Toko Shinoda
Toko Shinoda | |
---|---|
Born | Shinoda Masuko ( 28 March 1913 |
Died | 1 March 2021 Tokyo, Japan | (aged 107)
Nationality | Japanese |
Known for | Painting, calligraphy, printmaking |
Toko Shinoda (
Biography[edit]
Early life and education (1913–1936)[edit]
Shinoda was born in Dairen, Kwantung Leased Territory (today Dalian, China), on 28 March 1913. Her father, Raijirō, worked as the manager of a tobacco factory; her mother, Jōko, was a housewife.[3] Shinoda’s given name was Masuko (
Early career as a kana calligrapher (1940)[edit]
In 1940, Shinoda realized her first solo show at the retail stationary store Kyūkyodō in Ginza.[1]: 22 “She exhibited calligraphy of her original short poems written in kana (Japanese syllabary), but they were harshly criticized by the calligraphy establishment (shodan) as 'rootless' or lacking a respectable classical foundation.”[1]: 22 Such negative response was due to “calligraphy’s long-standing gendered division of styles.”[1]: 22 Kimihiko Nakamura points out that “Although a number of female calligraphers had attained fame since the prewar period, they predominantly practiced in kana calligraphy, which traditionalists considered to be a native and demure 'feminine' mode of writing vis-à-vis the foreign and rugged 'masculine' mana (Chinese characters) writing. What was expected in kana calligraphy was a 'feminine delicacy' grounded in the study of the kana diaries and poems produced by the Heian court women in the late tenth and eleventh centuries. Shinoda’s unorthodox calligraphy, which neglected such established norms, coupled with the presentation of her own original poems, irritated the calligraphy establishment."[1]: 22–23 Soon after her unsuccessful first solo show, and as the Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, in 1941, and her career was suspended until she recovered from tuberculosis in 1947.[1]: 23
Avant-garde calligraphy (zen’ei sho) in early postwar Japan (1947–1956)[edit]
After the war, Shinoda quickly moved toward abstract expression. The artist noted: “The air of freedom after the war suddenly nurtured the seeds of a desire within me to express the shape of my heart visually. I was suddenly emancipated from the oppressions of my twenties, and my brush moved like an outpour. Like a spur, [this new feeling] pushed me outside the constraints of characters, and it became my exciting job with limitless scope.”[1]: 23 Her “early works clearly demonstrate that Shinoda had already established her abstract style through the use of brushstrokes and ink splashes that employed a variety of expressions, even before she moved to New York.”[1]: 24 In postwar Japan, “Shinoda was not the only calligrapher who celebrated the creative freedom and liberating sense of selfhood through calligraphy. Scholars have widely interpreted the flourishing of modernist calligraphy in postwar Japan as a movement initiated by Hidai Nannkoku and his predominantly male students. Nankoku was the son of the calligraphy master Hidai Tenrai, who is often referred to as 'the father of modern Japanese calligraphy.'”[1]: 24 Most famously, in 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, and Yoshimichi Sekiya—formed a new avant-garde calligraphy (zen'ei sho;
In the 1950s, Shinoda built connections with modernist architects and her works became known beyond the calligraphic community. “In 1954, Shinoda had a critically successful solo show at the Ginza Matsuzakaya department store, displaying her abstract ink paintings in a space specially designed by Tange Kenzō, one of postwar Japan’s foremost architects. Further, Shinoda was also commissioned to create large-scale ink murals, including for the Japan Pavilion designed by Tange at the four-hundredth anniversary of São Paulo in 1954, and the Japan Pavilion designed by Kenmochi Isamu at the Washington State Fourth International Trade Fair in 1955, among other venues. From the mid-1950s onward, Shinoda endeavored to expand the definition of calligraphy by collaborating with modernist architects. As her work was shown overseas, she was gradually known beyond the Japanese calligraphic community. In 1954, along with several leading male calligraphers, Shinoda was selected for a group show entitled Japanese Calligraphy at the Museum of Modern Art, New York. 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 film, Calligraphie Japonaise.[5] Importantly, Shinoda was not just a passive beneficiary of postwar internationalism and popular interest in Japanese culture in the Euro-American sphere. In fact, she actively engaged with the international art scene to expand her exhibition opportunities and audiences beyond Japan.”[1]: 24
American years (1956–1958)[edit]
In 1956, with an invitation from the Swetzoff Gallery in Boston to hold a one-person exhibition, the 43-year-old Shinoda embarked on a solo journey to the US. “Although Shinoda only had a two-month visitor’s visa, it was through the assistance of Okada Kenzō, an established painter at the Betty Parsons Gallery, that she secured her first New York solo show at the Bertha Schaefer Gallery in January 1957.”[1]: 25 During her two-year stay in the US, Shinoda quickly garnered admiration from her international viewers, and held solo exhibitions at various cities including New York, Cincinnati, Chicago, Paris and Brussels.[1]: 25–26 In 1956, the famous photographer Hans Namuth, who was known for his portraits of Jackson Pollock and other Abstract Expressionist painters, captured Shinoda executing an abstract ink painting on paper.[1]: 23, 25–26
Becoming a major Japanese artist (1958–2021)[edit]
During her two-year stay in the US, Shinoda was increasingly frustrated with the dry climate pf the US, which was not conducive for producing ink paintings.[1]: 26 Upon her return to Japan in May 1958, she remained in the country. In the 1960s, “Shinoda establish [sic] her mature style [that] wide, bold lines—such as blurs, hazes, and subtle but rich variations of tone within a black field—dominate the picture surface and express more clearly the nature of ink.”[1]: 26 Moreover, from 1960 onwards, Shinoda produced more than 1000 lithographs. For about fifty years, Shinoda’s lithographs were printed by the print-maker Kihachi Kimura (
In the 1960s and 1970s, Shinoda’s abstract ink paintings and prints continued to be shown overseas frequently. Shinoda had solo shows at the prominent Betty Parsons Gallery, New York, in 1965, 1968, 1971, and 1977. Kimihiko Nakamura points out that “Shinoda consciously maintained her distance from the patriarchal and hierarchical Japanese art world and, with her critical success outside her homeland, established herself as an acclaimed international artist.”[1]: 27 The art historian Midori Yoshimoto also argues that “In the field of calligraphy, [Shinoda] became the first prominent woman artist. She radicalized the traditional medium by pushing abstraction and dynamism to the extreme. Her work was shown not only in calligraphy exhibitions but in exhibitions of abstract art. By crossing the boundaries between calligraphy and Western-style modern art, she invented her own field and as such suppressed male artists.”[8] In the 1960s and 1970s, “While Shinoda’s monochrome ink abstractions particularly attracted attention on the international art scene, the artist was also seeking a new mode of expression. For example, in Tōtsu yo (In the Far Past) [c. 1964], displayed at her first Betty Parsons Gallery show in 1965, ink completely forms the background and the effective use of silver paint—which changes easily over time, potentially making this piece more luminous at the time of its unveiling—brings a dramatic contrast of light and shade on the picture surface. From the mid-1960s, Shinoda’s work gradually began to include a brighter palette including silver, gold, and vermilion (cinnabar), and through the late 1980s and 1990s, she pursued large-scale pieces with backgrounds of silver, gold, or platinum leaf […].”[1]: 28 While Shinoda achieved international recognition as early as in the 1950s, her first museum solo show in Japan was much later in 1989 at the Seibu Museum at Art, Tokyo, followed by the Museum of Fine Arts, Gifu in 1992, and the Hara Museum of Contemporary Art in 2003. Shinoda also became the first Japanese artist to hold solo show at the Singapore Art Museum in 1996.[9]
Shinoda remained active all her life. In 2013, she was honored with a touring retrospective exhibition at the four venues in Gifu Prefecture (Gifu Collection of Modern Arts; Toko Shinoda Art Space; Museum of Fine Arts, Gifu; and Gallery Kohodo) to celebrate her 100th birthday.[2] In 2016, Shinoda was honored on a postage stamp issued by Japan Post Holdings. She was the only Japanese artist to have been celebrated in this manner while still alive.[3][10] Shinoda died on March 1, 2021, at a hospital in Tokyo at the age of 107.[3][11] A year after her death in 2022, two retrospective of Shinoda were held at the Tokyo Opera City Art Gallery and the Musée Tomo, Tokyo.
Legacy[edit]
Shinoda’s oeuvre is regularly displayed at the Toko Shinoda Art Space (
In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.[15]
Writing[edit]
- 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 de ikiru sahō: Oitara oita de, 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 to 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 [edit]
Solo exhibitions[edit]
- 1940 Kyūkyodō (
鳩居堂 ), Tokyo - 1954 Ginza Matsuzakaya Department Store, Tokyo
- 1956 Yōseidō Gallery (
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 Place Gallery, Washington, D.C.
- 1959 Palais des Beaux-Arts, Brussels
- 1965 Betty Parsons Gallery, New York
- 1968 Betty Parsons Gallery, New York
- 1971 Betty Parsons Gallery, New York
- 1977 Betty Parsons Gallery, 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, Singapore Art Museum
- 1998 Annely Juda Fine Art, London[19]
- 2001 Sōgetsu Kaikan, Tokyo
- 2003 Variations of Vermillion (
篠田 桃 紅 :朱 よ), Hara Museum of Contemporary Art, Tokyo[20] - 2013 Toko Shinoda 100 Years (
篠田 桃 紅 :百 の譜 ), Gifu Collection of Modern Arts, Toko Shinoda Art Space, Museum of Fine Arts, 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 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 of 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 of Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum of Art, Kobe, the Suiboku Museum, Toyama, and Sogo Museum of Art, Yokohama. - 2022 Toko Shinoda: A Retrospective (
篠田 桃 紅 展 ), Tokyo Opera City Art Gallery - 2022 Toko Shinoda: Bridge Over Fleeting Dreams (
篠田 桃 紅 :夢 の浮橋 ), Musée Tomo, Tokyo
Group exhibitions[edit]
- 1954 Japanese Calligraphy, Museum of Modern Art, New York
- 1955 Japan America Abstract Arts (
日米 抽象 美術 展 ), The National Museum of Modern Art (国立 近代 美術館 ; present The National Museum of Modern Art, Tokyo,東京 国立 近代 美術館 ) - 1955 Contemporary Japanese 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 of Modern Art (国立 近代 美術館 ) - 1958 Development of Modern Japanese Abstract Painting (
抽象 絵画 の展開 ), The National Museum of Modern Art (国立 近代 美術館 ) - 1959 Sumi Paintings of Japan, Rijksmuseum Kröller-Müller, Otterlo
- 1961 6th São Paulo Biennial
- 1961 1961 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
- 1961 Contemporary Japanese Art, Akademie der Kunst, Berlin
- 1967 ROSC '67, Royal Dublin Society, Dublin
- 1971 ROSC '71, Royal Dublin 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 20th Century Japan, The Phillips Collection, Washington, D.C.[23]
- 1992 Calligraphy and Painting, 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, Yokohama 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 Art, Hyogo Prefectural Museum of Art, Hiroshima City Museum of Contemporary Art, and Fukuoka Prefectural Museum of Art - 2021 Contemporary Women Artists of Japan: Six Stories, The Asahi Shinbun Displays, British Museum[24]
Major public collections[18]: 114 [16]: 284 [25][edit]
- Albright–Knox Art Gallery
- Art Institute of Chicago
- British Museum
- Brooklyn Museum
- Cincinnati Art Museum
- Hakodate Museum of Art, Hokkaido
- Harvard Art Museums
- Kröller-Müller Museum, Otterlo
- Lehigh University 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 of Modern Art, Tokyo
- National Museum of Singapore
- Niigata City Art Museum
- Singapore Art Museum
- Stadtisches Museum den Haag
- Smithsonian Institution
- Solomon R. Guggenheim Museum
- Tikotin Museum of Japanese Art, Haifa
- University of Michigan Museum of Art
- Yale University Art Gallery
Further reading[edit]
- Hara Museum of Contemporary Art, and Tolman Collection, Tokyo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Variations of Vermillion, exh. cat., Tokyo: Arukanshēru bijutsu zaidan, 2003.[20]
- Miyazaki, Kaori, ed. Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century, exh. cat., Seki: Gifu Collection of Modern Arts Foundation, 2013.[2]
- Miyazaki, Kaori, ed. Toko, Seki: Gifu Collection 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, and Radical Individualism.” Woman’s Art Journal 43, no. 1 (Spring/Summer 2022): 21–30.[1]
- Okada, Shinoda, and Tsutaka: Three Pioneers of Abstract Painting in 20th Century Japan, exh. cat., Washington, D.C.: Phillips Collection, 1979.[23]
- Satō, Miwako, ed. Shinoda Tōkō no bokushō = Toko Shinoda: A Lifetime of Accomplishment, exh. cat., Tokyo: Tolman Collection, 2013.[21]
- Shinoda Tōkō ten zuroku = Catalogue of Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Art. 1989.[17]
- Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh. cat., Gifu: Museum of Fine Arts, 1992.[18]
- Toko Shinoda: Paintings, Prints, Drawings, and Screens, 1970-1998, exh. cat., London: Annely Juda Fine Art, 1998.[19]
- Tolman Collection, Tokyo, ed. Shinoda Tōkō: Sekijitsu no kanata ni = Toko Shinoda: In the 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 by Toko Shinoda: Paintings, Original Works on Paper, Lithographs, exh. cat., Singapore: Singapore Art Museum National Heritage Board. 1996.[9]
External links[edit]
- Gifu Collection of Modern Arts
- Toko Shinoda Art Space
- The Tolman Collection, Tokyo
- The Tolman Collection, New York
References[edit]
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae Nakamura, Kimihiko (Spring–Summer 2022). "Shinoda Tōkō: Ink, Abstraction, and Radical Individualism". Woman's Art Journal. 43 (1).
- ^ a b c d Miyazaki, Kaori, ed. (2013). Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century. Seki: Gifu Collection of Modern Arts Foundation.
- ^ a b c d Fox, Margalit (3 March 2021). "Toko Shinoda Dies at 107; Fused Calligraphy With Abstract Expressionism". The New York Times. Retrieved 3 March 2021.
- ^ Bogdanova-Kummer, Eugenia (2020). Bokujinkai: Japanese Calligraphy and the Postwar Avant-Garde. Leiden and Boston: Brill. p. 45.
- ^ Bogdanova-Kummer, Eugenia (2020). "Ink Splashes on Camera: Calligraphy, Action Painting, and Mass Media in Postwar Japan" (PDF). Modernism/Modernity. 27 (2) (published April 2020): 299–321. doi:10.1353/mod.2020.0024. S2CID 220494977.
- ^ a b c Miyazaki, Kaori, ed. (2019). Toko. Seki: Gifu Collection of Modern Arts Foundation.
- ^ Holland, Oscar (4 March 2021). "Toko Shinoda, a leading figure in contemporary Japanese art, dies age 107". CNN. Retrieved 4 March 2021.
- ^ Yoshimoto, Midori (2005). Into Performance: Japanese Women Artists in New York. New Brunswick: Rutgers University Press. pp. 14–15.
- ^ a b Visual Poetry by Toko Shinoda: Paintings, Original Works on Paper, Lithographs. Singapore: Singapore Art Museum National Heritage Board. 1996.
- ^ Rothmar, Tyler (13 April 2017). "At 104, Toko Shinoda talks about a life in art". The Japan Times. Retrieved 3 March 2021.
- ^ NEWS, KYODO. "Renowned Japanese sumi ink artist Toko Shinoda dies at 107". Kyodo News+.
- ^ "Our responsibilities as an enterprise. | NBK | The Motion Control Components". www.nbk1560.com. Retrieved 26 June 2022.
- ^ "
関 市立 篠田 桃 紅 美術 空間 の紹介 |関 市役所 公式 ホームページ". www.city.seki.lg.jp. Retrieved 26 June 2022. - ^ "
岐阜 現代 美術館 について |岐阜 現代 美術館 ". www.gi-co-ma.or.jp. Retrieved 26 June 2022. - ^ "Action, Gesture, Paint". Whitechapel Gallery. Retrieved 23 April 2023.
- ^ a b Shinoda, Tōkō (2013). Tōkō hyaku-nen. Tokyo: Sekaibunkasha.
- ^ a b Shinoda Tōkō ten zuroku = Catalogue of Toko Shinoda Exhibition. Tokyo: Seibu Museum of Art. 1989.
- ^ a b c Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective. Gifu: Museum of Fine Arts. 1992.
- ^ a b Toko Shinoda: Paintings, Prints, Drawings, and Screens, 1970-1998. London: Annely Juda Fine Art. 1998.
- ^ a b Hara Museum of Contemporary Art; Tolman Collection, Tokyo, eds. (2003). Shinoda Tōkō shu yo = Toko Shinoda: Variations of Vermillion. Tokyo: Arukanshēru bijutsu zaidan.
- ^ a b Satō, Miwako, ed. (2013). Shinoda Tōkō no bokushō = Toko Shinoda: A Lifetime of Accomplishment. Tokyo: Tolman Collection.
- ^ a b Tolman Collection, Tokyo, ed. (2017). Shinoda Tōkō: Sekijitsu no kanata ni = Toko Shinoda: In the Autumn of My Years... Tokyo: Tolman Collection.
- ^ a b Okada, Shinoda, and Tsutaka: Three Pioneers of Abstract Painting in 20th Century Japan. Washington, D.C.: Phillips Collection. 1979.
- ^ "Contemporary women artists of Japan six stories". The British Museum. Retrieved 25 June 2022.
- ^ "Toko Shinoda". Artnet. Retrieved 5 March 2017.