Ryusei okamoto biography templates

Ryusei Okamoto stands out as one of the few remaining Japanese artists specializing in moku hanga ('woodblock prints') who adeptly practice the traditional art of Japanese woodblock printmaking. His skill level is comparable to shin hanga masters such as Hiroshi Yoshida and his mentor, Toshi Yoshida, Yoshida's son, known for their mastery in this craft.

With a relationship spanning nearly two decades, our acquaintance with Ryusei Okamoto recently rekindled in early 2021 when we received approximately two dozen prints by the artist for our online auctions. This collection features numerous new designs. The initial package quickly sold out, and the prints from the second package, showcased here, have also found new owners.

Ryusei Okamoto: Short Biography

Ryusei Okamoto was born in 1949 in Muroran, Hokkaido province. Despite his early interest in art prints since junior high school, he pursued studies in marine biology. Following his graduation from Nihon University, he transitioned to become a full-time artist. His journey led him to an exceptional teacher, the renowned painter and printmaker Toshi Yoshida, who guided Okamoto from 1974 until 1984.

Recognizing Okamoto's exceptional talent, Toshi Yoshida facilitated opportunities for him. In 1980, Okamoto taught at Mendocino Art Center, a recommendation made by Toshi Yoshida during a period when he was unable to fulfill his teaching commitments due to severe illness.

Toshi Yoshida about Ryusei Okamoto

'.. Mr. Yoshimi Okamoto is unique, a fact which I would like the world to know.'

(Toshi Yoshida about Ryusei Okamoto, formerly known as Yoshimi Okamoto). Toshi Yoshida (1911-1995) made this statement in 1982. The young artist Ryusei Okamoto, then under his born name of Yoshimi Okamoto, was Toshi Yoshida's student..)

In 1982, Toshi Yoshida authored a notable article where, at the age of 71, the esteemed master articulated his perspective on the state of Western and Japanese printmaking in a poignant manner.

Following in his father's footsteps, Toshi Yoshida became a true cosmopolitan through extensive travels worldwide. He acquired an appreciation for traditional Japanese woodblock art beyond Japan's borders. A historical irony in Japanese art is the continuous neglect of Japanese woodblock printmaking achievements since the Meiji period (1868-1912). The unexamined embrace of Western culture prevailed during the early Meiji era and resurfaced during the economic boom post-World War II.

Toshi Yoshida elucidates why he regards Mr. Ryusei Okamoto as an exceptional artist and representative of the traditional values of Japanese woodblock printmaking. Notably, Toshi Yoshida sustained an international printmaking art school until the onset of his incurable disease, welcoming students from across the globe. His art school cultivated an entire generation of new woodblock artists—now in their sixties and above—who presently dominate the art scene in this genre.

Ryusei Okamoto and Toshi Yoshida

Here is the document, titled 'The Position of Yoshimi Okamoto' in full length:

"Two lines of pursuit are currently in progress in the field of woodblock printing: the imitation of the European and American woodblock, and the continued development of the woodblock indigenous to Japan. Many people - not only in the world of fine arts but in other fields of work - regard the former as progressive, much to the apparent detriment of things Japanese and more widely, things Oriental and spiritually linked to many Asian countries."

"The Japanese woodcut on the whole has not imitated or merely followed in the wake of western examples, and for this reason is far more highly appreciated in foreign countries than any other kind of print. Polychrome and more colorful than its monochrome counterpart originating in Europe or America, it exhibits a much higher level of expression and an advanced, complex technique generally unattainable by Western prints. While Japanese artists are quite oblivious to this fact, there is an increasing tendency among foreign artists of woodcut printing to produce works based entirely on the Japanese technique."

"Woodcut prints composed by Mr. Yoshimi Okamoto reflect qualities of skill and inclination that will surely be accepted throughout the world. Through exhibitions held in Japan to date, his unique existence has gradually won recognition. Last year he taught at Mendocino Art Center in Northern California and achieved a measure of distinction. I believe there is no doubt to believe that he has all the makings of a woodcut printer on the verge of achieving international recognition. He is about to reach, I believe, a period of rapid advance. Not one of the popular artists who try to swim with the current of the times, he is a man of quiet taste, and I think there should be more with the same interests to encourage the development of his art. It is essential for the development of arts that some people recognize promising artists and help their development with support, an idea in Japan that has won little acknowledgement."

"Mr. Okamoto never pretends to be something of a master of his works which usually show simple construction. quite a few people who though not much of artists themselves, try to convey the impression of greatness but Mr. Yoshimi Okamoto is unique, a fact which I would like the world to know. I do not intend to write clever words of recommendation about him, as is often the case; my only desire is to inform people that he is a rare existence in the field of woodcut printing in Japan and sincerely hope that this collection of his works will reflect all the good that makes this introduction so personally satisfying."

(Toshi Yoshida in 1982)

Moku Hanga by Ryusei Okamoto

The showcased prints are sourced from our archive of previously sold prints.

Author:
Dieter Wanczura, revised by AI
First Publication: 2/16/2021
Latest Update: 2/8/2024

Signatures and Seals of Ryusei Okamoto born 1949

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