Sources: Guide to Modern Japanese Woodblock Prints: 1900-1975, Helen Merritt, University of Hawaii Press, 1992, p. 12; Japanese Wood-block Prints, Shizuya Fujikake, Japan Travel Bureau, 1938 revised 1949, p. 190 and as footnoted.
Asano Takeji was one of many cross-over artists who worked in both the shin hanga (new prints) and sōsaku hanga (creative prints) styles. Born in Kyoto in 1900, he graduated from the Kyoto City School of Fine Arts and Crafts in 1919 and the Kyoto Municipal College of Painting in 1923. He first learned Western oil painting and then turned to Japanese-style painting under Bakusen Tsuchida (1887-1936). In 1928, he became interested in woodblock printing through a course offered at Gasendo in Kyoto, by Hiratsuka Un'ichi (1895-1997), one of the founders of the sōsaku hanga movement. He was active in the formation of the Kyoto Sosaku-Hangakai (Kyoto Creative Print Society) in 1929 along with Tokuriki Tomikichirō (1902-2000), Asada Benji (1899-1984), Kawai Unosuke (1889-1968), and others. In 1930, he participated with Tokuriki and Asada in creating the series Creative Prints of Twelve Months in New Kyoto (Sosaku-hanga shin Kyoto junikagetsu) published by Uchida Publishing. In the early 1930s he contributed to the magazine Taishu hanga (Popular Prints), published by Kyoto Sosaku-Hangakai. Also in the early-30s he worked on a self-carved and self-printed set of views of the Kyoto area, two designs of which are represented in this collection. In 1947, he created the self-carved, self-printed series Noted Views in the Kyoto-Osaka Area (Kinki meisho fukei). Starting in the 1950s, Asano designed a large number of shin hanga style prints for the Unsodo Publishing company, which continue to be printed to this day. He was an associate member of Nihon Hanga Kyokai from 1955-1960. He became friends with the American artist Ben Shahn (1898-1969), during Shahn’s visit to Japan in 1964 and continued that friendship until Shahn's death.
In 1965 Asano went on an extensive tour visiting Mexico, U.S.A., Spain, Italy, Greece, and Turkey . In Mexico, he held a one-artist exhibition in Mexico City. Subsequently he created this collection's print Mexico City, Mexico (IHL Cat. #966.)
His late prints from the 1970s and 1980s are simple, seemingly naïve, humorous, and signed T.A. preceded by an apostrophe and the year. (See "Artist Signatures and Seals" below.)
Noted for his carving skills, Takeji taught the art of woodblock carving and printing well into his 90s. According to one of his students, Fumio Machida, he would tell his students, “Don’t complicate your drawing. Eliminate all unnecessary things but leave the essence.”1 Further reminiscing, Machida goes on to say:
|After his wife passed away, we students often visited his house in order
to share his loneliness, but it usually turned out that it was us who
received much encouragement from him. He didn’t have a particular studio
space, his living room was the studio. There was also a guest room
attached to a sunny veranda where we all would sit and enjoyed listening
to the telling of his younger days’ stories about going sketching to
the Tohoku and Kanto areas, and to Sado Island, and about his
experiences in Hokkaido when he was teaching at a woman’s school in
Asano retired from the class, if I remember correctly, when he was 97 because he found it harder to walk. However, he continued to paint with gouache at home and we used to see a large pile of sketchbooks on his desk. He was painting 5-6 pieces a day.2
1 KIWA News No. 3, November 2000, Kyoto International Woodprint Association, p. 6.
2 Ibid., p. 11.
3 Ibid., p. 6.
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Takeji ga tō
(Takeji drawn and carved)
Takeji suri (Takeji printed)
Takeji ga tō
(Takeji drawn and carved)
Takeji ga koku
(Taketji drawn and carved)