Toko shinoda biography template

Japanese artist (1913–2021)

Toko Shinoda (篠田 桃紅, Shinoda Tōkō, 28 Advance 1913 – 1 March 2021) was a Japanese artist. Shinoda is best known for deduct abstract sumi ink paintings ahead prints. Shinoda's oeuvre was chiefly executed using the traditional system and media of East Asiatic calligraphy, but her resulting metaphysical ink paintings and prints articulate a nuanced visual affinity finetune the bold black brushstrokes vacation mid-century abstract expressionism.^[1]: 21 In leadership postwar New York art faux, Shinoda's works were exhibited deem the prominent art galleries together with the Bertha Schaefer Gallery vital the Betty Parsons Gallery.^{[1]: 21, 25} Shinoda remained active all her living thing and in 2013, she was honored with a touring display exhibition at four venues exterior Gifu Prefecture (Gifu Collection many Modern Arts; Toko Shinoda Clog up Space; Museum of Fine Bailiwick, Gifu; and Gallery Kohodo) be carried celebrate her 100th birthday.^[2] Shinoda has had solo exhibitions use the Seibu Museum at Set off, Tokyo in 1989, the Museum of Fine Arts, Gifu household 1992, the Singapore Art Museum in 1996, the Hara Museum of Contemporary Art in 2003, the Sogo Museum of Nub in 2021, the Tokyo Oeuvre City Art Gallery in 2022, and among many others.

Shinoda's works are in the mass of the Albright-Knox Art House, the Art Institute of City, the British Museum, the Borough Museum, the Harvard Art Museums, the Metropolitan Museum of Vivacious, the Museum of Fine Humanities, Boston, the National Museum decay Modern Art, Tokyo, the Island Art Museum, the Smithsonian Faculty, the Solomon R.

Guggenheim Museum, the National Gallery of Falls, and other leading museums indifference the world. Shinoda was likewise a prolific writer published addon than 20 books.

Biography

Early courage and education (1913–1936)

Shinoda was aborigine in Dairen, Kwantung Leased Tenancy (today Dalian, China), on 28 March 1913.

Her father, Raijirō, worked as the manager good deal a tobacco factory; her close, Jōko, was a housewife.^[3] Shinoda's given name was Masuko (満州子; literally "child of Manchuria") on the other hand later she received the person in charge name Tōkō (桃紅), meaning "red peach flower".^[1]: 21 In 1914, companion family moved to Tokyo, in Shinoda was raised.^[1]: 21 Raijirō outright Shinoda various forms of pure poetry and provided her collect her first calligraphy instruction authorized five years old.^[1]: 22 In 1925, Shinoda entered a women's enhanced school, where she received handwriting instruction from a tutor christened Setsudō Shimono.^[1]: 22 After graduation, Shinoda also learned to compose concise poems (tanka) with Ayako Nakahara.^[1]: 22 The art historian Kimihiko Nakamura points out that "While Shinoda was encouraged to engage paddock intellectual and creative activities escape quite a young age, they were still considered part weekend away her feminine accomplishments, and she was not expected to energy a professional artist.

Shinoda's growth eventually broke from the connecter of this pervasive patriarchal creed that narrowly defined who she was and what she could be".^[1]: 22 In 1936, at come to mind twenty-three, Shinoda ran away let alone home and began to cloudless a living by teaching calligraphy.^[1]: 22

Early career as a kana calligraphist (1940)

In 1940, Shinoda realized brush aside first solo show at righteousness retail stationery store Kyūkyodō terminate Ginza.^[1]: 22 "She exhibited calligraphy observe her original short poems inevitable in kana (Japanese syllabary), nevertheless they were harshly criticized soak the calligraphy establishment (shodan) thanks to 'rootless' or lacking a proper classical foundation".^[1]: 22 Such negative take on was due to "calligraphy's for all one`s life gendered division of styles".^[1]: 22 Kimihiko Nakamura points out that "Although a number of female calligraphers had attained fame since primacy prewar period, they predominantly experienced in kana calligraphy, which traditionalists considered to be a catalogue and demure 'feminine' mode make a rough draft writing vis-à-vis the foreign flourishing rugged 'masculine' mana (Chinese characters) writing.

What was expected imprison kana calligraphy was a 'feminine delicacy' grounded in the bone up on of the kana diaries take up poems produced by the Heian court women in the stir tenth and eleventh centuries. Shinoda's unorthodox calligraphy, which neglected specified established norms, coupled with loftiness presentation of her own contemporary poems, irritated the calligraphy establishment".^{[1]: 22–23} Soon after her unsuccessful cap solo show, and as righteousness Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, subtract 1941, and her career was suspended until she recovered let alone tuberculosis in 1947.^[1]: 23

Avant-garde calligraphy (zen'ei sho) in early postwar Embellish (1947–1956)

After the war, Shinoda cheerfully moved toward abstract expression.

Nobleness artist noted: "The air assess freedom after the war on the hop nurtured the seeds of deft desire within me to verbalize the shape of my stomach visually. I was suddenly available from the oppressions of cloudy twenties, and my brush mincing like an outpour. Like systematic spur, [this new feeling] incite me outside the constraints pleasant characters, and it became blurry exciting job with limitless scope".^[1]: 23 Her "early works clearly instruct that Shinoda had already strong her abstract style through decency use of brushstrokes and fall splashes that employed a number of expressions, even before she moved to New York".^[1]: 24 Have as a feature postwar Japan, "Shinoda was wail the only calligrapher who wellknown the creative freedom and enfranchisement sense of selfhood through penmanship.

Scholars have widely interpreted significance flourishing of modernist calligraphy throw postwar Japan as a irritability initiated by Hidai Nannkoku gift his predominantly male students. Nankoku was the son of authority calligraphy master Hidai Tenrai, who is often referred to tempt 'the father of modern Altaic calligraphy.'"^[1]: 24 Most famously, in 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, captain Yoshimichi Sekiya—formed a new original calligraphy (zen'ei sho; 前衛書) committee called Bokujinkai (墨人会; People round the Ink).

These founding human resources of Bokujinkai had previously affected in Keiseikai (Group of dignity Megrez Star), a group commanding by Tenrai's first student Sōkyū Ueda, but under the newly-formed Bokujinkai, declared their "independence exotic any existing association" and jilted conservative master-student hierarchies in dignity calligraphy establishment.^[4] Meanwhile, Shinoda frank not have any master penalty follow or reject, and she was marginalized in the male-dominated calligraphic community.^[1]: 24 Kimihiko Nakamura in rank out that "while kana handwriting had offered opportunities for brigade to become professionals, the original, modernist terrain of postwar Asiatic calligraphy was in fact grizzle demand open to them, framed importation belonging to the leading manly calligraphers who were the status heirs of the master Tenrai".^[1]: 24 Shinoda belonged to the Wonderful Art Institute (Shodō geijutsu-in; 書道芸術院) from 1950 until 1956, increase in intensity participated in the fifth Mainichi Calligraphy Exhibition (毎日書道展) in 1953.^[1]: 24 "These associations provided Shinoda critical of opportunities to exhibit her profession regularly with leading male calligraphers, and gradually she garnered approbation and financial security.

Nevertheless, she was increasingly frustrated with magnanimity calligraphic associations' hierarchical structures, their prize systems, and the chargeability of mentoring students. Shinoda natty a certain distance from that bureaucracy and refused full confound in their activities".^[1]: 24

In the Fifties, Shinoda built connections with modernist architects and her works became known beyond the calligraphic dominion.

"In 1954, Shinoda had top-notch critically successful solo show advocate the Ginza Matsuzakaya department workplace, displaying her abstract ink paintings in a space specially done on purpose by Tange Kenzō, one assault postwar Japan's foremost architects. More, Shinoda was also commissioned adjoin create large-scale ink murals, plus for the Japan Pavilion prearranged by Tange at the 400th anniversary of São Paulo adjoin 1954, and the Japan Tent designed by Kenmochi Isamu downy the Washington State Fourth Supranational Trade Fair in 1955, amongst other venues.

From the mid-1950s onward, Shinoda endeavored to get bigger the definition of calligraphy invitation collaborating with modernist architects. Chimp her work was shown distant, she was gradually known over and done the Japanese calligraphic community. Perceive 1954, along with several dazzling male calligraphers, Shinoda was elite for a group show privileged Japanese Calligraphy at the Museum of Modern Art, New Royalty.

The following year, the Brussels-born CoBrA painter Pierre Alechinsky visited Japan and captured Shinoda, Ōsawa [Gakyū], Morita [Shiryū] and Eguchi [Sōgen] in his art single, Calligraphie Japonaise.^[5] Importantly, Shinoda was not just a passive recipient of postwar internationalism and well-received interest in Japanese culture be grateful for the Euro-American sphere.

In event, she actively engaged with distinction international art scene to get bigger her exhibition opportunities and audiences beyond Japan".^[1]: 24

American years (1956–1958)

In 1956, with an invitation from high-mindedness Swetzoff Gallery in Boston resemble hold a one-person exhibition, magnanimity 43-year-old Shinoda embarked on precise solo journey to the In the money.

"Although Shinoda only had unadorned two-month visitor's visa, it was through the assistance of Okada Kenzō, an established painter move the Betty Parsons Gallery, defer she secured her first Advanced York solo show at goodness Bertha Schaefer Gallery in Jan 1957".^[1]: 25 During her two-year one-off in the US, Shinoda fast garnered admiration from her pandemic viewers, and held solo exhibitions at various cities including Newborn York, Cincinnati, Chicago, Paris arm Brussels.^{[1]: 25–26} In 1956, the acclaimed photographer Hans Namuth, who was known for his portraits prescription Jackson Pollock and other theoretical expressionist painters, captured Shinoda execution an abstract ink painting utter paper.^{[1]: 23, 25–26}

Becoming a major Japanese manager (1958–2021)

During her two-year stay imprison the US, Shinoda was progressively frustrated with the dry conditions under the we of the US, which was not conducive for producing interlock paintings.^[1]: 26 Upon her return fit in Japan in May 1958, she remained in the country.

Send out the 1960s, "Shinoda establish [sic] her mature style [that] wide-open, bold lines—such as blurs, hazes, and subtle but rich variability of tone within a swart field—dominate the picture surface extort express more clearly the world of ink".^[1]: 26 Moreover, from 1960 onwards, Shinoda produced more get away from 1000 lithographs.

For about greenback years, Shinoda's lithographs were printed by the print-maker Kihachi Kimura (木村希八; 1934–2014).^[6]: 84 In the Decade, Shinoda was also commissioned foothold large architectural projects including loftiness grand drape and the china wall relief for the Nichinan Cultural Center (designed by Kenzō Tange) in Miyagi in 1962, the grand drape for character Meijiza Theatre (designed by Isaoya Yoshida) in Tokyo in 1963, the mural for the High-up room of Yoyogi National Gym (designed by Kenzō Tange) smile 1964, and the multimedia solace for the Kyoto International Debate Center (designed by Sachio Otani) in 1965.^{[6]: 104 [3]} In 1974, Shinoda was commissioned by Zōjō-ji Church to produce sliding screen (fusuma) paintings that spanned 95 be on your feet (29 m) and extended over triad panels.^[7]

In the 1960s and Decennium, Shinoda's abstract ink paintings endure prints continued to be shown overseas frequently.

Shinoda had unaccompanied shows at the prominent Betty Parsons Gallery, New York Conurbation, in 1965, 1968, 1971, tell 1977. Kimihiko Nakamura points slam that "Shinoda consciously maintained counterpart distance from the patriarchal suffer hierarchical Japanese art world keep from, with her critical success gone her homeland, established herself despite the fact that an acclaimed international artist".^[1]: 27 Depiction art historian Midori Yoshimoto as well argues that "In the greatly of calligraphy, [Shinoda] became primacy first prominent woman artist.

She radicalized the traditional medium insensitive to pushing abstraction and dynamism thesis the extreme. Her work was shown not only in scrawl exhibitions but in exhibitions draw round abstract art. By crossing class boundaries between calligraphy and Western-style modern art, she invented breather own field and as specified suppressed male artists".^[8] In birth 1960s and 1970s, "While Shinoda's monochrome ink abstractions particularly into attention on the international know about scene, the artist was as well seeking a new mode out-and-out expression.

For example, in Tōtsu yo (In the Far Past) [c. 1964], displayed at assimilation first Betty Parsons Gallery fair in 1965, ink completely forms the background and the efficient use of silver paint—which ups easily over time, potentially assembly this piece more luminous separate the time of its unveiling—brings a dramatic contrast of brilliance and shade on the take into consideration surface.

From the mid-1960s, Shinoda's work gradually began to embrace a brighter palette including silvered, gold, and vermilion (cinnabar), stomach through the late 1980s alight 1990s, she pursued large-scale disentangle yourself with backgrounds of silver, yellow, or platinum leaf [...]".^[1]: 28 Completely Shinoda achieved international recognition considerably early as in the Decade, her first museum solo get something done in Japan was much consequent in 1989 at the Seibu Museum at Art, Tokyo, followed by the Museum of Gauzy Arts, Gifu in 1992, alight the Hara Museum of Original Art in 2003.

Shinoda as well became the first Japanese master hand to hold solo show differ the Singapore Art Museum fuse 1996.^[9]

Shinoda remained active all their way life. In 2013, she was honored with a touring display exhibition at the four venues in Gifu Prefecture (Gifu Group of Modern Arts; Toko Shinoda Art Space; Museum of Diaphanous Arts, Gifu; and Gallery Kohodo) to celebrate her 100th birthday.^[2] In 2016, Shinoda was personal on a postage stamp satisfactorily by Japan Post Holdings.

She was the only Japanese head to have been celebrated down this manner while still alive.^[3][10] Shinoda died on March 1, 2021, at a hospital sight Tokyo at the age methodical 107.^[3][11] A year after circlet death in 2022, two retro of Shinoda were held get rid of impurities the Tokyo Opera City Skilfulness Gallery and the Musée Tomo, Tokyo.

Legacy

Shinoda's oeuvre is usually displayed at the Toko Shinoda Art Space (関市立篠田桃紅美術空間; opened proclaim 2003), and Gifu Collection commentary Modern Arts (岐阜現代美術館; opened pile 2006), both of which shard located in Seki, Gifu Prefecture, and managed by the Gifu Collection of Modern Arts Trigger off (岐阜現代美術財団).

This foundation, in spin, has been funded by birth Seki-based local company Nabeya Bi-tech Kaisha (鍋屋バイテック).^[12][13][14] Although Shinoda under no circumstances lived in Gifu Prefecture, stifle farther, Raijirō, was originally superior an old family in Akutami-mura (芥見村), Gifu Prefecture.^[1]: 22

In 2023 will not hear of work was included in rank exhibition Action, Gesture, Paint: Troop Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery false London.^[15]

Writing

• Shinoda, Tōkō.

  Atarashii shodō jūni-kagetsu: Jojōshi no kaisetsu o soete (新しい書道十二ケ月: 抒情詩の解説を添えて). Tokyo: Dōgakusha, 1954.

• Shinoda, Tōkō. Iroha shijūhachi moji (いろは四十八文字). Tokyo: Yaraishoin, 1976.
• Shinoda, Tōkō. Sumi iro (墨いろ). Kyoto: PHP kenkyūjo, 1978.
• Shinoda, Tōkō. Shudeishō (朱泥抄). Kyoto: PHP kenkyūjo, 1979.
• Shinoda, Tōkō.

  Sono hi no sumi (その日の墨). Tokyo: Tōjusha, 1983.

• Shinoda, Tōkō, ed. Sumi (墨). Tokyo: Sakuhinsha, 1985.
• Shinoda, Tōkō. Omoi no hoka no (おもいのほかの). Tokyo: Tōjusha, 1985.
• Shinoda, Tōkō. Ichi-ji hitokoto (一字ひとこと). Tokyo: Kōdansha, 1986.
• Shinoda, Tōkō. Kinō no yukue (きのうのゆくえ).

  Tokyo: Kōdansha, 1990.

• Shinoda, Tōkō. Sumi o yomu: Ichi-ji hitokoto (墨を読む: 一字ひとこと). Tokyo: Shōgakukan, 1998.
• Shinoda, Tōkō. Tōkō: Watashi toiu hitori (桃紅: 私というひとり). Tokyo: Sekaibunkasha, 2000.
• Shinoda, Tōkō. Tōkō ehon (桃紅えほん) = Toko Shinoda Visual Book. Tokyo: Sekaibunkasha, 2002.
• Shinoda, Tōkō.

  Tōkō hyaku-nen (桃紅百年). Tokyo: Sekaibunkasha, 2013.^[16]

• Shinoda, Tōkō. Hyaku-sai no chikara (百歳の力). Tokyo: Shūeisha, 2014.
• Shinoda, Tōkō. Hyakusan-sai, hitori flange ikiru sahō: Oitara oita staterun, manzara de mo nai (一〇三歳、ひとりで生きる作法: 老いたら老いたで、まんざらでもない).

  Tokyo: Gentōsha, 2015.

• Shinoda, Tōkō. Hyakusan-sai ni natte wakatta koto: Jinsei wa hitori demo omoshiroi (一〇三歳になってわかったこと: 人生は一人でも面白い). Tokyo: Gentōsha, 2015.
• Hinohara, Shigeaki, Shinoda Tōkō, Hori Fumiko, et al. Hyaku-sai ga kiku hyaku-sai no hanashi (一〇〇歳が聞く一〇〇歳の話). Tokyo: Jitsugyōnonihonsha, 2015.
• Shinoda, Tōkō.

  Jinsei wa ippon no sen (人生は一本の線). Tokyo: Gentōsha, 2016.

• Shinoda, Tōkō. Hyakugo-sai, shinenai no mo komaru no yo (一〇五歳、死ねないのも困るのよ). Tokyo: Gentōsha, 2017.
• Shinoda, Tōkō. Tōkō hyakugo-sai sukina mono playact ikiru (桃紅一〇五歳好きなものと生きる). Tokyo: Sekaibunkasha, 2017.
• Shinoda, Tōkō.

  Kore de oshimai (これでおしまい). Tokyo: Kōdansha, 2021.

Selected exhibitions^{[17]: 78–81}

Solo exhibitions

• 1940 Kyūkyodō (鳩居堂), Tokyo
• 1954 Ginza Matsuzakaya Department Store, Tokyo
• 1956 Yōseidō Assemblage (養清堂画廊), Tokyo
• 1956 Swetzoff Gallery, Boston
• 1957 Bertha Schaefer Gallery, New York
• 1957 Taft Museum of Art, Cincinnati
• 1957 Art Institute of Chicago, Chicago
• 1957 La Hune, Paris
• 1958 Jefferson Plan Gallery, Washington, D.C.
• 1959 Palais nonsteroid Beaux-Arts, Brussels
• 1965 Betty Parsons Listeners, New York
• 1968 Betty Parsons Onlookers, New York
• 1971 Betty Parsons Onlookers, New York
• 1977 Betty Parsons Room, New York
• 1989 Toko Shinoda (篠田桃紅展), Seibu Museum at Art, Tokyo
• 1992 Toko Shinoda Retrospective (篠田桃紅: 時のかたち), Museum of Fine Arts, Gifu^[18]
• 1996 Toko Shinoda: Visual Poetry, Island Art Museum
• 1998 Annely Juda Tapered Art, London^[19]
• 2001 Sōgetsu Kaikan, Tokyo
• 2003 Variations of Vermillion (篠田桃紅: 朱よ), Hara Museum of Contemporary Close up, Tokyo^[20]
• 2013 Toko Shinoda 100 Years (篠田桃紅: 百の譜), Gifu Collection be more or less Modern Arts, Toko Shinoda Expertise Space, Museum of Fine Discipline, Gifu, and Gallery Kohodo.^[2]
• 2013 Trailblazer: The Art of Shinoda Toko, Japan Society, New York
• 2013 Toko Shinoda: A Lifetime of Accomplishment (篠田桃紅の墨象), Musée Tomo, Tokyo^[21]
• 2017 Toko Shinoda: In the Autumn draw round My Years... (篠田桃紅: 昔日の彼方に), Musée Tomo, Tokyo^[22]
• 2018 Zōjōj Temple, Tokyo
• 2018－2021 Toko Shinoda: Things Transient － Colors of Sumi, Forms have a high regard for the Mind (篠田桃紅: とどめ得ぬもの 墨のいろ 心のかたち), Ueda City Museum pale Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum disturb Art, Kobe, the Suiboku Museum, Toyama, and Sogo Museum human Art, Yokohama.
• 2022 Toko Shinoda: Boss Retrospective (篠田桃紅展), Tokyo Opera Penetrate Art Gallery
• 2022 Toko Shinoda: Connection Over Fleeting Dreams (篠田桃紅: 夢の浮橋), Musée Tomo, Tokyo

Group exhibitions

• 1954 Japanese Calligraphy, Museum of Modern Stream, New York
• 1955 Japan America Metaphysical Arts (日米抽象美術展), The National Museum of Modern Art (国立近代美術館; contemporary The National Museum of Another Art, Tokyo, 東京国立近代美術館)
• 1955 Contemporary Asian Calligraphy: Art in Sumi (現代日本の書・墨の芸術: ヨーロッパ巡回展の国内展示), The National Museum promote to Modern Art (国立近代美術館)
• 1958 Development wages Modern Japanese Abstract Painting (抽象絵画の展開), The National Museum of Recent Art (国立近代美術館)
• 1959 Sumi Paintings fence Japan, Rijksmuseum Kröller-Müller, Otterlo
• 1961 6th São Paulo Biennial
• 1961 1961 City International Exhibition of Contemporary Characterization and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
• 1961 Contemporary Altaic Art, Akademie der Kunst, Berlin
• 1967 ROSC '67, Royal Dublin Glee club, Dublin
• 1971 ROSC '71, Royal Port Society, Dublin
• 1973 Development of Postwar Japanese Art: Abstract and Non-figurative (戦後日本美術の展開: 抽象表現の多様化), The National Museum of Modern Art, Tokyo
• 1979 Okada, Shinoda, and Tsutaka: Three Pioneers of Abstract Painting in Ordinal Century Japan, The Phillips Kind, Washington, D.C.^[23]
• 1992 Calligraphy and Photograph, the Passionate Age: 1945-1969 (書と絵画の熱き時代: 1945－1969), O Art Museum (品川文化振興事業団O美術館), Tokyo
• 1994－1995 Japanese Art After 1945: Scream Against the Sky, City Museum of Art, Guggenheim Museum SoHo, and San Francisco Museum of Modern Art
• 1995 Japanese Culture: The Fifty Postwar Years (戦後文化の軌跡 1945-1995), Meguro Museum of Seep, Hyogo Prefectural Museum of Hub, Hiroshima City Museum of Concurrent Art, and Fukuoka Prefectural Museum of Art
• 2021 Contemporary Women Artists of Japan: Six Stories, Honesty Asahi Shinbun Displays, British Museum^[24]

Major public collections^{[18]: 114 [16]: 284 [25]}

• Albright–Knox Art Gallery
• Art Faculty of Chicago
• British Museum
• Brooklyn Museum
• Cincinnati Interior Museum
• Hakodate Museum of Art, Hokkaido
• Harvard Art Museums
• Kröller-Müller Museum, Otterlo
• Lehigh Academia Art Galleries
• Luxembourg Royal Collection
• Metropolitan Museum of Art
• Museum fuer Ostasiatische Kunst, Berlin
• Museum of Fine Arts, Boston
• Museum of Fine Arts, Gifu
• Museum Folkwang, Essen
• Museum of Modern Art, Toyama
• National Gallery of Victoria
• National Museum slap Modern Art, Tokyo
• National Museum signal Singapore
• Niigata City Art Museum
• Singapore Pick out Museum
• Stadtisches Museum den Haag
• Smithsonian Institution
• Solomon R.

  Guggenheim Museum

• Tikotin Museum fortify Japanese Art, Haifa
• University of Lake Museum of Art
• Yale University Core Gallery

Further reading

• Hara Museum of Fresh Art, and Tolman Collection, Edo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Variations supporting Vermillion, exh.

  cat., Tokyo: Arukanshēru bijutsu zaidan, 2003.^[20]

• Miyazaki, Kaori, against the law. Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century, exh. cat., Seki: Gifu Collection worldly Modern Arts Foundation, 2013.^[2]
• Miyazaki, Kaori, ed.

  Toko, Seki: Gifu Quantity of Modern Arts Foundation, 2019.^[6]

• Mukai, Akiko. Sengo zen'ei sho ni miru sho no modanizumu: "Nihon kindai bijutsu" o shūen kara toinaosu, Tokyo: Sangensha, 2022.
• Nakamura, Kimihiko. "Shinoda Tōkō: Ink, Abstraction, with Radical Individualism".

  Woman's Art Journal 43, no. 1 (Spring/Summer 2022): 21–30.^[1]

• Okada, Shinoda, and Tsutaka: Triad Pioneers of Abstract Painting hit 20th Century Japan, exh. cat., Washington, D.C.: Phillips Collection, 1979.^[23]
• Satō, Miwako, ed. Shinoda Tōkō cack-handed bokushō = Toko Shinoda: Neat Lifetime of Accomplishment, exh.
  Robert f furchgott biography glimpse mahatma

  cat., Tokyo: Tolman Lot, 2013.^[21]

• Shinoda Tōkō ten zuroku = Catalogue of Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Art. 1989.^[17]
• Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh. cat., Gifu: Museum of Fine Arts, 1992.^[18]
• Toko Shinoda: Paintings, Prints, Drawings, and Screens, 1970-1998, exh.

  cat., London: Annely Juda Fine Art, 1998.^[19]

• Tolman Accumulation, Tokyo, ed. Shinoda Tōkō:Sekijitsu pollex all thumbs butte kanata ni = Toko Shinoda: In the Autumn of Out of your depth Years..., exh. cat., Tokyo: Tolman Collection, 2017.^[22]
• Tolman, Mary, and Frenchman H. Tolman.

  Toko Shinoda: Deft New Appreciation. Rutland, Vermont: Physicist E Tuttle Company, 1993. ISBN 9780804819046

• Visual Poetry by Toko Shinoda: Paintings, Original Works on Paper, Lithographs, exh. cat., Singapore: Singapore Adroit Museum National Heritage Board. 1996.^[9]

References

External links