Details

In Waterfall (1964), Shiro Kasamatsu captures the raw force and rhythmic elegance of cascading water through a bold, abstracted composition that breaks from the traditions of Shin-Hanga in favor of expressive modern form. Jagged stone formations frame a vertical surge of water rendered in icy blues and brilliant whites, while streaking vertical lines evoke both motion and texture—suggesting the unceasing torrent of a mountain stream plunging into a shadowed gorge.

The work is marked by a strong graphic sensibility and a deep engagement with material process. Carved and printed entirely by the artist himself, Waterfall reflects a more intimate and personal vision than his earlier works, emphasizing subjective interpretation over representational detail. The contrast of hard, angular rock and the flowing energy of the waterfall reveals a refined balance between structure and spontaneity—hallmarks of the Sosaku Hanga ethos.

Connoisseur's Note

Though best known for his atmospheric Shin-Hanga landscapes published by Watanabe Shozaburō—often filled with temples, street scenes, and seasonal moods—Shiro Kasamatsu underwent a striking artistic transformation in the 1950s and 60s. Inspired by the growing Sosaku Hanga movement, which emphasized the artist’s hand in all stages of the printmaking process, Kasamatsu began producing limited editions of self-designed, self-carved, and self-printed works—of which Waterfall is a quintessential example.

Unlike his earlier, more naturalistic designs, this print is bold and modern—both in form and in its expressive use of line and color. The year “1964” and Kasamatsu’s signature appear in pencil in the margin, confirming it as part of his post-Watanabe period. These Sosaku Hanga works were produced in small editions, often marked by deckle-edged handmade paper and the artist’s personal seal impressed directly into the sheet. This work is numbered 42/100

Waterfall exemplifies the quiet power of Kasamatsu’s mature vision—rooted in nature, but liberated from convention. It stands as a testament to his lifelong reverence for the Japanese landscape and his evolving engagement with form, energy, and the act of creation itself.