Rui Yoshida

Rui Yoshida (1864-1954) was a daughter born into a family of Japanese artists five generations ago. Step by step through those five generations, the Yoshida artists moved away from traditional Japanese style into modern Western-style art and finally into post-modernism. Although not an artist herself, Rui was the key figure who nurtured and shaped those who did become artists. In doing so, she exemplified a woman’s decisive influence within traditional patriarchal structures and values.

Early family history

When Rui was born, in the mid-1800s, the Yoshida family was making traditional style paintings for the Nakatsu warrior clan in what is now Ôita Prefecture on the island of Kyûshû. However, no males were born into the family to carry on the Yoshida name and their work. As was often done in Japan at the time, a family without a male heir would adopt a male from another family. Rui’s parents selected a young man, Kasaburô Haruno (1861-1894), whose father was also a painter for the Nakatsu clan, to be their adopted son and to marry Rui. Kasaburô had been trained by early Western-style artists in Kyoto in their use of sketch, watercolors, and oils. Later he became the art teacher at Shûyûkan Junior High School in Fukuoka. There he became a pioneer in the Western-style by starting an art club and by writing two manuals on learning to paint with Western-style oils. (Allen et al, 19-20)

Because Kasaburô health was declining and because Rui had as yet not borne a son, the decision was made to select a male from another family, just as Rui’s parents had done. Kasaburô’s most promising art student was Hiroshi Ueda (1876-1950). In 1891 they adopted him. Hiroshi Yoshida was immediately sent to study with the leading Western-style artists in Kyoto. Kasaburô died at the age of 33, just three years after Hiroshi was adopted. That meant that the 18 year-old Hiroshi, with Rui his adoptive mother, took over as head of the Yoshida family with its five children. (Allen, et al, 20)

In the same year that Kasaburô died, Hiroshi and Rui took the family to Tokyo where he could study with even more important artists. During those difficult times, Rui, who had been instrumental with her husband in choosing Hiroshi, now supported and guided him. For example, she ground pigments by hand, mixed them with oil, and put them into tubes for Hiroshi to use in painting. (Skibbe, 36-7) At that time, as well as later, Rui was the strength and continuity behind the emerging artists.

New leadership

In 1907 Hiroshi married his own adoptive sister Fujio Yoshida (1887-1987), the sister who showed the most talent in art. (For a photo of the Yoshida family at time of the wedding, see Yasunaga, 172) He had actually tutored her in art before they married, and that continued. Much of what Fujio did at this young age reflected Hiroshi’s style. But as time went on, the talent Hiroshi had seen in Fujio began to show her independent insight and genius. A large exhibit of Fujio’s work in 2002 at the Fuchu Museum near Tokyo showed that. (Yamamura) That was one reason why joint exhibits of Fujio’s and Hiroshi’s watercolors in the United States in the early 1900s were so popular with the American art public and resulted so many sales. (Skibbe, in Andon, 40)

Rui in difficult times

Fujio’s first child, daughter Chisato, was born in 1908. A son, Toshi Yoshida (1911-1995), followed in 1911. Two months after this, Chisato died, and within a year Tôshi contracted infantile paralysis. Both children had been placed under the care of servants while Fujio yielded to Hiroshi’s demands that she advance her career. (Allen, et al, 157)

After tragedy struck both of her children, she blamed herself, fell into prolonged grief, and ceased painting for almost ten years. (Allen, et al, 156-7) During that time Rui took care of her, and the disabled Tôshi, and the household. Rui read to her young grandson in bed and told him stories. When Hiroshi and Fujio went on another tour through the United States in 1923-1925, Rui and Tôshi stayed with Rui’s belatedly borne son, Masao, now a university professor. During that time she encouraged Tôshi to learn how to sketch animals, because it would clearly differentiate his art from that of his father. (Skibbe, 37) Hiroshi and Fujio's other son, Hodaka Yoshida (1926-1995) also became an artist, quite independently and totally different from his father. (Allen, et al, 111)

Toshi was the designated heir of the Yoshida tradition. His father, however, was just as demanding of him as he had been of Fujio. After a grueling sketching and painting trip by Hiroshi and the 19 year-old Tôshi to India and the far East, they returned home with Tôshi extremely tired and depressed. Rui, once again, took over. When the father forbade Tôshi to listen to the radio, Rui provided Western novels and music for him and nursed him back to health. In later years, Tôshi was unequivocal. It was not his father or his mother, but his grandmother Rui, who was most instrumental in his becoming an artist. (Skibbe, 39) In Toshi’s first large woodblock print, his first print after World War II, he portrayed the interior of a Buddhist temple, and to one side an old bent woman wearing glasses and walking with a cane. It was his homage to Rui. Rui actually outlived her adopted son, dying in 1954 at the age of 90. (Skibbe, 48)

Tôshi was right, not only about Rui’s profound influence on himself as an artist, but also because she was a force for stability and inspiration for the whole family during this crucial time in its history. The larger story of the Yoshida family shows clearly how the Japanese often enhanced certain desirable traits in their families, in a sense inserting desirable genes by means of adoption and arranged marriage. Beyond this, Rui by strength of character guided and nurtured individuals in her family into the fourth generation, resulting in her family’s depth and diversity of artistic talent. Because of this the Yoshida family artists exemplify key developments in modern Japanese art history, leading into post-modernism in the work of Hodaka and Chizuko Yoshida's daughter, Ayomi Yoshida.

Sources

Yasunaga, ed., Hiroshi Yoshida Exhibition, A Master of Modern Landscape Painting - Refreshingly Original and Lyrical, Fukuoka Art Museum and Kawaguchiko Museum of Art, 1996, Japanese (Koichi Yasunaga is the leader in research on Yoshida family history); Skibbe, “The American Travels of Hiroshi Yoshida,” in Andon, 57-74; Skibbe, Yoshida Toshi: Nature, Art, and Peace, Seascape, 1996; Yamamura ed., Yoshida Fujio: A Painter of Radiance, Fuchu Art Museum, 2002, Japanese and English; Allen, et al, A Japanese Legacy: Four Generations of Yoshida Family Artists, Minneapolis Institute of Arts, 2002.