A Spirit Forged in Kyoto and France

The story of Yori Saitō begins amidst the traditional atmosphere of Kyoto, where his early training took root under the guidance of Chu Asai and Takeshiro Kanokogi. In 1905, he completed his studies at the Tokyo School of Fine Arts, but the pull of the broader horizon soon led him away from Japan. By 1906, he had traveled to France, seeking the heart of the modern movement. At the Académie Julian, he immersed himself in the teachings of Jean-Paul Laurens, learning the discipline of oil painting while simultaneously absorbing the radical shifts occurring in European art.

It was during this period of wandering through French landscapes and studios that the influence of Post-Impressionism began to reshape his vision. The works of Gauguin and Cézanne left a profound mark on his sensibility, teaching him to look beyond mere imitation. When he finally returned to Japan in 1908, he brought with him more than just new techniques; he carried a fresh perspective that would soon unsettle the established order of the Japanese art world.

The Pursuit of Subjectivity

Upon his return, Saitō became a central figure in a movement toward innovation. In 1912, alongside peers such as Kotaro Takamura and Ryusei Kishida, he helped form the Fusain-kai. This group sought to introduce a more subjective and modern approach to painting, challenging the classical tendencies that dominated the Taisho period. His presence in these circles was marked by an insistence on the artist's individual perception, a stance that brought a sense of shock to those accustomed to traditional realism.

His early submissions to the Bunten exhibitions revealed this developing strength. In 1915, his work Morning appeared, displaying a restrained and sober color palette. This piece utilized an unrealistic landscape—a space that felt neither purely Western nor Oriental—to create a poetic atmosphere. The figures within such works often carried a certain sorrowful weight, reflecting the deep influence of Puvis de Chavannes. As his career progressed, he continued to experiment with the boundaries of form and color.

A Legacy of Instruction and Criticism

Saitō's life was not confined solely to the canvas; he was deeply involved in the structural development of Japanese art education and discourse. In 1924, he co-founded the Kaijusha group and established the Osaka Fine Arts School with Torao Makino. His intellectual reach extended into the written word as well, serving as the chief editor of the magazine Bijutsu Shinron, where his critiques helped shape the direction of contemporary painting.

In his later years, his focus shifted toward the quiet observations of nature. He found great expression in still lifes and landscapes, often utilizing watercolor and oil to explore a more expressionistic use of color. Through his various roles as a painter, critic, and educator, he remained a steady force in the evolution of Western-style painting in Japan until his death in 1959.