Kishio Koizumi, 1893-1945
One Hundred Pictures of Great Tokyo in the Showa Era: National Treasure, Imperial University Akamon Gate (no. 85)
(Showa dai Tokyo hyakuzue: Kokuho Teikoku Daigaku Akamon)
signed Izumi in kanji and KOIZUMI KISIO in block Roman letters, self-carved, self-printed with gofun highlighting the falling snow, ca. December 1936
12 by 15 1/2 in., 30.5 by 39.5 cm
In 1928 Kishio Koizumi released the first print of this ambitious series of 100 designs. Entirely self-carved and self-printed, the series would take nine years to complete during a period of rapid expanding and rebuilding of Tokyo and tumultuous political and social change in Japan. Koizumi's views of Tokyo reflected an interest in the modernization of the city while at the same time a sense of nostalgic pride in traditional Japan. Indeed, to produce a series depicting locations in the capital is a direct reference to the Edo period convention of scenic views made popular by artists such as Utagawa Hiroshige (1797-1858). Koizumi also chose subjects such as the army barracks or the Meiji memorial which were symbolic of Japanese Imperial achievements or locations that endured the 1923 Great Kanto Earthquake which were symbolic of Japanese strength and resilience.
The National Museum of Modern Art, Tokyo, Catalogue of Collections: Prints, 1993, p. 136, no. 1270
James Ulak et al., Tokyo: The Imperial Capital, Woodblock Prints by Koizumi Kishio, 2003
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