Miyoko Ito (1918–1983) A Luminous Legacy from Abstract Reveries

Review: “A Sanctuary Between Japan and America” by Jerry Saltz

In the evocative portrayal “A Sanctuary Between Japan and America,” Jerry Saltz crafts a poignant journey through the life and artistry of Miyoko Ito. The piece is a vivid tapestry, interweaving personal memories with art critique. Saltz captures Ito’s resilience amidst hardships— from racial tensions in Berkeley to the traumatic Japanese internment camps, echoing the vibrancy and depth of Ito’s paintings. The meticulous description of Ito’s artworks, like “beads and bumps of paint accumulate,” offers readers an almost tactile experience. It is particularly intriguing how Saltz juxtaposes Ito’s adventures with her artistic expressions, suggesting that her early years in Japan deeply informed her art. The article doesn’t just introduce us to an artist but immerses us in her world, revealing the “shimmers of supernal otherness” that pervade Ito’s works. An essential read for anyone keen to explore the intersection of personal history, cultural heritage, and artistic expression.

Miyoko Ito, the luminous American painter of Japanese descent, intricately wove her unique life experiences into her canvases, culminating in a legacy of introspective and intricate abstract art. Born in Berkeley, CA, in 1918, her early life was marked by the significant disruption of being incarcerated in the Tanforan internment camp for Japanese Americans during World War II. This painful chapter didn’t deter her spirit, and she subsequently pursued her passion for art, attending institutions like the University of California at Berkeley, Smith College, and finally, the School of the Art Institute in Chicago, where she blossomed as a painter.

Ito’s technique was one of laborious love. Often working from sunrise to sunset, she immersed herself in her art, building layers of paint, each brushstroke meticulously crafted. While her paintings remained abstract, they resonated with the atmospheric evocations of landscapes, interiors, and the human body. Chicago, with its vibrant art scene, influenced Ito profoundly. She once remarked how the city bestowed a “sense of surrealism upon her.”

Despite the initial observational quality of her paintings, Ito’s artistry began to veer towards the abstract under the influence of masters like Georges Braque and Hans Hofmann. Yet, her abstracts always retained their sense of grounding. Her canvases, whether invoking the landscapes of Japan or the vistas of California, were suffused with a profound sense of place, albeit not bound to a specific geographical location. Her work often embodied an otherworldly aura, creating mirages from the mind that encapsulated the “no place and every place.”

Remarkably, even in a landscape dominated by the Chicago Imagists, Ito carved out a distinctive niche for herself. Despite her art’s pictorial ambiguity, by the 1960s, she became a beacon in the realm of abstract painting in Chicago. While her images emerged from a solitary space, often a spare bedroom in her home, they resonated deeply with a broader audience.

One of the defining characteristics of Ito’s later works is how she treated her canvases. Attaching the canvas edges with partially driven nails, she emphasized the raw materiality of her medium. This elemental treatment of canvas paralleled the pure, non-objective compositions she painted, creating a cohesive unity in her work.

While Miyoko Ito may have once described herself modestly as “a painter wife who has raised two children,” her legacy is far-reaching. Her contributions to the world of abstract art are celebrated, with her works gracing esteemed institutions like the Whitney Museum of American Art, the Art Institute of Chicago, and the Smithsonian American Art Museum.

In Ito’s art, we witness a relentless spirit, an artist undeterred by societal and personal challenges. Her canvases glow, not just with the meticulously layered paint, but with the intensity of a life fully lived, of challenges faced head-on, and of a profound understanding of both the world and the self.

Biography

Miyoko Ito was born in Berkeley, California, to Japanese parents in 1918. As a young girl, she spent several years with her mother and sister in Japan, where she first experimented with calligraphy and painting. Ito followed her father in attending the University of California, Berkeley, where she studied watercolor under John Haley, Erle Loran, and Worth Ryder. Months before her graduation in 1942, Ito was sent to Tanforan, an internment camp south of San Francisco. Released years before her new husband, she briefly matriculated at Smith College before transferring to the School of the Art Institute of Chicago, where she received a scholarship but never graduated. Although her efforts were highly susceptible to regionalization, Ito participated in the 1975 Whitney Biennial and was honored with a retrospective exhibition at the Renaissance Society in 1980. She was represented by Phyllis Kind Gallery in Chicago and New York from the late 1960s through her death in 1983. Recent exhibitions include solo presentations at the University of California, Berkeley Art Museum and Pacific Film Archive, 2017; Adam Baumgold Gallery, New York, 2006 and 2014; VeneKlasen/Werner, Berlin, 2012; and No Vacancies, a group presentation at Marianne Boesky Gallery, New York, 2015.

Cover photo: https://www.macdowell.org/special-projects/legacy-miyoko-ito

Artwork: Artistsspace.org

German Expressionism: Unveiling the Soul of the Early 20th Century

German Expressionism, a dynamic art movement that emerged in the early 20th century, is a testament to the power of inner emotions over objective reality. This movement, characterized by its bold use of simplified shapes, vivid colors, and expressive brushwork, sought to break free from the constraints of traditional representation. Instead, it delved into the depths of the human psyche, revealing a world of heightened emotions, societal critique, and existential pondering.
One of the defining features of German Expressionism was its departure from the objective portrayal of reality. Artists, in their quest to express their innermost feelings, employed high angles, deep shadows, and chiaroscuro lighting to create an emotional landscape that transcended the boundaries of conventional art. This movement thrived on distorting the visual world to evoke intense moods and provoke viewers to confront their innermost thoughts.
At its core, German Expressionism was driven by a desire to articulate emotional experiences and challenge the prevailing norms of art. In contrast to the detached, intellectualized art of the era, Expressionists focused on the raw and visceral. Through their works, they grappled with the complexities of modern urban life, the solace found in nature and religion, and the primal power of the human body. Their art became a means of confronting the profound changes sweeping society at the time.
Expressionism in Germany was not confined to visual art; it permeated literature, theater, film, and more. It was a holistic movement that aimed to effect profound societal changes, reminding individuals of their inherent humanity. As the movement gained momentum, it extended its reach into politics, economics, social structures, publishing, music, film, and architecture, making it a cultural force that challenged the status quo.
However, German Expressionism was ephemeral, existing in transition and change. Much of its output was printed on cheap paper, and as the National Socialists rose to power in Germany, Expressionism was condemned, destroying many works. Nonetheless, the legacy of German Expressionism endures as a testament to the power of art to reflect and challenge the world it inhabits. This movement continues to inspire and provoke thought, reminding us of the enduring allure of the human spirit in its rawest form.

German Expressionism Artists:

Ernst Ludwig Kirchner, a prominent figure in the Die Brücke movement, produced vibrant and emotionally charged artworks that epitomize the essence of German Expressionism. His paintings, such as “Street, Dresden,” are characterized by bold colors, jagged lines, and distorted figures, conveying a sense of urban anxiety and inner turmoil.

Franz Marc, associated with Der Blaue Reiter, explored spirituality and the connection between humans and nature in his Expressionist art. His masterpiece, “The Large Blue Horses,” is a prime example of his use of vivid, symbolic colors and abstract forms to convey a profound sense of harmony and spiritual unity.

Wassily Kandinsky, another member of Der Blaue Reiter, pushed the boundaries of artistic expression with his abstract works. His painting “Composition VII” is a symphony of colors, shapes, and lines that transcends reality, embodying the movement’s emphasis on inner experiences and emotional expression.

Egon Schiele, known for his raw and provocative art, captured the human form in a deeply expressive and often unsettling manner. His self-portraits and portraits of others, like “Portrait of Wally Neuzil,” are marked by contorted figures and intense psychological insight, reflecting the darker aspects of human existence.

Emil Nolde, a member of Die Brücke and later the Berlin Secession, brought a sense of mysticism to his Expressionist works. His painting “The Prophet” conveys a sense of spiritual ecstasy through bold colors and fluid forms, showcasing Nolde’s unique approach to the movement.

Paul Klee‘s art, influenced by Expressionism, Surrealism, and Cubism, is a testament to his innovative and whimsical style. Works like “Senecio” blend abstraction and childlike imagination, reflecting Klee’s exploration of the inner world and the fantastical.

Otto Dix is renowned for his searing critiques of German society during the Weimar Republic. His series “The War” presents a harrowing depiction of the horrors of World War I, combining graphic realism with Expressionist elements to convey the psychological trauma of war.

Käthe Kollwitz‘s emotionally charged graphic works, such as “The Mothers,” poignantly portray the human condition, particularly the suffering of women and families during times of war and hardship. Her powerful prints and sculptures exemplify the social conscience of German Expressionism.

Erich Heckel, a founding member of Die Brücke, played a pivotal role in the movement. His woodcuts and paintings, like “Roquairol,” often feature stylized, elongated figures in a raw and primitivist style, capturing the essence of urban life and human connection.

Oskar Kokoschka‘s Expressionist portraits, including “Portrait of Alma Mahler,” reveal a profound emotional intensity. His bold use of color and dynamic brushwork convey the inner turmoil and passion of his subjects, reflecting the spirit of the movement.

Max Beckmann‘s art, characterized by its dark and brooding themes, delved into the complexities of human existence. His painting “The Night” is a haunting reflection of the post-war disillusionment and moral decay, a recurrent motif in his Expressionist works.

August Macke, associated with Der Blaue Reiter, infused his works with vibrant colors and a sense of optimism. His painting “Tightrope Walker” exemplifies his playful and joyful approach to depicting life, capturing the movement’s celebration of the human spirit.

Karl Schmidt-Rottluff, a co-founder of Die Brücke, embraced the use of woodcuts and bold, angular forms. His graphic works, like “Two Men” and “Nude,” showcase his knack for distilling the essence of the subject and the emotional intensity of Expressionism.

George Grosz‘s satirical and critical approach to art is evident in works like “Eclipse of the Sun.” His sharp social commentary, often laced with dark humor, reveals the tumultuous times of Weimar Germany and the political turmoil through an Expressionist lens.

Max Pechstein‘s colorful and expressive paintings, such as “Indian and Woman,” reflect his fascination with non-Western art and cultures. His vivid use of color and flattened forms contribute to the movement’s exploration of primitivism and subjectivity.

Gabriele Münter, a key member of Der Blaue Reiter, produced vibrant landscapes and still-life paintings. Her work, like “Jawohl, Blaue Reiter,” radiates a sense of harmony and spirituality, in line with the movement’s ideals.

Alexej von Jawlensky’s portraits, characterized by their colorful abstractions and spiritual depth, are exemplified by works such as “Variation.” His exploration of the human face as a vessel of emotion and inner life aligns with Expressionism’s focus on the subjective.

Anselm Kiefer, although working in a later period, draws inspiration from German Expressionism. His monumental and layered artworks, like “Breaking of the Vessels,” grapple with history, memory, and mythology, reflecting the movement’s ongoing influence.

Georg Baselitz, known for his inverted and often provocative imagery, challenges conventions in his art. His expressive paintings, such as “Big Night Down the Drain,” confront societal norms and explore the depths of the human.

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