Tatami Maker
Artist
Yoshitoshi, Mori
(Japanese, 1898–1992)
Date1973
Mediumstencil print on paper
Dimensions52.1 x 34.6 cm (sheet)
ClassificationsPrints
Credit LineBequest of Barbara Milliken
Object number2014.631
DescriptionTo create their stenciled art works Mori used multiple stencils, namely a key impression print and color stencils; in short, they used stencils to apply both paste resist and color onto paper. The first stage involved the application and drying of dye-resist paste that covered all areas of the design to be left without color. Colors, from light ones to darker ones, were then brushed directly onto the paper sheet through stencils. After all the colors had dried and been covered with resist-paste, the key impression stencil was placed over the paper and the entire work was covered with resist paste. The key impression stencil was then removed. When the paste had dried completely, the uncovered key impression lines were colored with India ink to create black outlines. After the ink had dried, the paste was washed off and the stencil print was completed.
Label TextUSING STENCILS IN NEW WAYS: Mori Yoshitoshi (1898-1992) and Watanabe Sadao (1913-96) Influenced by Yanagi Muneyoshi (1889-1961) and having studied with Serizawa Keisuke (1895-1984), the artists Mori Yoshitoshi and Watanabe Sadao were closely associated with the Mingei (Folk Art) Movement. However both artists took the use of stencils in new artistic directions. To create their stenciled art works Mori and Watanabe used multiple stencils, namely a key impression print and color stencils; in short, they used stencils to apply both paste resist and color onto paper. The first stage involved the application and drying of dye-resist paste that covered all areas of the design to be left without color. Colors, from light ones to darker ones, were then brushed directly onto the paper sheet through stencils. After all the colors had dried and been covered with resist-paste, the key impression stencil was placed over the paper and the entire work was covered with resist paste. The key impression stencil was then removed. When the paste had dried completely, the uncovered key impression lines were colored with India ink to create black outlines. After the ink had dried, the paste was washed off and the stencil print was completed. Mori Yoshitoshi worked for 30 years as a designer and dyer of kimono fabrics but in the mid 1950s he started to create bold folk-art style prints. Becoming a key artist in “Sōsaku-hanga Movement.” Mori had a falling out with Serizawa in 1962. Unlike the Mingei Movement which advocated the merits of earlier unknown craftsmen (many collaborating with others to created products), the principles of sōsaku hanga advocated for “self-made” art, stressing the artist motivated by a desire for self-expression, as the sole creator. Watanabe Sadao became a Christian in 1930, and became famous for his biblical stencil prints. Watanabe often used hand-crumpled momigami paper to give a visually rough quality to the print. Watanabe’s simplified faces, showing the eyes connected across the nose were derived from Buddhist folk art. His palette and style were inspired by early hand-colored books.
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