Colorless Festivals—An Examination of Yasuo Kuniyoshi’s Two Postwar Lithographs

As a key figure among Japanese American artists, Yasuo Kuniyoshi attracted scholarly attention for his melancholic paintings produced during and shortly after the Second World War. Many of his works from this period portrayed somber figures in masks painted in muted color palettes. Kuniyoshi also placed his figures in bleak circus or carnival settings, imbuing these traditionally festive settings with an air of sadness. As many scholars argued, Yasuo’s solemn postwar paintings reflected the artist’s disillusionment with American society after he was labeled an “enemy alien” as a Japanese artist living in the U.S. during the Pacific War. While his postwar paintings have been extensively studied, his lithographic works remained overlooked due to their scarcity. This paper examines Kuniyoshi’s two postwar lithographs, Carnival and Mask, which follow the same carnival motifs as his late-life works, but represent a departure from his earlier artistic principles. Through the close analysis of the artist’s two lithographs and comparison to contemporary paintings, this paper argues that Kuniyoshi’s lithographs function as reflexive records of his paintings, serving as platforms for him to experiment with new artistic techniques and themes. Furthermore, examining the lithographs in the context of the artist’s full oeuvre, this paper will highlight how Kuniyoshi blurred the boundaries between artistic mediums, mirroring his broader efforts to navigate the challenges of postwar identity and artistic expression.