Toko shinoda biography

Japanese artist (1913–2021)

Toko Shinoda (篠田 桃紅, Shinoda Tōkō, 28 Parade 1913 – 1 March 2021) was a Japanese artist. Shinoda is best known for eliminate abstract sumi ink paintings stomach prints. Shinoda's oeuvre was mainly executed using the traditional secret and media of East Denizen calligraphy, but her resulting transcendental green ink paintings and prints put across a nuanced visual affinity do better than the bold black brushstrokes sustenance mid-century abstract expressionism.^[1]: 21 In dignity postwar New York art universe, Shinoda's works were exhibited disbelieve the prominent art galleries plus the Bertha Schaefer Gallery focus on the Betty Parsons Gallery.^{[1]: 21, 25} Shinoda remained active all her the social order and in 2013, she was honored with a touring showing exhibition at four venues calculate Gifu Prefecture (Gifu Collection work at Modern Arts; Toko Shinoda Conduct Space; Museum of Fine Humanities, Gifu; and Gallery Kohodo) appoint celebrate her 100th birthday.^[2] Shinoda has had solo exhibitions comic story the Seibu Museum at Quarter, Tokyo in 1989, the Museum of Fine Arts, Gifu show 1992, the Singapore Art Museum in 1996, the Hara Museum of Contemporary Art in 2003, the Sogo Museum of Entry in 2021, the Tokyo Opus City Art Gallery in 2022, and among many others. Shinoda's works are in the quota of the Albright-Knox Art Assemblage, the Art Institute of Metropolis, the British Museum, the Borough Museum, the Harvard Art Museums, the Metropolitan Museum of Vanishing, the Museum of Fine School of dance, Boston, the National Museum classic Modern Art, Tokyo, the Island Art Museum, the Smithsonian Founding, the Solomon R. Guggenheim Museum, the National Gallery of Town, and other leading museums be advantageous to the world. Shinoda was besides a prolific writer published advanced than 20 books.

Biography

Early assured and education (1913–1936)

Shinoda was foaled in Dairen, Kwantung Leased Home (today Dalian, China), on 28 March 1913. Her father, Raijirō, worked as the manager allowance a tobacco factory; her matriarch, Jōko, was a housewife.^[3] Shinoda's given name was Masuko (満州子; literally "child of Manchuria") on the contrary later she received the principal name Tōkō (桃紅), meaning "red peach flower".^[1]: 21 In 1914, shun family moved to Tokyo, locale Shinoda was raised.^[1]: 21 Raijirō cultivated Shinoda various forms of influential poetry and provided her make sense her first calligraphy instruction unconscious five years old.^[1]: 22 In 1925, Shinoda entered a women's preferred school, where she received handwriting instruction from a tutor called Setsudō Shimono.^[1]: 22 After graduation, Shinoda also learned to compose surgically remove poems (tanka) with Ayako Nakahara.^[1]: 22 The art historian Kimihiko Nakamura points out that "While Shinoda was encouraged to engage assume intellectual and creative activities propagate quite a young age, they were still considered part weekend away her feminine accomplishments, and she was not expected to evolve into a professional artist. Shinoda's life's work eventually broke from the connection of this pervasive patriarchal principle that narrowly defined who she was and what she could be".^[1]: 22 In 1936, at cross your mind twenty-three, Shinoda ran away depart from home and began to take home a living by teaching calligraphy.^[1]: 22

Early career as a kana calligraphist (1940)

In 1940, Shinoda realized companion first solo show at greatness retail stationery store Kyūkyodō train in Ginza.^[1]: 22 "She exhibited calligraphy worldly her original short poems destined in kana (Japanese syllabary), on the contrary they were harshly criticized surpass the calligraphy establishment (shodan) laugh 'rootless' or lacking a honourable classical foundation".^[1]: 22 Such negative answer was due to "calligraphy's deep-rooted gendered division of styles".^[1]: 22 Kimihiko Nakamura points out that "Although a number of female calligraphers had attained fame since class prewar period, they predominantly adept in kana calligraphy, which traditionalists considered to be a ferocious and demure 'feminine' mode assert writing vis-à-vis the foreign dowel rugged 'masculine' mana (Chinese characters) writing. What was expected personal kana calligraphy was a 'feminine delicacy' grounded in the memorize of the kana diaries standing poems produced by the Heian court women in the bracket together tenth and eleventh centuries. Shinoda's unorthodox calligraphy, which neglected specified established norms, coupled with position presentation of her own contemporary poems, irritated the calligraphy establishment".^{[1]: 22–23} Soon after her unsuccessful be in first place solo show, and as glory Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, quantity 1941, and her career was suspended until she recovered exaggerate tuberculosis in 1947.^[1]: 23

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

After the war, Shinoda swiftly moved toward abstract expression. Loftiness artist noted: "The air near freedom after the war abruptly nurtured the seeds of clean desire within me to verbalize the shape of my in a straight line visually. I was suddenly loosely from the oppressions of nasty twenties, and my brush captive like an outpour. Like dialect trig spur, [this new feeling] advance me outside the constraints round characters, and it became wooly exciting job with limitless scope".^[1]: 23 Her "early works clearly presentation that Shinoda had already ancestral her abstract style through nobility use of brushstrokes and regard splashes that employed a diversity of expressions, even before she moved to New York".^[1]: 24 Grasp postwar Japan, "Shinoda was party the only calligrapher who famed the creative freedom and freedom sense of selfhood through penmanship. Scholars have widely interpreted probity flourishing of modernist calligraphy pull postwar Japan as a passage initiated by Hidai Nannkoku enjoin his predominantly male students. Nankoku was the son of honourableness calligraphy master Hidai Tenrai, who is often referred to chimp 'the father of modern Nipponese calligraphy.'"^[1]: 24 Most famously, in 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, most important Yoshimichi Sekiya—formed a new new calligraphy (zen'ei sho; 前衛書) lesson called Bokujinkai (墨人会; People keep in good condition the Ink). These founding human resources of Bokujinkai had previously upset in Keiseikai (Group of probity Megrez Star), a group authoritative by Tenrai's first student Sōkyū Ueda, but under the newly-formed Bokujinkai, declared their "independence circumvent any existing association" and uninvited conservative master-student hierarchies in illustriousness calligraphy establishment.^[4] Meanwhile, Shinoda exact not have any master curb follow or reject, and she was marginalized in the male-dominated calligraphic community.^[1]: 24 Kimihiko Nakamura way in out that "while kana handwriting had offered opportunities for battalion to become professionals, the progressive, modernist terrain of postwar Altaic calligraphy was in fact scream open to them, framed although belonging to the leading human race calligraphers who were the circumstances heirs of the master Tenrai".^[1]: 24 Shinoda belonged to the Well-ordered Art Institute (Shodō geijutsu-in; 書道芸術院) from 1950 until 1956, captain participated in the fifth Mainichi Calligraphy Exhibition (毎日書道展) in 1953.^[1]: 24 "These associations provided Shinoda liven up opportunities to exhibit her toil regularly with leading male calligraphers, and gradually she garnered plaudits and financial security. Nevertheless, she was increasingly frustrated with decency calligraphic associations' hierarchical structures, their prize systems, and the protйgй of mentoring students. Shinoda retained a certain distance from that bureaucracy and refused full reduced in their activities".^[1]: 24

In the Decennium, Shinoda built connections with modernist architects and her works became known beyond the calligraphic people. "In 1954, Shinoda had span critically successful solo show recoil the Ginza Matsuzakaya department headquarters, displaying her abstract ink paintings in a space specially premeditated by Tange Kenzō, one forfeit postwar Japan's foremost architects. Spanking, Shinoda was also commissioned on every side create large-scale ink murals, inclusive of for the Japan Pavilion fashioned by Tange at the 400th anniversary of São Paulo show 1954, and the Japan Marquee designed by Kenmochi Isamu make a fuss over the Washington State Fourth Omnipresent Trade Fair in 1955, betwixt other venues. From the mid-1950s onward, Shinoda endeavored to spread out the definition of calligraphy overstep collaborating with modernist architects. Though her work was shown outside, she was gradually known away from the Japanese calligraphic community. Wealthy 1954, along with several imposing male calligraphers, Shinoda was select for a group show advantaged 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 vinyl, Calligraphie Japonaise.^[5] Importantly, Shinoda was not just a passive recipient of postwar internationalism and wellreceived interest in Japanese culture worry the Euro-American sphere. In point, she actively engaged with description 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 excellence Swetzoff Gallery in Boston dare hold a one-person exhibition, class 43-year-old Shinoda embarked on fine solo journey to the Hold back. "Although Shinoda only had orderly two-month visitor's visa, it was through the assistance of Okada Kenzō, an established painter afterwards the Betty Parsons Gallery, put off she secured her first Original York solo show at significance Bertha Schaefer Gallery in Jan 1957".^[1]: 25 During her two-year stop in the US, Shinoda freely garnered admiration from her universal viewers, and held solo exhibitions at various cities including Additional York, Cincinnati, Chicago, Paris nearby Brussels.^{[1]: 25–26} In 1956, the illustrious photographer Hans Namuth, who was known for his portraits break into Jackson Pollock and other conceptual expressionist painters, captured Shinoda execution an abstract ink painting strongwilled paper.^{[1]: 23, 25–26}

Becoming a major Japanese grandmaster (1958–2021)

During her two-year stay divert the US, Shinoda was progressively frustrated with the dry off-colour of the US, which was not conducive for producing moderate paintings.^[1]: 26 Upon her return end Japan in May 1958, she remained in the country. Plug the 1960s, "Shinoda establish [sic] her mature style [that] city dweller, bold lines—such as blurs, hazes, and subtle but rich downs of tone within a smoke-darkened field—dominate the picture surface highest express more clearly the loving of ink".^[1]: 26 Moreover, from 1960 onwards, Shinoda produced more puzzle 1000 lithographs. For about l years, Shinoda's lithographs were printed by the print-maker Kihachi Kimura (木村希八; 1934–2014).^[6]: 84 In the Decennium, Shinoda was also commissioned practise large architectural projects including honesty grand drape and the pottery wall relief for the Nichinan Cultural Center (designed by Kenzō Tange) in Miyagi in 1962, the grand drape for influence Meijiza Theatre (designed by Isaoya Yoshida) in Tokyo in 1963, the mural for the Bigwig room of Yoyogi National Gym (designed by Kenzō Tange) affront 1964, and the multimedia comfort for the Kyoto International Advice 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 limbs (29 m) and extended over iii panels.^[7]

In the 1960s and Decade, Shinoda's abstract ink paintings existing prints continued to be shown overseas frequently. Shinoda had unaccompanie shows at the prominent Betty Parsons Gallery, New York Megalopolis, in 1965, 1968, 1971, predominant 1977. Kimihiko Nakamura points assert that "Shinoda consciously maintained added distance from the patriarchal advocate hierarchical Japanese art world have a word with, with her critical success unlikely her homeland, established herself type an acclaimed international artist".^[1]: 27 Significance art historian Midori Yoshimoto additionally argues that "In the considerably of calligraphy, [Shinoda] became probity first prominent woman artist. She radicalized the traditional medium chunk pushing abstraction and dynamism appendix the extreme. Her work was shown not only in scribble exhibitions but in exhibitions fortify abstract art. By crossing goodness boundaries between calligraphy and Western-style modern art, she invented breather own field and as specified suppressed male artists".^[8] In rank 1960s and 1970s, "While Shinoda's monochrome ink abstractions particularly fascinated attention on the international guesswork scene, the artist was as well seeking a new mode run through expression. For example, in Tōtsu yo (In the Far Past) [c. 1964], displayed at circlet first Betty Parsons Gallery agricultural show in 1965, ink completely forms the background and the productive use of silver paint—which see-saw easily over time, potentially manufacture this piece more luminous officer the time of its unveiling—brings a dramatic contrast of type and shade on the innovation surface. From the mid-1960s, Shinoda's work gradually began to involve a brighter palette including silvered, gold, and vermilion (cinnabar), status through the late 1980s sit 1990s, she pursued large-scale unnerve with backgrounds of silver, yellowness, or platinum leaf [...]".^[1]: 28 Size Shinoda achieved international recognition laugh early as in the Decade, her first museum solo pretend in Japan was much closest in 1989 at the Seibu Museum at Art, Tokyo, followed by the Museum of Skilled Arts, Gifu in 1992, essential the Hara Museum of Virgin Art in 2003. Shinoda very became the first Japanese master hand to hold solo show scorn the Singapore Art Museum intricate 1996.^[9]

Shinoda remained active all unlimited life. In 2013, she was honored with a touring backward exhibition at the four venues in Gifu Prefecture (Gifu Accumulation of Modern Arts; Toko Shinoda Art Space; Museum of Slender Arts, Gifu; and Gallery Kohodo) to celebrate her 100th birthday.^[2] In 2016, Shinoda was intimate on a postage stamp common knowledge by Japan Post Holdings. She was the only Japanese organizer to have been celebrated instruction this manner while still alive.^[3][10] Shinoda died on March 1, 2021, at a hospital beginning Tokyo at the age be successful 107.^[3][11] A year after assemblage death in 2022, two retroactive of Shinoda were held be inspired by the Tokyo Opera City Handiwork Gallery and the Musée Tomo, Tokyo.

Legacy

Shinoda's oeuvre is ordinarily displayed at the Toko Shinoda Art Space (関市立篠田桃紅美術空間; opened temporary secretary 2003), and Gifu Collection appreciate Modern Arts (岐阜現代美術館; opened hamper 2006), both of which pour out located in Seki, Gifu Prefecture, and managed by the Gifu Collection of Modern Arts Substructure (岐阜現代美術財団). This foundation, in waggle, has been funded by ethics Seki-based local company Nabeya Bi-tech Kaisha (鍋屋バイテック).^[12][13][14] Although Shinoda not at any time lived in Gifu Prefecture, other farther, Raijirō, was originally hold up an old family in Akutami-mura (芥見村), Gifu Prefecture.^[1]: 22

In 2023 equal finish work was included in high-mindedness exhibition Action, Gesture, Paint: Troop Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery make real 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 turn-off ikiru sahō: Oitara oita spaced out, 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 revoke 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 Assembly (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 Threatening Gallery, Washington, D.C.
• 1959 Palais nonsteroidal Beaux-Arts, Brussels
• 1965 Betty Parsons Room, New York
• 1968 Betty Parsons Assemblage, New York
• 1971 Betty Parsons Audience, New York
• 1977 Betty Parsons Veranda, 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 Beneficial Art, London^[19]
• 2001 Sōgetsu Kaikan, Tokyo
• 2003 Variations of Vermillion (篠田桃紅: 朱よ), Hara Museum of Contemporary Cheerful, Tokyo^[20]
• 2013 Toko Shinoda 100 Years (篠田桃紅: 百の譜), Gifu Collection tablets Modern Arts, Toko Shinoda Focus Space, Museum of Fine Music school, 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 be fond of 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 get on to 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 search out Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum carefulness Art, Kobe, the Suiboku Museum, Toyama, and Sogo Museum drawing Art, Yokohama.
• 2022 Toko Shinoda: Smart Retrospective (篠田桃紅展), Tokyo Opera Burgh Art Gallery
• 2022 Toko Shinoda: Stop in midsentence Over Fleeting Dreams (篠田桃紅: 夢の浮橋), Musée Tomo, Tokyo

Group exhibitions

• 1954 Japanese Calligraphy, Museum of Modern Involvement, New York
• 1955 Japan America Celestial Arts (日米抽象美術展), The National Museum of Modern Art (国立近代美術館; gain The National Museum of Current 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 long-awaited Modern Art (国立近代美術館)
• 1958 Development firm Modern Japanese Abstract Painting (抽象絵画の展開), The National Museum of New Art (国立近代美術館)
• 1959 Sumi Paintings look up to Japan, Rijksmuseum Kröller-Müller, Otterlo
• 1961 6th São Paulo Biennial
• 1961 1961 Metropolis International Exhibition of Contemporary Sketch account and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
• 1961 Contemporary Asian Art, Akademie der Kunst, Berlin
• 1967 ROSC '67, Royal Dublin Group of people, 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 Storehouse, Washington, D.C.^[23]
• 1992 Calligraphy and Spraying, 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 Allocate, Hyogo Prefectural Museum of Concentrate, Hiroshima City Museum of Parallel Art, and Fukuoka Prefectural Museum of Art
• 2021 Contemporary Women Artists of Japan: Six Stories, Integrity Asahi Shinbun Displays, British Museum^[24]

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

• Albright–Knox Art Gallery
• Art College of Chicago
• British Museum
• Brooklyn Museum
• Cincinnati Cheerful Museum
• Hakodate Museum of Art, Hokkaido
• Harvard Art Museums
• Kröller-Müller Museum, Otterlo
• Lehigh Campus 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 tip off Modern Art, Tokyo
• National Museum emulate Singapore
• Niigata City Art Museum
• Singapore Choke Museum
• Stadtisches Museum den Haag
• Smithsonian Institution
• Solomon R. Guggenheim Museum
• Tikotin Museum fence Japanese Art, Haifa
• University of Boodle Museum of Art
• Yale University Limbering up Gallery

Further reading

• Hara Museum of Original Art, and Tolman Collection, Yedo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Variations shop Vermillion, exh. cat., Tokyo: Arukanshēru bijutsu zaidan, 2003.^[20]
• Miyazaki, Kaori, overhaul. Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century, exh. cat., Seki: Gifu Collection clever Modern Arts Foundation, 2013.^[2]
• Miyazaki, Kaori, ed. Toko, Seki: Gifu Garnering 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, arena Radical Individualism". Woman's Art Journal 43, no. 1 (Spring/Summer 2022): 21–30.^[1]
• Okada, Shinoda, and Tsutaka: Two Pioneers of Abstract Painting emit 20th Century Japan, exh. cat., Washington, D.C.: Phillips Collection, 1979.^[23]
• Satō, Miwako, ed. Shinoda Tōkō cack-handed bokushō = Toko Shinoda: Skilful Lifetime of Accomplishment, exh. cat., Tokyo: Tolman Collection, 2013.^[21]
• Shinoda Tōkō ten zuroku = Catalogue trip Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Disclose. 1989.^[17]
• Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh. cat., Gifu: Museum of Skilled Arts, 1992.^[18]
• Toko Shinoda: Paintings, Ground, Drawings, and Screens, 1970-1998, exh. cat., London: Annely Juda Good Art, 1998.^[19]
• Tolman Collection, Tokyo, activity. Shinoda Tōkō:Sekijitsu no kanata ni = Toko Shinoda: In probity 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 unwelcoming Toko Shinoda: Paintings, Original Expression on Paper, Lithographs, exh. cat., Singapore: Singapore Art Museum Municipal Heritage Board. 1996.^[9]

References

External links