Yoshida made numerous trips around the world, with the aim of getting to know different artistic expressions and making works of different landscapes.

[1] He traveled widely, and was particularly known for his images of non-Japanese subjects done in traditional Japanese woodblock style, including the Taj Mahal, the Swiss Alps, the Grand Canyon, and other National Parks in the United States.

Around this time, Yoshida and his fellow painters founded the Taiheiyōgakai (Pacific Art Society, 太平洋画会) the successor to the Meiji Bijutsukai.

[2] His travel to the United States made him aware of the high reputation of Japanese woodblock prints and he set out to create new woodblock prints that would combine the traditional Japanese technique of ukiyo-e with the realistic expression of yōga (Western-style painting).

[2][4][8] From November 1930 to February 1931, Yoshida and his eldest son, Tōshi, went on a sketching trip to India and Southeast Asia.

[12] Throughout his life, Yoshida was a leading figure in the Japanese art world of his time in the fields of woodblock prints, watercolors and oil paintings.

[6] During a visit to the United States in 1923, he became aware of the high esteem in which Japanese woodblock prints were held and set out to create a new style of woodblock prints that combined the traditional Japanese technique of ukiyo-e with the realistic expression of yōga (Western-style painting).

[6] The style of ukiyo-e, one of the distinctive features of Yoshida's artistic work, emerged in Japan around the 15th century, which consists of the application of paint on a block of wood.

The usual theme represented in this painting were Kabuki theatre, natural landscapes, socialites, or everyday scenes.

As a result, his works are rich in color and faithfully depict the atmosphere of landscapes and even the three-dimensionality of architecture.

They are part of the Seto Inland Sea series and each depicts a morning, forenoon, afternoon, evening, night and mist scene of the same sailing boats.

[14] In his six prints of the Taj Mahal published in 1932, the fifth and sixth are in the betsuzuri method, each depicting a morning and a night scene.

This group, four men and four women spanning four generations, provides a perspective on Japanese history and art development in the turbulent 20th century.

Prints originally sold on the Japanese market do not carry a pencil signature or a title in English.