72 Facts About Tikashi Fukushima

Tikashi Fukushima was a Japanese-Brazilian painter and printmaker.

Tikashi Fukushima belongs to the pre-war immigrant generation, composed of common immigrants who, after several changes in their lives, awakened to the arts.

Tikashi Fukushima's master was Tadashi Kaminagai, whom Fukushima saw as a mentor, but who had a different style of painting than the one he later developed.

Tikashi Fukushima's works have been presented in national and international exhibitions.

Tikashi Fukushima participated in artistic groups, such as Seibi-kai and Grupo Guanabara, having contact with numerous painters, including many of Japanese origin.

Tikashi Fukushima received the decoration called the Order of the Sacred Treasure, in 1997.

Tikashi Fukushima finished high school and moved to Yokohama, near Tokyo, where he was a draftsman in an airplane factory for two years.

Tikashi Fukushima began working in a warehouse and in his free time devoted himself to drawing, making copies from photographs, and this activity provided him with an extra income.

Tikashi Fukushima recognized Kaminagai as his master and spent hours listening to Kaminagai's stories of how he survived in Paris and exhibited his artwork in the salons of the 1930s.

Tikashi Fukushima painted the picture in red, yellow, blue, white, and black, using his fingers, and the outlines were made with the only brush he had, having finished the work in the size of 10x14 inches.

Tikashi Fukushima began to improve his techniques of "dessin", which consists of drawing the lines and outlines of objects and human figures, making several nude studies.

The Guanabara Group was formed around Tikashi Fukushima and reached 34 members, among them artists participating in Seibi-kai and the Group of 15.

Since Tikashi Fukushima did not speak Portuguese well and Ai did, she played an important role by being a channel of communication for her husband with Brazilians.

Tikashi Fukushima participated in the Paulista Fine Arts Salon, together with other artists of Seibi-kai, helping organize the 1st Seibi Salon, where he won the silver medal.

Tikashi Fukushima liked to paint the city, the same places.

Tikashi Fukushima used to gather the painters in his studio.

In 1951, Tikashi Fukushima participated in the 1st Sao Paulo Art Biennial with work No 81 "Paisagem".

Excluded, Tikashi Fukushima realized that he should be more attentive to the changes of the concrete art movement and the new trends of the abstract.

In 1954, Tikashi Fukushima was awarded a prize at the 19th Paulista Fine Arts Salon and exhibited in the Preto e Branco Salon.

Tikashi Fukushima became almost obsessive in painting canvases where images merge to suggest infinite seas, winds crossing deserts or mountains, autumn mornings, mirages, virgin territory, mountain twilights, breezes, dreams, celestial serenity, etc.

Artists such as Mabe and Tikashi Fukushima were able to contribute decisively to the development of this abstract trend, In fact, abstractionism is where the most important and most productive phase of their work can be found.

In 1959, Tikashi Fukushima's work was shown at the Dallas Museum of Art, in Dallas, Texas, in the Grupo Guanabara's 5th exhibition, in the 8th Sao Paulo Modern Art Salon, where he won the great silver medal.

Tikashi Fukushima exhibited at the Agricultural Cooperative of Cotia and received the 1st "Governador Leonel Brizola" prize at the Rio Grande do Sul Contemporary Art Salon.

In 1961, Tikashi Fukushima had two individual exhibitions, one at the Ambiente Gallery and the other at the Museum of Modern Art in Sao Paulo.

Tikashi Fukushima exhibited at the 10th Modern Art Salon of Sao Paulo, the 6th Sao Paulo Art Biennial, and the 6th Tokyo Biennial.

Tikashi Fukushima had already sent a letter to his mother, Ine, telling her that his painting had traveled to Japan for the Biennial.

Tikashi Fukushima exhibited at the Parana Salon, in the Public Library of Parana, where he was awarded "best national painter".

In 1963, Tikashi Fukushima organized three individual exhibitions, two at Galeria La Rouche and another one at the Institute of Architects of Brazil, all of them in Sao Paulo.

Tikashi Fukushima had his work presented in the "Japanese Artists of Brazil" exhibition in Oakland, United States, and in the 8th Sao Paulo Art Biennial, where he received an award from Brazilian Ministry of Foreign Affairs.

The Japanese Artists of Brazil exhibition was held in Tokyo and Washington DC Tikashi Fukushima had a series of exhibitions sponsored by the Brazilian embassy, which were held in La Paz, Lima, and Caracas.

In 1966, Tikashi Fukushima had a solo exhibition at Chelsea Art Gallery, in Sao Paulo.

Tikashi Fukushima's painting is abstract but worked in every detail, and in some paintings, they are very clear.

In 1968, Tikashi Fukushima organized two solo exhibitions, both in Sao Paulo, and collectively he participated in the Leirner Award for Contemporary Art.

Until recently, Tikashi Fukushima's painting sought to synthesize, as seen in "vol d'oiseau", one of these ermine landscapes, without lanterns, without human figures, without idols.

In 1969, Tikashi Fukushima organized a solo exhibition in Rio de Janeiro, another one in Santos, and in group exhibitions he had his works presented in several places.

Tikashi Fukushima participated in the exhibition "19 Japanese-Brazilian Artists" at the Museum of Contemporary Art of the University of Sao Paulo, and exhibited in the "1st Panorama of Brazilian Current Art", at the Museum of Modern Art of Sao Paulo.

Tikashi Fukushima had his work exhibited in the Alberto Bonfiglioli Gallery Exhibition.

Tikashi Fukushima paved the way for a more intuitive and informal space where goldens, blacks, and especially greens and reds find the most delicate diapasons, associated and placed in complementary oppositions.

Tikashi Fukushima described the relationship between father and son Takashi, who did not have the influence of his father in his paintings; Takashi, who was 22 years old at the time, had already been painting for three years without any pressure from Tikashi, the father being an abstractionist and the son a figurative artist.

Tikashi Fukushima was part of the jury of the 5th Bunkyo Salon.

In 1976, Tikashi Fukushima organized a solo exhibition in Sao Paulo and had his work presented in the group exhibition at the Museum of Modern Art in Sao Paulo.

In 1977, Tikashi Fukushima was appointed president of the Fine Arts Commission of the Brazilian Society of Japanese Culture and remained in that position until 1990 In the same year, he organized a solo exhibition in Rio de Janeiro, and his work was part of the "3rd Brazil-Japan Fine Arts" group exhibition, which took place in Rio de Janeiro, Sao Paulo, and Tokyo.

Tikashi Fukushima exposes the interfaces of his local genius or cultural gesture, merging, with extreme sensitivity, the universe of his oriental roots through the abstract staining of Japanese calligraphy with the universe of his Brazilian roots absorbed by the landscape that surrounds him.

Tikashi Fukushima creates an artistic language inserted in the cultural particularities of his complex and the social complex where he lives.

In 1979, he became a member of the Arts Commission of the Brazil-Japan Foundation of Arts, and in the same year, Tikashi Fukushima organized an exhibition in Rio de Janeiro.

In 1983, Tikashi Fukushima organized a solo exhibition at Galeria Alberto Bonfiglioli, Sao Paulo.

The exhibitions took place in Buenos Aires, The Hague, Lisbon, London, Madrid, Milan, New York, Paris, Rome, and Washington DC The following year, Tikashi Fukushima organized a solo exhibition in Sao Paulo, at Galeria de Arte Andre, which had the catalog and its preface written by Ivo Zanini.

Tikashi Fukushima's works have been presented at the Paco Imperial, the Sao Paulo Museum of Art, and the Museum of Contemporary Art of the University of Sao Paulo.

In 1986, Tikashi Fukushima organized a solo exhibition in Salvador and participated in the exhibitions "Times of War: International Hotel", and "Times of War: Maua Pension" at the Banerj Art Gallery.

Tikashi Fukushima added that the Japanese had a particular difficulty due to the suspicion that they were spies in the service of the Axis.

In 1987, Tikashi Fukushima organized a solo exhibition at the Porto Alegre Art Exchange.

Tikashi Fukushima's work was selected for the "20th Contemporary Art Exhibition" in Sao Paulo, and his work was in two other exhibitions, in Sao Paulo.

Tikashi Fukushima came from Japan in 1940, and here he improved his forms and mastered the chromatic balance, influenced by the contagious splendor of Brazilian tropicalism, especially in the 1970s and 1980s, when his informal composition reached its peak.

Impregnating since the beginning of his production the East-West symbiosis, Tikashi Fukushima became a true poet of colors, perhaps highlighting feelings of the two homelands, the one in which he was born and the other that welcomed him.

Tikashi Fukushima participated in the exhibition "Life and Art of the Japanese in Brazil", in Sao Paulo.

In 1989, Tikashi Fukushima's work was shown in Lisbon, at the Jose de Azeredo Perdigao Center of Modern Art; in the exhibition at the National Museum of Fine Arts, in Rio de Janeiro; and in the exhibition called "Brazil Paintings, 19th and 20th Centuries: Artworks from Banco Itau's Collection", in Sao Paulo.

The 1990s were the last decade that Tikashi Fukushima produced new works.

Tikashi Fukushima makes use of textures, thus giving volumes of light and dark, tinting the stain, creating effects in a valorizing alternation.

Tikashi Fukushima's works were exhibited in the "Portuguese-Japanese-Brazilian Exhibition", at the Brazilian Art Museum at the Armando Alvares Penteado Foundation.

In 1995, Tikashi Fukushima was chosen to be the president of the Japanese-Brazilian Museum of Art.

Still in 1995, Tikashi Fukushima's work was present in two exhibitions in Sao Paulo, and a group exhibition at the Metropolitan Museum of Art in Curitiba.

In 1998, Tikashi Fukushima's work was shown at the Itinerant International Japan-Brazil Exhibition, which took place at the Clovis Salgado Foundation - Palace of Arts, in Belo Horizonte, and at the Usiminas Cultural Center, in Ipatinga.

Tikashi Fukushima had his work presented in three group exhibitions in Sao Paulo.

Tikashi Fukushima was admitted to the Santa Cruz Hospital on a Wednesday, with a suspected heart attack.

Tikashi Fukushima underwent an angioplasty, and at midnight on Sunday, October 14,2001, passed away.

When Tikashi Fukushima died, in addition to other works, he left in his studio several blank canvases with red lines, as if they were veins, because the artist had the habit of spreading several red lines on the canvas.

Takashi Tikashi Fukushima met Ai Saito, who had arrived in Brazil in 1934, when she was 12 years old.

Tikashi Fukushima's relatives had arranged a fiance for her, through the miai, a Japanese custom of arranged marriages.

For six years Tikashi Fukushima sent letters to Ai, keeping the courtship hidden when he finally managed to convince her family to have her marry him, which occurred in 1949.

Tikashi Fukushima had the habit of listening to Paganini and dined out almost every night.

In 2003, Tikashi Fukushima's works were exhibited twice at the Museum of Contemporary Art of the University of Sao Paulo.

Tikashi Fukushima's work is part of important collections in Brazil and abroad, including:.