz - in graphic montage like photographs by Hoshino Masao (1907-2000) or Djiga Vertov’s Man with a Movie Camera [1929]. 1932 April, with the aim of popularizing prints and social contents, and taking many of its forms of activity and emphasis from the earlier proletarian art movement, Ono among those who founded Shin Hanga Shûdan [New Print Group, dissolved 1936] with 22 members 6

The Asian Modern © John Clark, 2013

including Mutô Rokurô, Shiba Hideo(1907-1979), Yoshida Masazô (1907-1974), Mizufune Rokushû (1912-1980), Fujimaki Yoshio [1909-1935, who would greatly influence Ono’s compositions]. Ono edited 18 issues of group magazine, Shinhanga, in which his works frequently appeared. The New Print Group was not leftist as such, and included Nichiren Sect members like Fujimaki and the naïve landscapist of the Arakawa River area Yomogita Hyôemon (1882-1947). Ono later recalled: It was in 1932, forty-five years ago from today. I talked with some people I had met casually and I had a small group of prints, the Shinhanga Shûdan. There were Mutô Rokurô who had been doing wood cuts as part of student life-activities whilst learning at the Nihonga Department of the then Tokyo School of Fine Arts, Mifune Rokushû from the Sculpture Department, Shiba Hideo who had begun with casually taking up the print chisel and in the midst of the depression was a shop assistant. He was a friend of Fujimaki Yoshio. As just the initial discussion we had our first exhibition at the end of this year in Ginza in the gallery of Kawashima Textiles Shop which was behind the present day Wakô. See ‘Kaisô no Fujimaki Yoshio’, Mizue, April, 1978. 1932 June, first showed at 2nd Nihon Hanga Kyôkai exhibition, including Patients’ withdrawing room, and works from the series Three Generations of Death [50 images]. Not listed as a member in the catalogue. President: Okada Saburôsuke; Secretary: Nakamura Kenji; members included Onchi Kôshirô, Nagase Yoshio (then in France), Yamaguchi Susumu, Yamamoto Kanae, Fujimori Shizuo. 1932 September, Shinhanga Shûdan held outside sketching activity in Sumida Park and the factory zone, first of several in next few years. 1932 October, 1st Shinhanga Shûdan exhibition where Ono showed Stage design for Gorky’s ‘House of Night’, Patient’s withdrawing room, Man of today, Raw silk exports, Gas plant. The exhibition was visited by Munakata Shikô, Yamaguchi Susumu, Asahi Masahide, Hasegawa Shôsaburô, Itô Kisaku. 1932 18-27th November, 5th Proletarian Art Exhibition, Ono earlier supposed to have exhibited Three Generations of Death but then withdrew it. Not listed in catalogue [Okamoto Tôki, 1972, p.288], ideologically his work was too humanist-formalist and likely not even to have been submitted and then withdrawn [Takizawa, 2009, 92-94] 1932 November, last issue of journal Proletaria Bijutsu [ Proletarian Art], no.5. 1932 This year, Horino Masao published his influential photographic monograph Kamera, Me, Tetsu, Kôsei [Camera, Eye x Iron , Construction].

1933 March, at 2nd Shinhanga Shûdan exhibition at Sanseidô bookshop, Kanda. Ono showed Factory, Factory street, Stock Holder, [April, exhibition went to Manchuria]. Ono commented: It is often indicated in words that prints are a picture painted with a chisel but the fact is the volume of prints is not large which have employed the role of a brush. One carves in order to depict. It is not carving in the same way that one depicts [by the brush]. I think there are lots of cases where we were taught this by expressionist prints. ….That the autonomy of prints could be brought to clarity was due to expressionism. Whilst prints were constrained by internal reflection, ultimately block-carving technique was clearest about this on the basis of form, of course given the historical position of expressionism. Murata in Seitan100nen, Ono Tadashige ten, 2009, citing from Ono Tadashige, ‘Hanga no tame no taiwa’, Atorie, March, 1934. 1933 September, Ono’s works shown in preparatory exhibition for exhibition of Japanese prints which was also the 3rd Nihonhanga Kyôkai exhibition, 425 works overall. A special exhibition at the same time showed 300 works of Western-style prints of the Edo and periods. Ono read a book by the then director of National Museum Nara Branch, Kuroda Genji (1886-1957), Seiyô no eikyô wo uketaru Nihonga [ influenced by the West, 1924], and was stimulated by this to look at art history, Kuroda being his advisor on art history in later years and whom he did not actually meet until after the war. [Ono Tadashige Hangashû, 1977, p.102]. 1933 November, some reminiscences of Ono published in Shinhanga 7

The Asian Modern © John Clark, 2013

Nakazawa (Sumio), who at that time was lecturing on English Literature at Meiji University and was from the school of Hirai Shôgorô and had been quick to understand Japanese archaeology, was the first person to buy a work from me in the Shinhanga Shûdan period. Because of that when I visited his house in Hongô Nishikata-chô [I found that] it was a collection piled high with folk craft things which had begun to show a kind of fashion, from old rural toys to old tiles(the roughly made wood blocks for rapid printing). He had no old printed books like Mr Chikuhiji, but there was a group of cheap picture books including vulgar recital books from [1855-1868]. For me, who only had known Creative Prints from the walls of exhibitions, it was Mr Nakazawa who taught me by real examples that series print collections have one side. Maybe it was for my legs then, so from a young age I went out all over Japan to excavate. When there is a fashion for old illustrations today, [then] whatever old rare treasure of old printing was wrapped in old newsprint with several on top of each other. Thus I was taught the attraction of printed pictures by numberless people who had preceded me. I repeated these in my breast and with youthful vigour took up the pen. These went round and round in a vicious circle and built up into a book, or that sort of thing. See Ono Tadashige, ‘Gakuon no ki‘, in Ono Tadashige Hangshû, Keishôsha, 1977.

1934 February, saw the Fukushima Shigetarô collection exhibition at Nichigeki theatre including Roualt, Soutine, and Picasso works. Ono wrote in Shinhanga no.14, November: It was February 1934 when I was first introduced to the École de Paris works of the Fukushima Collection. The site was the Nichigeki Theatre where a print colleague from Proletarian Art, Katsuki Sadao, who world- weary with alcohol, had committed suicide by jumping off. Knowing that it was a building on top of that foundation I had an unfathomable feeling, but works lined up there thrilled me, especially those of Rouault and Soutine. About this time my editing of the group journal which came out with each Shinhanga Shûdan exhibition became known and I was asked [to assist] by the late Ôshita Masao of the Shunchôkai, and I sometimes helped with correction of drafts for Mizue [art magazine]. It was at this time that I also got to know Itô Kiyoshi and was fortunate to receive the long-term loan, without any pushing for it, of Rouault’s original lithograph series La petite Banlieu. See Ono Tadashige, ‘Gakuon no ki‘, in Ono Tadashige Hangshû, Keishôsha, 1977, p.98. 1934 March, Japan Proletarian Artists’ League] declares its dissolution. 1934 June 4th Shinhanga Shûdan exhibition includes People involved in Jazz, and Three Generations of Death, also drew gang portraits like those of Georg Groscz of people lusting for money. 1935 February exhibits Man who sells man at TôKôkai Yôga Tenrankai [not often shown thereafter]. 1935 June, teaches etching at Etching Research Studio of Nishida Takeo. 1935 June [-1944] extra-curricular print classes started at TSFA under Hiratsuka Un’ichi. Ono later taught here part time from 1963-77. 1935 July, Shinhanga no17, devotes a special issue to Fujimaki Yoshio. 1935 May Ono exhibits Diner (People of Asakusa) at Kokugakaiten in Osaka. 1935 September disappearance of Fujimaki Yoshio (1911-ca.1935) after visiting Mukaijima house of Ono. Ono later recalled It was just into September of 1935. Fujimaki was wild and had turned over his room in Asakusa, so saying, he flung down two carry cloth bundles, telling to me to look after them. He threw out the mountain of prints he had hitherto close to him, his inextensive reading material, the special issue on Proletarian art of Atelier magazine, Murayama Tomoyoshi’s books on Dada and the Expressionists which retained his pencil drawings on the back of the illustrations…..Pleas for a search [after he disappeared] being meaningless, when I look at the Buddhist altar, both his Buddhist death name and date of passing remain from that day when he disappeared from my house. See Ono Tadashige, ‘Kaisô no Fujimaki Yasuo’, in Fujimaki Yasuo¸Tokyo: Kanransha 1978. 1935 November, birth of second daughter. 1935 November, Gendaihanga Hihankai [Modern print critique meeting] attended by 21 people including Onchi Kôshirô, Tamamura Hokuto [Zennosuke, 1893-1951], Hirakawa Kiyozô, Vavara Bubnova. 1935 December, exhibited Yokohama View at 5th ShinHanga Exhibition. Ono later recalled: Kojima [Usui] was a close friend to Ôshita Tôjirô who was the founder of Mizue [Journal] and even supplied funds after his death, as well as writing texts. When I was visited by him he said unexpectedly, ‘In fact that was only a small amount and it came back surreptitiously’. Responding to my wishes, I was shown literally 8

The Asian Modern © John Clark, 2013

mountains of Western prints from Dürer and Rembrandt to Picasso, and Bonnard [in his collection]. Then he said, ‘If you are interested in these things I can let you have some research texts’. Being fond of mountain climbing since youth, his works in that area were classics of the history of Japanese mountain climbing, but he also was the author of works like Ukiyoe and Landscape, or Late Edo Ukiyoe, and it is not very well known that he was a great collector of creative prints since Yamamoto Kane. Maybe he was feeling old, and wanted to draw a line under his research on Western prints. At that time he gave me many exhibition catalogues and left this world shortly after the war. With the fortunate kindness of his family I was able to obtain a huge number of albums and research texts. Whilst it was a very low price, I remember paying by instalments and bringing home a mountain of books. See Ono Tadashige, ‘Gakuon no ki‘, in Ono Tadashige Hangshû, Keishôsha, 1977, p.98-9. 1935 after this year no sketches by Ono remain, only finished works. 1936 May, showed The General (1934) print of mental patient at 5th Nihon Hanga Kyôkai, Ono gave it this title from a mentally unbalanced person who appeared a lot in newspapers. In it Ono showed only the feeling of the times, and the print was not really a work of resistance [to militarism]. Won the Kaishô prize. 1936 June, entered Hongo Kaiga Kenkyûjo led by Okada Saburôsuke, unclear when the left. I walked into the exhibition as one public exhibitor and just admired the special exhibits. Whatever we think of the basic features of creative prints, the reason why Japanese prints feel of the West clearly resounds in our chests. And if we inquire about interpretive books in old bibliographies we find Kuroda Genji’s Seiyô no eikyô wo uketaru Nihonga [Japanese painting influenced by the West, : Chûgai Shuppan, 1924]. Because of a fan letter [I sent him], I became Kuroda Genji’s student, and I should call him Kuroda-sensei. Put in a phrase, Kuroda-sensei’s books were about Chinese pictorial prints influenced by the West after Dutch studies and before Western style prints. These had an influence because of earlier transmission. So I looked for Kuroda’s Shina Kohanga Zuroku [Illustrated catalogue of old Chinese prints]. Just when I wanted to see the real thing I was informed by Narazaki Muneshige that ‘Fujikake-sensei knows’, and with an introduction I visited the Okada family in Osaka, Uehonmachi. [That book] was called ‘Chan-ban’ [‘Chinky’ published]. With no problem on the then old book market and relying only on what I had been told by Kuroda-sensei I met the late Misumi Sadakichi, of the old book bibliography I had taken into the Okada house. I also learned that there were other collectors, and I extended my stay. See Ono Tadashige, ‘Gakuen no ki‘, in Ono Tadashige Hangshû, Keishôsha, 1977, p.100. 1936 July, showed Skin at Japanese Modern Prints Exhibition in San Francisco, which later travelled widely in Europe. 1936 August, travelled in Aichi Prefecture, colours in landscapes have a gouache-like doro-e consistency. 1936 September, contributed ‘The issue of popularization of prints’ in Shinhanga leaflet no.4. 1936 November exhibited Apparel at 1st Shinseisakuha Kyôkai [New Production Association] exhibition [a realist group with some artists of Neue Sachlichkeit-type tendencies, many of whom also later became war artists] 1937 January, eldest son born. 1937 March, changed Shin Hanga Shûdan to Zôkei Hanga Kyôkai [Plastic Formativity Graphics Association] with purpose changed to artistic or pictorial hanga. Ono later recalled: It was a period when the afflictions of war were passed on with ferocity from the continent. The Chinese prints led by Lu Xun with which we had dealt until then, like the Xiandai Banhua [Modern Prints] of Li Hua in Guangzhou, suddenly lost contact. The Zôkei Hanga Kyôkai exchanged views that its point of reliance was that of a ‘the support of graphic modernity’, proclaiming the qualities and production ideology of prints, and fully carried through the authenticity of technique and materiality. It put emphasis on those materials in the darkness which wanted to crush things to pieces and emphasized a unitary production. The year after it was founded it abided by the open submission system of the Tokyo Metropolitan Art Museum and gradually brought together the younger generation who actively took part as society members. See Ono Tadashige, ‘Kuroi tanima no ehon’ [Illustrated books in the dark valley] in Kindai Nihon no Hanga, Sansaisha, 1971, p.90 1937 June, showed Seaside Family, Nightclass Teacher, Factory Street at 1st Zôkeihanga Kyôkai exhibition at Kinokuniya in Ginza. Onchi exhibited, gave talk on print ideology. 1937 Uchiyama Shoten said to have work of Uchiyama Kakitsu who had taught Lu Xun’s group in Shanghai in 1931. [To date, I have not seen any of Uchiyama Kakitsu’s work and many 9

The Asian Modern © John Clark, 2013

verbal authorities have said none is to be found. It seems possible Kakitsu may have taught Lu Xun’s group using the existing manuals of Nagare or Hiratsuka]. 1937 went to Aichi Prefecture, to tell the story of people by the sea, fishermen, just as the Sino- Japanese War was to break out. 1937 Mother and child

1938 showed at two-person exhibition in Ueno, Tokyo, with Yoshida Hidekichi. 1938 April, 2nd Zôkeihanga Kyôkai exhibition held with open submission at Tokyo Metropolitan Museum. 153 works submitted of which 58 shown. 1938 July-August, took part in various teaching and exhibition tours outside Tokyo in Northern Japan with publisher of Etching magazine, Nishida Takeo. 1938 Karasu no machi [The Town of Crows]

1939 January 2nd, son Kinji born [in 2010 was director of Ono Tadashige Print Museum in Tokyo] 1939 March, Ono brings out first article on Chinese prints in Ukiyoe-kai vol.4, no.3 followed by another in Etching vol.79 in May, and others throughout this year on Chinese prints, Western-style art in Japan et cetera [see Takizawa, 2009, p.117-118 for a list] 1939 April, entered Hôsei University High School Teacher-training Section to study under Kondô Tadayoshi. 1939 April, Onchi Kôshirô was selected by the Army Ministry from Nihon Hanga Kyôkai for dispatch to the China front, after his return holding an exhibition of Chinese landscapes in October. 1939 May, 3rd Zôkeihanga Kyôkai exhibition held with supporting participation of Koiso Ryôhei [by then a war painter]. Ono also showed 38 Chinese Folk Prints and Chinese old prints. Ono did not exhibit after this and devoted himself to historical exhibitions and books. 1939 This year, Onchi Kôshirô with Sekino Jun’ichirô (1914-1988), Yamaguchi Gen (1896-1976) and others set up an informal print study and mutual critique group Ichimokukai, which met at his home throughout the war. 1940 June, 4th Zôkeihanga Kyôkai exhibition held with open submission. 1940 October exhibited Folk Gazetteer (later called Funeral Ceremony) which used kirazuri [printing with mica] by recommendation of Shinseisakuha Kyôkai at Fine Arts Exhibition to Celebrate 2600 Years of Imperial Rule. But Ono’s texts lack any statement interpretable for or mentioning Japanese militarism. 1940 October, edited Matisse from Sankôsha, his first published book. 1941 February, father Tadahira dies. 1941 April, 5th Zôkeihanga Kyôkai exhibition held with open submission. Ono exhibits 149 works in special section ‘Copperplates and Lithographs of Japan’ and publishes a leaflet on their history. 1941, April, Symposium held on ‘Copperplates and Lithographs’. 1941 May publishes Nihon no Dôbanga to Sekibanga [Copperplates and Lithographs of Japan]. Ainu Village too much censorship then, found he could publish books to support his children. 1941 September, founded publisher Sôrinsha. Continued print history research but stopped own print work during war. 1941 September, showed Street in Japanese Painting Exposition in French Indo-China. 1941 October, at DaiNanyô Tenrankai [Exhibition of Great South Seas] Ono responsible for catalogue, chronology and collection of works. 1941 December, advance graduation at Hôsei University due to Pacific War. 1942 April, 6th Zôkeihanga Kyôkai exhibition held with open submission. Ono specially exhibits works of Meiji Printer artists Kobayashi Kiyochika (22 works) and Inoue Yasushi (6 works). 10

The Asian Modern © John Clark, 2013

1942 May, formation of Japan Print Service Association. Director was Onchi Kôshirô, administrator was Nishida Takeo, Ono was a director. This association enabled the obtaining of scarce printing supplies. 1943 this year, [his son Kinshi said in conversation in 2010] interrogated by special police for use of an image of being too small in Nihon no Dôbanga to Sekibanga [Copperplates and Lithographs of Japan] book, spent one day in prison under investigation, but Ono was not a movement artist against the military regime. 1943 April, 7th Zôkeihanga Kyôkai exhibition held with open submission. Ono responsible for special exhibition ‘Development of Early Modern landscapes’. 1943 October, left the Print Service Association. 1943 December, Sôrinsha notified of qualification to be incorporated into Japan Publishing Association. 1944 April, Sôrinsha received final warning to halt publishing activities. 1944 August 1, publication of Matteo Ricci to Shina Kagaku. 1944 August 10, publication of Shina Hanga Sôkô [Conspectus of Chinese Prints], Sôrinsha. From 17th to 22nd August 20th year of Republican China Minguo 20 [1931] at the lecture hall of the School in Changchun Road Shanghai, in the sultry heat of a mid-summer afternoon, about 13 Chinese youths were carving woodblocks under the instruction of a young Japanese. [Ikeuchi in ‘Han no Jinsei’, OnoTadashige-ten, 2009, p.7, Ono Tadashige, Shina Hanga Sôkô, 1944, p.187] Ono describes the group training in considerable detail obviously familiar with the teacher Uchiyama Kakitsu, who had studied sculpture with Watanabe Yoshikazu of Nika-kai and taught sculpture and crafts at Seijô Gakuen [College]. Kakitsu’s his elder brother Uchiyama Kanzô, a committed Christian, who was a friend of Lu Xun, ran the Uchiyama Bookstore in Shanghai, to two or three of whose staff Kakitsu had taught woodblocks, having read a technical guidebook to Sôsaku Hanga. Lu Xun also knew Masuda Wataru, a scholar of Chinese literature. [Ono Tadashige, Shina Hanga Sôkô, Tokyo, Sôrinsha, 1944, p.187-189]. Ono later recalls: Masuda Wataru who had taken Lu Xun as his teacher, showed me a lot of illustrated books [with the same titles as those] which Lu Xun had lovingly collected. In this period when I visited Ishida Kannosuke Sensei and the Tôyô Bunko wearing [military-style] puttees and a steel helmet, and sometimes also was close to the late Ayuzawa Shintarô who taught Japanese Literature, the somewhat comprehensive Shina Hanga Sôkô [of which I was proud] was in a word, self-published from the publishers [we established] Sôrinsha. I was helped by Kôchi Sadako who later became my wife and the two of us barely managed to get through the war. The plates for illustration were found in old book shops in a short journey [presumably by Masuda Wataru] to Korea and Northern China then under Japanese occupation, and almost all of the illustrated books were lost in later war destruction. Ono Tadashige, Ono Tadashige Hangashû, 1977, p.100. 1944 Autumn, wife Hatsue evacuated to her family in Aichi Prefecture. 1945 February-March passed sake business on to another, was called up and served as a soldier for two weeks in Yokosuka. 1945 March 9th & 10th, not in Tokyo at time of great air-raid which destroyed his house in Koume. 1945 March 14th, wife Hatsue died of tuberculosis. Evacuated with children and help of Kôchi Sadako, co-manager of Sôrinsha, to her family in Tsuyama in Okayama Prefecture, where he teaches drawing and Japanese in a girl’s high school. This year married Kôchi Sadako.

After war expanded range to bright colours over balck or dark grounds of pre-stained paper somewhat akin to the artistic effects of mezzotint, as well as used thick impasto-like colour printing. 1946 May, Ichimokushû included prints by three US’ soldiers. Onchi asked by recreation director of US’ personnel, William A. Hartnett, to mount a sôsaku hanga exhibition. 11

The Asian Modern © John Clark, 2013

1946 October, Ono came up from Tsuyama by himself, stayed for a short while at home of Shiba Hideo. 1946 October, began to work for Bijutsu Shuppansha [Fine Art Publishing Company]. 1946 December, followed up traces of Kuroda Genji, who was then repatriated from China. 1947 May, at Bijutsu Shuppansha received 14 boxes of documents and prints left for safe keeping with Iino Nobuya at Shimodate. 1947 June, cooperated with Sino-Japanese Print exhibition in Ibaragi Prefecture. 1947 July, held Discussion on Chinese Prints at which the following attended: Ono Tadashige, Onchi Kôshirô, Ueno Makoto, Shimizu Masahiro, Nagai Isagiyoi, Uchiyama Kakitsu, Imaizumi Atsuo, Tamura Sôtarô (of Tôhô), Shimada Masao (of ChûNichi Bunka Kenkyûjo), Dan Yongnian, Zhao Ruiyan, Yan Tuyan, Li Pingfan, Hazama Inosuke. 1947 October, All-Japan Woodcut Movement Conference to Commemorate 11th Anniversary of Lu Xun’s Death held in Ibaragi Prefecture. At same time a Wood-cut Festival with practical instruction held in a local primary school with classes by Ono Tadashige, Tamamura Hokuto [Zennosuke], Suzuki Kenji, Kikuchi Saburô, Uchiyama Kakitsu. 1947 this year, Oliver Statler saw exhibition at Yohohama Army Education Center and thereafter sought to collect sôsaku hanga, initially via Hartnett. 1948 May, Ono shows Gas plant at Modern China-Japan Print exhibition in Nihonbashi. Followed by Conversation at Koishikawa where Ono, Onchi Kôshirô, Tamamura Zennosuke, Takada Osamu, Uchiyama Kakitsu, Kitaoka Fumio, Kikuchi Saburô take part. 1948 this year, Ono re-starts creative print-making of his own. 1948 exhibits at 2nd Nihon Bijutsukai Indépendant, and most years thereafter. 1949 August takes part with many print-makers in Summer Teaching classes of Shinhanga. 1950 February, at 3rd Japan Indépendant Exhibition shows About the window, and About the Bridge. 1950 July Japanese Woodcut exhibition held in Beijing, Artist’s Association, and later tours to Tianjin, Hangzhou, Shanghai and elsewhere. 1950s onwards, starts intaglio printing with dark almost black grounds such as Factory, 1950, and Damp Zone, 1951, to produce an impasto-like, almost oil colour density. Also uses larger image sizes beyond 90cm long. 1951 this year, Onchi Kôshirô founded Kokusai Hanga Kyôkai, and Japan sent 50 entries to first São Paolo Bienal, where a 1st prize went to a woodblock by Saitô Kiyoshi (b.1907) and a second prise to an etching by Komai Tetsurô. 1952 1953 1954 this year, resigned from Bijutsu Shuppansha, and mainly walked around working class areas of Tokyo sketching. 1955 1956 Oliver Statler, Modern Japanese Prints: an art re-born¸ published in Tokyo from Tuttle. Held his first one0-man show at Yôseidô Gallery in Tokyo. 1957 June, showed Rain (Black Rain) by invitation at 1st Tokyo Print Biennale. 1958 1959 1960 January works shown in ’Japan’s Modern Prints-Sôsaku Hanga’ exhibition at Art Institute of Chicago. 1960 November, showed Town of Birds, Garden of Birds, Road of Birds, at 2nd Tokyo International Print Biennale. 1961 March 15th, went to Soviet Union with Suzuki Kenji on occasion of Modern Japanese Print Exhibition and then on to Europe, returning on 28th May. Ono reported: I could feel the eyes which the Soviets had cast on . In among the severe pleas of the people for peace there was flowing a love for Japanese tradition and for the lifestyle and nature of the people. It was to this which Soviet design paid attention. There was at least no trace of Japanese ‘Fujiyama’ or ‘Geisha’. They 12

The Asian Modern © John Clark, 2013

tried to see Japanese art in terms of historical movement and the development of the ethnos. They could find the eyes for a beautiful friendship in the feeling for design. Even if everything was in relief printing. It was a detailed consideration which recognized Japanese wood-block prints, and overflowed with printing effects which were restrained and appropriate. Ono Tadashige, ‘Surimono no kikô’, Insatsu Jihô, August 1961, p.46. Post-Europe prints have a feeling of being freed-up with more colours and variety of plastic experiments.

1962 October, showed Family at Station, Tower, Child in the Square, at 3rd Tokyo International Print Biennale. 1963 October, became a part-time teacher in prints at Painting Department, Tokyo University of the Arts teaching print technique and print history. 1964 November, showed Venice Sky, Naples accordion, Nagasaki hill, at 4th Tokyo International Print Biennale. 1965. From this year normally showed at Nihon Indépendant every February as well as several one-person shows and group shows during the year until 1983. 1966 967 1968 September, became part-time teacher at Aichi Prefectural Fine Arts University. November, showed three works as inquiry committee member of 6th Tokyo International Print Biennale. 1969 1970 this year had light stroke, recuperated at home. 1970 this year, again an inquiry committee member of Tokyo International Print Biennale. 1971 April, showed Form (Iron), Three generations of Death in Kindai Nihon Bijutsu ni okeru 1930-nen exhibition at of Modern Art. 1971 November, second wife Sadako dies. 1972 June, Three generations of Death and other works in exhibition of new acquisitions of Tokyo National Museum of Modern Art. 1973 1974 1975 October, went to USSR including Samarkand for 14 days. 1976 1977 March, retired from part-time teacher in prints at Painting Department, Tokyo University of the Arts. 1977 November, Ono Tadashige Hangashû published by Keishôsha. 1978 1979 May, exhibited at Sengo Hanga no Sôseiki, 1945-1956 at Toyoda. 1980 1981 October, showed in Sôsaku Hanga no akebono-ten – Taishô, Shôwa no Hangakatachi, at Machida International Museum of Graphic Arts. 1982 1983 1984 1985 this year retired as part-time teacher at Aichi Prefectural Fine Arts University. 1986 1987 1989 1990 17 October, died.

13

The Asian Modern © John Clark, 2013

1993 Ono Tadashige Mokuhangten –gekidô no Showa wo hanga to tomo ni, Machida International Museum of Graphic Arts. 1994 Ono Tadashige Print Museum opened at Asagaya, it initially published a small magazine Han no e. 14

The Asian Modern © John Clark, 2013

Ono Tadashige, 19 January 1909 – 17 October 1990 Bibliography Ono wrote 35-plus books and many articles for which the full bibliography in Seitan100nen, Ono Tadashige-ten, Shôwa no jigazô, 2009, see catalogues below. Those given here are those seen by the author or cited in texts he has used. I am most grateful to Takizawa Kyôji for photocopies of many materials from the 1930s and other assistance.

Texts or Collections by Ono Tadashige Ono Tadashige, ‘Hanga no tame no taiwa’, Atorie, March, 1934. Ono Tadashige, ‘Chikagoro no Hôkoku’, Atorie, April, 1934. OnoTadashige, Matisse, Tokyo: Sankôsha, 1940 Ono Tadashige, Nihon no Dôbanga to Sekibanga, Tokyo: Sôrinsha, 1941. Ono Tadashige, hen, Matteo Ricci to Shina Kagaku, Tokyo: Sôrinsha, 1944. Ono Tadashige, Shina Hanga Sôkô, Tokyo, Sôrinsha, 1944. Ono Tadashige, Garasu-e to doro-e: bakumatsu Meiji no shominga kô, Asoka Shobô, 1954 [& Tokyo: Kawade Shobô Shinsha, 1990]. Ono Tadashige, Hanga kindai Nihon no jigazô, Tôkyô: Iwanami Shoten 1961. Ono Tadashige, Nihon no Sekibanga, Tokyo: Bijutsu Shuppansha, 1966 [1976, Saihan]. OnoTadashige, Edo no yôgaka, Tokyo, Sansaisha, 1968. Ono Tadashige, Kindai Nihon no Hanga, Tokyo: Sansaisha, 1971. Ono Tadashige, Hangajiten¸Tokyo: Daviddosha, 1971 Ono Tadashige, ‘Gakuon no ki’, Bijiutsu Jaanaru, November 1973, and in Ono Tadashige, Ono Tadashige Hangashû, Mitaka: Keishôsha, 1977. Ono Tadashige, Hanga no Seishun, Tokyo: Keishôsha, 1978 [a valuable collection of previously published artist studies from articles and catalogue essays]. Ono Tadashige, ‘Kaisô no Fujimaki Yoshio‘ in Ômori Kôsaburô’, daihyô, Fujimaki Yoshio Hanga Ishibumi Kensetsu Kyôsankai, Tatebayashi, 1980.

Catalogues and other texts on Ono Tadashige and his work Imai Keisuke, Wanajo Eri & Machida Kokusai Hanga Bijutsukan, hen Ono Tadashige mokuhanga ten, Machida: Machida Kokusai Hanga Bijutsukan, 1993. Kuwahara Noriko, ‘1930-nendai ni okeru hangataishûka no ichi sokumen: Ono Tadashige to Shinhanga Shûdan’, Gendai Geijutsu Kenkyû, no.1, 1995. [Tsukuba Daigaku Geijutsu gakkei]. Kuwahara Noriko, ‘Shinkô Bijutsuka Kyôkai no seiritsu to shômetsu, 1935-1943: Ono Tadashige, Itô Kisaku no shûhen’, Seitoku Daigaku Gengo Bunka Kenkyûjo Ronsô¸14, December 2007. Mizusawa Tsutomu, ‘Ono Tadashige’, in Kanagawa kenritsu kindai bijutsukan, hen, Kindai Nihon Bijutsuka Retusden, Tokyo: Bijutsu Shuppansha, 1999. Ono Tadashige, Ono Tadashige Hangashû, Mitaka: Keishôsha, 1977. Ono Tadashige Hangakan henshû, Ono Tadashige Zenhangashû, Tokyo: Kyûryûdô, 2005. ‘Ono Tadashige’ in Kawakita Michiaki, hen, Kindai Nihon Bijutsu Shiten, Kôdansha, 1989. Sogawa Fumi, ‘OnoTadashige Nikki (Jô) 1927, 1-Gatsu -6 Gatsu’, Gendai Geijutsu Kenkyû¸no.4 December 2001. Takizawa Kyôji, Wanajo Eri, hen, Seitan100nen, OnoTadashige ten, Shôwa no jigazô, Machida: Machida shiritsu kokusai hanga bijutsukan, 2009. Takizawa Kyôji, ‘ “Bijutsu“ no shinshutsu, Ningyôza ni miru Taishôki Shinkô Bijutsu-undô no yôtai’, in Gengobunka Kenkyû [Ritsumeikan] vol.22, no.3, January 2011.

Print-making Manuals Hiratsuka Un’ichi, Hanga no Gihô, Tokyo, Arusu, 1927. Ishii Kendo, Nishikie no Hori to suri, Kyoto: Unsôdô, 1965. Nagase Yoshiro, Hanga wo tsukuru hito e, Tokyo: Chûô Bijutsu Gakuinkan, 1922. 15

The Asian Modern © John Clark, 2013

Ono Tadashige, Hanga no Gihô, Tokyo: Geijutsu Gakuin Shuppanbu, 1942. Ono Tadashige, Gendai Hanga no Gihô, Tokyo: Daviddosha, 1956. Ono Tadashige, Mokuhanga, Zairyô to Gihô, Tokyo: Bijutsu Shuppansha, 1956. Ono Tadashige, Hangagihô handobukku, Tokyo: Daviddosjha, 1960. Ono Tadashige, Hanga nyūmon: shumi no tanoshimi, Tôkyô: Dainihon Tosho, 1974.

Japanese Graphic Art, selected, 1890s-1960s Ajioka Chiaki, John Clark, Jackie Menzies, Mizusawa Tsutomu, Modern Boy, Modern Girl: Modernity in Japanese Art 1910-1935, Sydney: Art Gallery of New South Wales, 1998. Ajioka, Chiaki, et al, Hanga: Japanese Creative Prints, Sydney: Art Gallery of New South Wales, 2000. Brown, Kendall H., Light in Darkness: Women in Japanese Prints of Early Shôwa (1926-1945): Los Angeles: Fisher Gallery University of Southern California, 1996. Chiba-shi Bijutsukan, Nihon no Hanga 1931-1940, Munakata Shikô tôjô, Chiba: Chibashi Bijutsukan & Tokyo Shinbum, 2004. Clark, John, ‘Indices of Modernity: Changes in Popular Reprographic representation’, in Elise K. Tipton and John Clark eds., Being Modern in Japan: Culture and Society from the 1910s to the 1930s, Sydney, Australian Humanities Research Foundation, 2000, 25-49 Goodall-Christante, H; Brown, K.H. Shin-Hanga: New Prints in Modern Japan, Los Angeles: Los Angeles County Museum, 1996. Hasegawa Yoshihiro, Fujimaki Yoshio [Gyôdo no Geijutskatachi]¸Tatebayashi: Tatebayashi Shiritsu Toshokan hen, 1987. Horino Masao, Nihon no shashinka, vol. 9, Tokyo: Iwanami Shoten, 1997 ‘Horino Masao’, Wikipedia, accessed 19.4.2011. Iguchi Toshino, ‘Kindai Nihon ni okeru kikaigeijutsu to Mohoi-Naji no eizôron’, Gendai Geijutsu Kenkyû, no.1, 1995 Iwakiri Shinichirô, Meiji Hangashi, Tokyo: Yoshikawa Kôbunkan, 2009. Kawakita, M., Contemporary Japanese Prints, Tôkyô, Kôdansha, 1967. Keene, D., Konishi, S., Impressions of the Front, Philadelphia Museum, 1983. Kimizu Ikuo; Iwase Hisae, et al, Nihonhanga Sakkatachi, Kubo Teijirô, Bijutsu no Sekai 5, [including ‘Ono Tadashige no geijutsu’, p.96-110, and in Ono Tadashige, Ono Tadashige Hangashû, Mitaka: Keishôsha, 1977] Tokyo: ‘Kubo teijirô, Bijutsu no sekai’ kankôkai, 1979. Kindai Hanga ni miru Tokyo: utsuriyuku fûkei, Tokyo: Edo-Tokyo Museum & Mainichi Shinbum, 1996. Kôno Minoru, Takagi Yukie & Machida Shiritsu Kokusai Hanga Bijutsukan henshû, Hanga 80- nen no Kiseki – Meiji Shônen kara Shôwa 20-nen made, [Dai Ichibu, Dai Dainibu], Machida: Machida Shiritsu Kokusai Hanga Bijutsukan, 1996. Kuwahara, Setsuko, Emil Orlik und Japan, Heidelberger Schriften zur Ostasienkunde, Frankfurt am Main, Haag + Herchen, 1987. Merritt, H., Modern Japanese Woodblock Prints, Honolulu, University of Hawaii Press, 1990. Merritt, H., Yamada H., Guide to Modern Japanese Prints, Honolulu, University of Hawaii Press, 1992. Moriguchi Tari, Chosaku; [Toshiharu Omuka; Shogō Otanī hen] Bijutsu hihyokā chosaku senshu,̄ dai 4-kan, Tokyō :̄ Yumani Shobo,̄ 2010. MoriguchiTari, Itan no Gaka, Tokyo, Nihon Bijutsu Gakuin-kan, 1920. Moriguchi Tari, Meiji Taishô no Yôga, Motoe Kunio, Shiga Hidetaka, Mokuhanga no Nukumori, Kobayashi Kiyochika kara Munakata Shikô made, Tokyo: Fuchû Bijutsukan, 2005. Nihon Hanga Kyôkai Dai-2 kai Tenrankai Mokuroku, Tokyo: Nihon Hanga Kyôkai, 1932. Nishiyama Junko et al, Nihon no Hanga 1931-1940, Munakata Shikô tôjô, Chiba: Chibashi Bijutsukan, 2004. 16

The Asian Modern © John Clark, 2013

Ogura Takao, ed., Genshoku Gendai Nihon no Bijutsu, vol.11 Hanga, Tokyo: Shogakkan, 1980. Onchi Kôshirô, Nihon no Gendai Hanga, Tokyo: Sôgensha. 1953. Pekarkik, J.M., The World of The Meiji Print, New York, Weatherhill, 1986. Sawatari Kiyoko; Kuraishi Shino; Numata Hideko, Onchi Kôshirô: iro to katachi no shijin, Yokohama: Yokohama Museum of Art & Miyagi Museum of Art & Museum of Modern Art, Wakayama, 1994. Singer, R. and Kakeya, N, Munakata Shikô: Japanese master of the modern print, Philadelphia Museum of Art/ Los Angeles County Museum of Art, 2002. Smith, L.H.R., Contemporary Japanese Prints, London, British Museum, 1985. Smith, L.H.R., Japanese Prints during the Allied Occupation, London, British Museum, 1996. Smith, L.H.R., Modern Japanese Prints, London, British Museum, 1994. Smith, L.H.R., The Japanese Print since 1900, London, British Museum, 1983. Statler, O., Modern Japanese Prints, Tôkyô, Tuttle, 1959. Volk, Alicia, Made in Japan: the postwar creative print movement, Milwaukee, Milwaukee Art Museum & University of Washington Press, 2005

Proletarian and other left-wing art Dai-2 kai Puroretaria Bijutsu Dai Tenrankai, Tokyo: Nihon Puroretaria Bijutsuka Renmei, 1929 [handwritten insert also gives Tekkai sakuhin mokuroku at Tokyoto Gendai Bijutsukan]. Dai-3kai Puroretaria Bijutsu Dai Tenrankai, Tokyo: Yabe Tomoe, December 1930. Dai-5 kai Puroretaria Bijutsu Dai Tenrankai, Mokuroku, [Yabe Tomoe, ed,] Tokyo: Nihon Puroretaria Bijutsuka Renmei, January 1932. [Tokyoto Gendai Bijutsukan K7021 884 5] Kita Takaomi, ‘Puroretaria bijutsu undô to zôkei bijutsuka kyôkai’, Kindai Garon, vol.15, 2006. Okamoto Tôki, Matsuyama Fumio, Nihon Puroretaria Bijutsushi, Tokyo: Keishôsha, 1968, 1972. Omuka Toshiharu, ‘Nihon no puroretaria bijutsu undô to sono shûhen ni okeru intaanashionarizumu’, in Omuka Toshiharu, hen, ‘Teikoku’ to Bijutsu: 1930-nendai Nihon no taigai bijutsu senryaku, Tokyo: Kokusho Kankôkai, 2010. Shin-Roshiya wo hyôchô suru Shin Roshiya Bijutsutenrankai, [Chirashi], Tokyo: Asahi Shinbum, 1927. [Yanase Bunko, no. d6670, Tokyoto Gendai Bijutsukan].

Other Reference Texts: Kanagawa kenritsu kindai bijutsukan, hen, Kindai Nihon Bijutsuka Retsuden, Tokyo: Bijutsu Shuppansha, 1999. Kawakita Michiaki, hen, Kindai Nihon Bijutsu Shiten, Kôdansha, 1989. Yamada Shoten Hangabu, hen, Hanga Meiran: Meijimatsu, Taishô, Shôwa, Tokyo: Yamada Shoten Hangabu, 1984.

International Contacts and Tendencies Avermaete, Roger, Frans Masereel [1975, tr. Haakon Chevalier], London: Thames and Hudson, 1977. Butler, Roger, Printed Images by Australian Artists, 1885-1955, Canberra, National Gallery of Australia, 2007. Holitscher, Arthur; Zweig, Stefan, Frans Masereel, Berlin: Axel Juncker Verlag, 1923. Holme, Geoffrey, ed., Modern Woodcuts and Lithographs by British and French Artists, London: The Studio, 1919. Kôno Minoru et al, 1930 nendai Shanghai Rojin, Machida: Machida shiritsu kokusai hanga bijutsukan, 1994. Kotzenberg, H., Der Revolutionäre Holzschnitt Chinas, Köln, Museum für Ostasiatische Kunst, 1987. Leighton, Clare, ed., Wood Engraving of the 1930’s, London: The Studio, 1936. 17

The Asian Modern © John Clark, 2013

Masereel, Frans, The City, 100 Woodcuts, [after Der Stadt, München: Kurt Wolff Verlag, 1925], New York: Dover Publications, 1972. Nückel, Otto, Destiny, a novel in pictures, [New York: Farrar & Rinehart, 1930], Mineola: Dover Publications, 2007. Salaman, Malcom C., The woodcut of today at home and abroad, London: The Studio, 1927. Salaman, Malcom C., The New Woodcut, London: The Studio, 1930. Schneede, Uwe M., Käthe Kollwitz: Das Zeichnerische Werk, München, Schirmer/Mosel, 1981. Tang Xiaobing, Origins of the Chinese Avant-Garde: The Modern Woodcut Movement, Berkeley: University of California Press, 2008. Uchiyama Kakitsu, Nara Kazuo, Rojin to Mokkoku, Tôkyô, Kenbun Shuppan, 1981. ‘Uchiyama Shoten to Uchiyama Kanzô’, Uchiyama, vol.3, no.9, Autumn, 1985. [A special issue of the house journal of Uchiyama Shoten with reminiscences and a chronology of Uchiyama Kanzô]. Uchiyama Kanzô, Rojin to Hanga in Shanghai Mango, 1937. Uchiyama Kanzô, ‘Zhongguo Muke Yishu de Fazhan’, Changjiang Huakan, Minguo 31 nian [1942] [Although I have not yet seen them, I draw attention to the above two texts because they are given in the bibliography for Ono Tadashige, Shina Hanga Sôkô, Tokyo, Sôrinsha, 1944, and not noticed elsewhere.] Uchiyama Kanzô, Uchiyama Kanzô, Shanghai xiahai: Shanghai shenghuo 35-nian, Xi'an: Shaanxi renmin chubanshe, 2012. Uchiyama Kanzô, Shanhai Ringo, Tokyo: Dainihon Yûbenkai Kôdansha, 1942. Uchiyama Kanzô¸Shanhai Fûgo, Tokyo: Kaizôsha, 1943. Uchiyama Kanzô, Kakôroku [Nikki], Tokyo: Iwanami Shoten, 1960; reprint as Kakôroku: nitchū yūkô no kakehashi, Tôkyô: Heibonsha, 2011. Ward, Lynd, Storyteller without words: the wood engravings of Lynd Ward, New York: Harry N. Abrams, 1974. Zhang Wang, ed., Lu Xun lun meishu, Beijing: Renmin Meishu Chubanshe, 1956.