A large retrospective of Yoshida’s graph­ics indicates no subject was too well­worn for his woodcuts. He applies a pic­ture postcard attitude to everything from park scenes to portraits. Yoshida’s woodcuts look rather like overworked watercolors. He achieves his effects by using a large number of wood blocks and by rubbing many shades of one color from each block. The process is labor­ious, to say the least, and destroys any spontaneity that his use of airy colors could engender. The works hint that Yo­shida probably had a good eye for space and color which got lost in the tech­nique and buried in his offensive com­mercial outlook.

—Jo­anna C. Magloff