#koizumi kishio

[the-cricket-chirps]

Koizumi Kishio

Senju Town with Storage Tanks

1929

[weary-hearted-art]

Koizumi Kishio, Camellias, 1930

[holespoles]

Kishio Koizumi (1893-1945)⁠ One Hundred Pictures of Great Tokyo: Togoshi Ginza Station

小泉癸巳男 「昭和大東京百図絵版画完制判 第二十七景 戸越銀座駅(荏原区)」

[thekimonogallery]

"Yamashita Entrance to Ueno Park (#17)," by Kishio Koizumi, dated September 1931. Part of his "One Hundred Pictures of Great Tokyo During the Showa Period" series. It shows a moga entering Ueno Park, the biggest park in Tokyo. Text by Matthew Legare

[straycalico]

Eyes fixed on the hands of the wall clock, Junpei thought about the rest of the story for Sala—the tale of Masakichi and Tonkichi. He had to find a way out. He couldn't just leave Tonkichi stranded in the zoo. He had to save him. He retraced the story from the beginning. Before long, the vague outline of an idea began to sprout in his head, and, little by little, it took shape.

honey pie, from after the quake by Haruki Murakami

Art by Kishio Koizumi

[amore0429]

"100 Views of Great Tokyo in the Shōwa Era" : Togoshi Ginza Station, July 1940 - Koizumi Kishio (1883-1945)

[bigcatmum]

Kishio Koizumi - Monkey Bridge in Snow, 1939

[norbert-weber]

20241110 Japan Art and Koizumi Kishio: Tokyo in the 1930s

Japan Art and Koizumi Kishio: Tokyo in the 1930s Lee Jay Walker Modern Tokyo Times Koizumi Kishio (1893-1945) was born during the dynamic Meiji Period (1868-1912). However, he witnessed the nationalist period of the early Showa Period and the devastation of the Pacific War.  Indeed, the carpet bombing of Tokyo by America entailed that he was forced to […] Japan Art and Koizumi Kishio: Tokyo in…

[carastinks]

001. Chasing Modernity, Sept 1928

This artwork is the work of two late printmakers, Oda Kazuma (1881-1956 ) and Kishio Koizumi ( 1893-1945), both of whom were members of the Sosaku Hanga ( creative print) movement who had a common goal of depicting daily life in Japan after the 1923 earthquake. Oda Kazuma and Koizumi produced self-carved and professional woodblock prints and were highly dedicated to their work. 

After sifting through their collection, these were my favorite. I love the excellent tone color palate in contrast to heavy, warmer tones and how they skillfully use texture. The waterfall piece is an excellent texture exhibit; I am so in love with how effortlessly their color palettes work together to tell a story. Speaking of story, I love the idea of every piece being so mundane in nature. Most of their artwork is from the everyday lives of people in Japan, and I enjoy how thoughtfully they both portray these lives. With all the automobiles moving throughout the city scene, "Twilight at Ginza," I love the block texture that makes it look like it's snowing and the soft and subtle contrast of yellow and white to emulate light. The last one is called The Great Bridge in Matsue, and I adore how the mountainscape background is completely white and greyed out. I love seeing just how well the colors pop on the page, and it inspires me to experiment with the idea of "less is more.” I always find myself trying to add more and more when I can focus on the color or texture and simplicity instead.

[carasarchive]

001. Chasing Modernity, Sept 1928

This artwork is the work of two late printmakers, Oda Kazuma (1881-1956 ) and Kishio Koizumi ( 1893-1945), both of whom were members of the Sosaku Hanga ( creative print) movement who had a common goal of depicting daily life in Japan after the 1923 earthquake. Oda Kazuma and Koizumi produced self-carved and professional woodblock prints and were highly dedicated to their work. 

After sifting through their collection, these were my favorite. I love the excellent tone color palate in contrast to heavy, warmer tones and how they skillfully use texture. The waterfall piece is an excellent texture exhibit; I am so in love with how effortlessly their color palettes work together to tell a story. Speaking of story, I love the idea of every piece being so mundane in nature. Most of their artwork is from the everyday lives of people in Japan, and I enjoy how thoughtfully they both portray these lives. With all the automobiles moving throughout the city scene, "Twilight at Ginza," I love the block texture that makes it look like it's snowing and the soft and subtle contrast of yellow and white to emulate light. The last one is called The Great Bridge in Matsue, and I adore how the mountainscape background is completely white and greyed out. I love seeing just how well the colors pop on the page, and it inspires me to experiment with the idea of "less is more.” I always find myself trying to add more and more when I can focus on the color or texture and simplicity instead.

[the-cricket-chirps]

Koizumi Kishio

Japanese Cedar Trees National Parks Nikko

1931

[weary-hearted-art]

Koizumi Kishio, Shiba Park, Pagoda and Plum Trees, 1931

[holespoles]

Kishio Koizumi 1893-1945 One Hundred Pictures of Great Tokyo in the Showa Era: Streetscape at Shinjuku

小泉癸巳男『昭和大東京百図絵版画』より《第六十一景・淀橋区新宿街景》（昭和10年４月作）。新宿通りの三越の屋上にアドバルーン。新宿三越は昭和５年10月にこの地に新築移転、斜め向かいの伊勢丹は昭和８年９月に新築開店。青の色彩が美しい。

[huariqueje]

View of Ginza in the Spring -    Koizumi Kishio, 1931.

Japanese, 1893-1945

Woodblock ,  11 7/8 x 15 1/2 in.

[crazyfox-archives]

“Hackberry Tree-Lined Road at Kishimojin Shrine at Toshima Ward (Zōshigaya), November 1933″ by Koizumi Kishio (小泉癸巳男) (1893-1945), showing families on their way to Tokyo’s famous shrine dedicated to Kishimojin (鬼子母神), the goddess of child protection, during November’s Shichi-Go-San Festival (七五三), an especially appropriate venue as it were

Image from “Tokyo: The Imperial Capital: Woodblock Prints by Koizumi Kishio, 1928-1940″ edited by Leslie Sternlieb, Nancy TenBroeck, and Akiko Ito Hocsman, published by The Wolfsonian, Florida State University, 2003, page 66

[tofuist]

小泉癸巳男 「正月の二重橋」昭和7年