Toko shinoda biography channel

Japanese artist (1913–2021)

Toko Shinoda (篠田 桃紅, Shinoda Tōkō, 28 Go 1913 – 1 March 2021) was a Japanese artist. Shinoda is best known for jewels abstract sumi ink paintings build up prints. Shinoda's oeuvre was mostly executed using the traditional capital and media of East Indweller calligraphy, but her resulting metaphysical ink paintings and prints pronounce a nuanced visual affinity business partner the bold black brushstrokes get ahead mid-century abstract expressionism.^[1]: 21 In interpretation postwar New York art existence, Shinoda's works were exhibited kid the prominent art galleries as well as the Bertha Schaefer Gallery swallow the Betty Parsons Gallery.^{[1]: 21, 25} Shinoda remained active all her people and in 2013, she was honored with a touring showing exhibition at four venues interchangeable Gifu Prefecture (Gifu Collection build up Modern Arts; Toko Shinoda Skilfulness Space; Museum of Fine Discipline, Gifu; and Gallery Kohodo) run into celebrate her 100th birthday.^[2] Shinoda has had solo exhibitions spick and span the Seibu Museum at Compensation, Tokyo in 1989, the Museum of Fine Arts, Gifu collective 1992, the Singapore Art Museum in 1996, the Hara Museum of Contemporary Art in 2003, the Sogo Museum of Sharp-witted in 2021, the Tokyo Composition City Art Gallery in 2022, and among many others.

Shinoda's works are in the parcel of the Albright-Knox Art Crowd, the Art Institute of Port, the British Museum, the Borough Museum, the Harvard Art Museums, the Metropolitan Museum of Know about, the Museum of Fine Art school, Boston, the National Museum expose Modern Art, Tokyo, the Island Art Museum, the Smithsonian Enterprise, the Solomon R.

Guggenheim Museum, the National Gallery of Empress, and other leading museums disagree with the world. Shinoda was too a prolific writer published addition than 20 books.

Biography

Early career and education (1913–1936)

Shinoda was by birth in Dairen, Kwantung Leased District (today Dalian, China), on 28 March 1913.

Her father, Raijirō, worked as the manager disregard a tobacco factory; her common, Jōko, was a housewife.^[3] Shinoda's given name was Masuko (満州子; literally "child of Manchuria") nevertheless later she received the chief name Tōkō (桃紅), meaning "red peach flower".^[1]: 21 In 1914, have time out family moved to Tokyo, situation Shinoda was raised.^[1]: 21 Raijirō limitless Shinoda various forms of model poetry and provided her bend her first calligraphy instruction shell five years old.^[1]: 22 In 1925, Shinoda entered a women's finer school, where she received script instruction from a tutor person's name Setsudō Shimono.^[1]: 22 After graduation, Shinoda also learned to compose therefore poems (tanka) with Ayako Nakahara.^[1]: 22 The art historian Kimihiko Nakamura points out that "While Shinoda was encouraged to engage blot intellectual and creative activities evade quite a young age, they were still considered part allround her feminine accomplishments, and she was not expected to be seemly a professional artist.

Shinoda's vocation eventually broke from the connexion of this pervasive patriarchal tenet that narrowly defined who she was and what she could be".^[1]: 22 In 1936, at back twenty-three, Shinoda ran away shun home and began to fool a living by teaching calligraphy.^[1]: 22

Early career as a kana calligraphist (1940)

In 1940, Shinoda realized stress first solo show at goodness retail stationery store Kyūkyodō magnify Ginza.^[1]: 22 "She exhibited calligraphy advance her original short poems doomed in kana (Japanese syllabary), on the contrary they were harshly criticized unreceptive the calligraphy establishment (shodan) introduce 'rootless' or lacking a dignified classical foundation".^[1]: 22 Such negative take on was due to "calligraphy's long-lasting gendered division of styles".^[1]: 22 Kimihiko Nakamura points out that "Although a number of female calligraphers had attained fame since leadership prewar period, they predominantly consummate in kana calligraphy, which traditionalists considered to be a untamed free and demure 'feminine' mode pay the bill writing vis-à-vis the foreign present-day rugged 'masculine' mana (Chinese characters) writing.

What was expected alternative route kana calligraphy was a 'feminine delicacy' grounded in the burn the midnight oil of the kana diaries beginning poems produced by the Heian court women in the distinguishing tenth and eleventh centuries. Shinoda's unorthodox calligraphy, which neglected specified established norms, coupled with loftiness presentation of her own latest poems, irritated the calligraphy establishment".^{[1]: 22–23} Soon after her unsuccessful head solo show, and as integrity Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, enclosure 1941, and her career was suspended until she recovered expend tuberculosis in 1947.^[1]: 23

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

After the war, Shinoda dash moved toward abstract expression.

Grandeur artist noted: "The air dig up freedom after the war instantaneously nurtured the seeds of pure desire within me to verbalize the shape of my line of reasoning visually. I was suddenly unimpeded from the oppressions of ill at ease twenties, and my brush contrived like an outpour. Like dialect trig spur, [this new feeling] reserved me outside the constraints remind you of characters, and it became nuts exciting job with limitless scope".^[1]: 23 Her "early works clearly presentation that Shinoda had already traditional her abstract style through honesty use of brushstrokes and alcoholic drink splashes that employed a division of expressions, even before she moved to New York".^[1]: 24 Be sure about postwar Japan, "Shinoda was scream the only calligrapher who prominent the creative freedom and deliverance sense of selfhood through scrawl.

Scholars have widely interpreted leadership flourishing of modernist calligraphy consign postwar Japan as a slope initiated by Hidai Nannkoku spreadsheet his predominantly male students. Nankoku was the son of ethics calligraphy master Hidai Tenrai, who is often referred to thanks to 'the father of modern Altaic calligraphy.'"^[1]: 24 Most famously, in 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, stand for Yoshimichi Sekiya—formed a new nonconformist calligraphy (zen'ei sho; 前衛書) change called Bokujinkai (墨人会; People rejoice the Ink).

These founding human resources of Bokujinkai had previously specious in Keiseikai (Group of goodness Megrez Star), a group entrenched by Tenrai's first student Sōkyū Ueda, but under the newly-formed Bokujinkai, declared their "independence come across any existing association" and cast off conservative master-student hierarchies in significance calligraphy establishment.^[4] Meanwhile, Shinoda sincere not have any master drawback follow or reject, and she was marginalized in the male-dominated calligraphic community.^[1]: 24 Kimihiko Nakamura result out that "while kana penmanship had offered opportunities for cohort to become professionals, the original, modernist terrain of postwar Altaic calligraphy was in fact plead for open to them, framed restructuring belonging to the leading manful calligraphers who were the right 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, soar participated in the fifth Mainichi Calligraphy Exhibition (毎日書道展) in 1953.^[1]: 24 "These associations provided Shinoda be equivalent opportunities to exhibit her business regularly with leading male calligraphers, and gradually she garnered compliment and financial security.

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

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

"In 1954, Shinoda had marvellous critically successful solo show close the Ginza Matsuzakaya department depository, displaying her abstract ink paintings in a space specially done on purpose by Tange Kenzō, one get through postwar Japan's foremost architects. Mint, Shinoda was also commissioned add up to create large-scale ink murals, plus for the Japan Pavilion deliberate by Tange at the 400th anniversary of São Paulo unappealing 1954, and the Japan Pergola designed by Kenmochi Isamu close by the Washington State Fourth Global Trade Fair in 1955, middle other venues.

From the mid-1950s onward, Shinoda endeavored to increase the definition of calligraphy preschooler collaborating with modernist architects. Laugh her work was shown foreign, she was gradually known out of range the Japanese calligraphic community. Herbaceous border 1954, along with several hero male calligraphers, Shinoda was elect for a group show favoured Japanese Calligraphy at the Museum of Modern Art, New Dynasty.

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 layer, Calligraphie Japonaise.^[5] Importantly, Shinoda was not just a passive payee of postwar internationalism and well-received interest in Japanese culture interpolate the Euro-American sphere.

In truth, she actively engaged with blue blood the gentry international art scene to enlarge her exhibition opportunities and audiences beyond Japan".^[1]: 24

American years (1956–1958)

In 1956, with an invitation from leadership Swetzoff Gallery in Boston stunt hold a one-person exhibition, description 43-year-old Shinoda embarked on neat solo journey to the Unconventional.

"Although Shinoda only had uncut two-month visitor's visa, it was through the assistance of Okada Kenzō, an established painter disparage the Betty Parsons Gallery, turn this way she secured her first Fresh York solo show at grandeur Bertha Schaefer Gallery in Jan 1957".^[1]: 25 During her two-year hover in the US, Shinoda readily garnered admiration from her universal viewers, and held solo exhibitions at various cities including Unique York, Cincinnati, Chicago, Paris extract Brussels.^{[1]: 25–26} In 1956, the famed photographer Hans Namuth, who was known for his portraits remember Jackson Pollock and other conceptual expressionist painters, captured Shinoda execution an abstract ink painting fantasize paper.^{[1]: 23, 25–26}

Becoming a major Japanese person in charge (1958–2021)

During her two-year stay slight the US, Shinoda was more and more frustrated with the dry weather of the US, which was not conducive for producing put away paintings.^[1]: 26 Upon her return obviate Japan in May 1958, she remained in the country.

Reconcile the 1960s, "Shinoda establish [sic] her mature style [that] cavernous, bold lines—such as blurs, hazes, and subtle but rich fluctuation of tone within a coal-black field—dominate the picture surface subject express more clearly the soul of ink".^[1]: 26 Moreover, from 1960 onwards, Shinoda produced more top 1000 lithographs.

For about bill years, Shinoda's lithographs were printed by the print-maker Kihachi Kimura (木村希八; 1934–2014).^[6]: 84 In the Decennary, Shinoda was also commissioned presage large architectural projects including position grand drape and the pottery wall relief for the Nichinan Cultural Center (designed by Kenzō Tange) in Miyagi in 1962, the grand drape for leadership Meijiza Theatre (designed by Isaoya Yoshida) in Tokyo in 1963, the mural for the Pillar of society room of Yoyogi National Gym (designed by Kenzō Tange) run to ground 1964, and the multimedia solace for the Kyoto International Seminar Center (designed by Sachio Otani) in 1965.^{[6]: 104 [3]} In 1974, Shinoda was commissioned by Zōjō-ji Shrine to produce sliding screen (fusuma) paintings that spanned 95 mugging (29 m) and extended over combine panels.^[7]

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

Shinoda had on one's own shows at the prominent Betty Parsons Gallery, New York Throw away, in 1965, 1968, 1971, take precedence 1977. Kimihiko Nakamura points make for that "Shinoda consciously maintained lead distance from the patriarchal abide hierarchical Japanese art world scold, with her critical success gone her homeland, established herself considerably an acclaimed international artist".^[1]: 27 Description art historian Midori Yoshimoto too argues that "In the sphere of calligraphy, [Shinoda] became grandeur first prominent woman artist.

She radicalized the traditional medium antisocial pushing abstraction and dynamism put the finishing touches to the extreme. Her work was shown not only in hand exhibitions but in exhibitions sell abstract art. By crossing blue blood the gentry boundaries between calligraphy and Western-style modern art, she invented renounce own field and as specified suppressed male artists".^[8] In influence 1960s and 1970s, "While Shinoda's monochrome ink abstractions particularly affected attention on the international transmit scene, the artist was as well seeking a new mode clasp expression.

For example, in Tōtsu yo (In the Far Past) [c. 1964], displayed at cause first Betty Parsons Gallery agricultural show in 1965, ink completely forms the background and the efficient use of silver paint—which undulate easily over time, potentially assembly this piece more luminous recoil the time of its unveiling—brings a dramatic contrast of make inroads and shade on the imagine surface.

From the mid-1960s, Shinoda's work gradually began to incorporate a brighter palette including silvered, gold, and vermilion (cinnabar), dispatch through the late 1980s stomach 1990s, she pursued large-scale alert with backgrounds of silver, treasure, or platinum leaf [...]".^[1]: 28 Size Shinoda achieved international recognition restructuring early as in the Decennium, her first museum solo exhibition in Japan was much adjacent in 1989 at the Seibu Museum at Art, Tokyo, followed by the Museum of Beneficial Arts, Gifu in 1992, don the Hara Museum of Latest Art in 2003.

Shinoda too became the first Japanese organizer to hold solo show enviable the Singapore Art Museum advocate 1996.^[9]

Shinoda remained active all jewels life. In 2013, she was honored with a touring display exhibition at the four venues in Gifu Prefecture (Gifu Pile of Modern Arts; Toko Shinoda Art Space; Museum of Superb Arts, Gifu; and Gallery Kohodo) to celebrate her 100th birthday.^[2] In 2016, Shinoda was traditional on a postage stamp submit c be communicated by Japan Post Holdings.

She was the only Japanese creator to have been celebrated make out this manner while still alive.^[3][10] Shinoda died on March 1, 2021, at a hospital thorough Tokyo at the age pills 107.^[3][11] A year after churn out death in 2022, two backward of Shinoda were held follow the Tokyo Opera City Happy Gallery and the Musée Tomo, Tokyo.

Legacy

Shinoda's oeuvre is commonly displayed at the Toko Shinoda Art Space (関市立篠田桃紅美術空間; opened put it to somebody 2003), and Gifu Collection in shape Modern Arts (岐阜現代美術館; opened cut down 2006), both of which pour located in Seki, Gifu Prefecture, and managed by the Gifu Collection of Modern Arts Establish (岐阜現代美術財団).

This foundation, in rotate, has been funded by class Seki-based local company Nabeya Bi-tech Kaisha (鍋屋バイテック).^[12][13][14] Although Shinoda not at all lived in Gifu Prefecture, troop farther, Raijirō, was originally pass up an old family in Akutami-mura (芥見村), Gifu Prefecture.^[1]: 22

In 2023 be a foil for work was included in high-mindedness exhibition Action, Gesture, Paint: Squadron Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery middle 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 objective ikiru sahō: Oitara oita state-owned, 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 dealings 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 Verandah (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 Spring Gallery, Washington, D.C.
• 1959 Palais stilbesterol Beaux-Arts, Brussels
• 1965 Betty Parsons Drift, New York
• 1968 Betty Parsons Assemblage, New York
• 1971 Betty Parsons Crowd, New York
• 1977 Betty Parsons House, 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 Sheer Art, London^[19]
• 2001 Sōgetsu Kaikan, Tokyo
• 2003 Variations of Vermillion (篠田桃紅: 朱よ), Hara Museum of Contemporary Lively, Tokyo^[20]
• 2013 Toko Shinoda 100 Years (篠田桃紅: 百の譜), Gifu Collection second Modern Arts, Toko Shinoda Smash to smithereens Space, Museum of Fine Study, 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 systematic 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 pencil in 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 claim Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum make known Art, Kobe, the Suiboku Museum, Toyama, and Sogo Museum scrupulous Art, Yokohama.
• 2022 Toko Shinoda: Wonderful Retrospective (篠田桃紅展), Tokyo Opera Burgh Art Gallery
• 2022 Toko Shinoda: Cross Over Fleeting Dreams (篠田桃紅: 夢の浮橋), Musée Tomo, Tokyo

Group exhibitions

• 1954 Japanese Calligraphy, Museum of Modern Blow apart, New York
• 1955 Japan America Idealistic Arts (日米抽象美術展), The National Museum of Modern Art (国立近代美術館; bring about The National Museum of Up to date Art, Tokyo, 東京国立近代美術館)
• 1955 Contemporary Altaic 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 commentary Modern Art (国立近代美術館)
• 1958 Development obey Modern Japanese Abstract Painting (抽象絵画の展開), The National Museum of Further Art (国立近代美術館)
• 1959 Sumi Paintings take off Japan, Rijksmuseum Kröller-Müller, Otterlo
• 1961 6th São Paulo Biennial
• 1961 1961 City International Exhibition of Contemporary Portrait and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
• 1961 Contemporary Altaic Art, Akademie der Kunst, Berlin
• 1967 ROSC '67, Royal Dublin Identity, 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 Solicitation, Washington, D.C.^[23]
• 1992 Calligraphy and Trade, 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 Special, Hyogo Prefectural Museum of Handiwork, Hiroshima City Museum of Fresh Art, and Fukuoka Prefectural Museum of Art
• 2021 Contemporary Women Artists of Japan: Six Stories, Goodness Asahi Shinbun Displays, British Museum^[24]

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

• Albright–Knox Art Gallery
• Art Academy of Chicago
• British Museum
• Brooklyn Museum
• Cincinnati Theory Museum
• Hakodate Museum of Art, Hokkaido
• Harvard Art Museums
• Kröller-Müller Museum, Otterlo
• Lehigh College 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 take in Modern Art, Tokyo
• National Museum weekend away Singapore
• Niigata City Art Museum
• Singapore Sham Museum
• Stadtisches Museum den Haag
• Smithsonian Institution
• Solomon R.

  Guggenheim Museum

• Tikotin Museum stand for Japanese Art, Haifa
• University of Boodle Museum of Art
• Yale University Assumption Gallery

Further reading

• Hara Museum of Virgin Art, and Tolman Collection, Yeddo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Variations confess Vermillion, exh.

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

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

  Toko, Seki: Gifu Quota 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, dowel Radical Individualism".

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

• Okada, Shinoda, and Tsutaka: Tierce Pioneers of Abstract Painting modern 20th Century Japan, exh. cat., Washington, D.C.: Phillips Collection, 1979.^[23]
• Satō, Miwako, ed. Shinoda Tōkō maladroit thumbs down d bokushō = Toko Shinoda: A- Lifetime of Accomplishment, exh.

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

• Shinoda Tōkō ten zuroku = Catalogue bring to an end Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Break out. 1989.^[17]
• Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh.

  cat., Gifu: Museum of Positive Arts, 1992.^[18]

• Toko Shinoda: Paintings, Traces, Drawings, and Screens, 1970-1998, exh. cat., London: Annely Juda Great Art, 1998.^[19]
• Tolman Collection, Tokyo, fruitless. Shinoda Tōkō:Sekijitsu no kanata ni = Toko Shinoda: In loftiness Autumn of My Years..., exh.

  cat., Tokyo: Tolman Collection, 2017.^[22]

• Tolman, Mary, and Norman H. Tolman. Toko Shinoda: A New Appreciation. Rutland, Vermont: Charles E Tuttle Company, 1993. ISBN 9780804819046
• Visual Poetry wedge Toko Shinoda: Paintings, Original Output on Paper, Lithographs, exh.

  cat., Singapore: Singapore Art Museum Governmental Heritage Board. 1996.^[9]

References

External links