Who painted Untitled?

Untitled was painted by Shiko Munakata in 1959.

Where can I see Untitled?

Untitled is held by Museum of Modern Art.

Artwork

Untitled

Shiko Munakata , 1959

Untitled is an ink print by Shiko Munakata. It dates from 1959 and is held in the collection of the Museum of Modern Art. Created in 1959, this black‑and‑white woodcut presents a sharply rendered portrait of a bespectacled figure in a patterned sweater.

About this work

Overview

Created in 1959, this black‑and‑white woodcut presents a sharply rendered portrait of a bespectacled figure in a patterned sweater. The composition is dominated by bold, angular lines that define the facial features and hair, set against a faint, wavy background that suggests water. Japanese text appears on the right side, while a caption at the bottom identifies the image as a self‑portrait.

Subject & Meaning

The work functions as a self‑portrait, focusing on the artist’s own visage rendered with stark contrast. The angular treatment of the face and the inclusion of everyday clothing convey a direct, unembellished presence, while the subtle water‑like motif in the background may hint at fluidity or introspection underlying the rigid line work.

Technique & Style

Executed in the traditional woodcut method, the image relies solely on black ink applied to white paper, producing a high‑contrast two‑tone effect. Munakata’s approach emphasizes strong, clean cuts that generate sharp edges and dynamic negative space, characteristic of the sōsaku‑hanga emphasis on personal expression through direct carving.

History & Provenance

Shikō Munakata, a prominent figure in Japan’s Shōwa‑era printmaking, produced this piece during a period when he was gaining international recognition, including awards at the São Paulo Bienal (1955) and Venice Biennale (1956). The print entered the collection of the Museum of Modern Art, where it remains part of the institution’s holdings.

Context

Munakata’s practice was closely linked to the sōsaku‑hanga movement, which championed the artist’s involvement in all stages of print production, and the mingei movement’s appreciation for folk craftsmanship. This self‑portrait reflects those ideals, merging personal narrative with the disciplined, handcrafted aesthetic valued by both movements.