id: 135705 accession number: 1959.240 share license status: Copyrighted url: https://clevelandart.org/art/1959.240 updated: 2022-06-02 09:00:25.683000 Mother and Child, c. 1915-1955. Koshiro Onchi (Japanese, 1891-1955). Woodcut; The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund 1959.240 title: Mother and Child title in original language: series: series in original language: creation date: c. 1915-1955 creation date earliest: 1915 creation date latest: 1955 current location: creditline: Norman O. Stone and Ella A. Stone Memorial Fund copyright: --- culture: Japan, 20th century technique: woodcut department: Prints collection: PR - Woodcut type: Print find spot: catalogue raisonne: --- CREATORS * Koshiro Onchi (Japanese, 1891-1955) - artist --- measurements: state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Transformations in Japanese Printmaking opening date: 1984-09-25T04:00:00 Transformations in Japanese Printmaking. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 16, 1984). title: East Meets West: Tradition and Innovation in Modern Japanese Prints opening date: 2000-03-19T00:00:00 East Meets West: Tradition and Innovation in Modern Japanese Prints. The Cleveland Museum of Art (organizer) (March 19-May 28, 2000). --- LEGACY EXHIBITIONS * Cleveland, Ohio: The Cleveland Museum of Art; March 19 - May 28, 2000. "East Meets West: Tradition and Innovation in Modern Japanese Prints." --- PROVENANCE William C. Hartnett date: footnotes: citations: --- fun fact: digital description: wall description: Kōshirō Onchi was a key figure in the sōsaku-hanga movement. He not only provided essential aesthetic and spiritual leadership, but his aristocratic background made him a forceful advocate of printmaking within the hostile bureaucracy of Japan's hierarchical art world. Onchi admired the nonobjective images of Russian artist Wassily Kandinsky and the Expressionist style of the Norwegian artist Edvard Munch, whose works shared a kinship with his own interests in the expressive power of nonrepresentational and abstracted figural compositions as well as color. Onchi was particularly attracted to the medium of woodcut in which he felt he was forced to simplify his forms and thus intensify the expression of his emotion while cutting, gouging, and scraping the image into the block. --- RELATED WORKS --- CITATIONS --- IMAGES