Q: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
Passage: The travel sketchbook became a popular genre beginning about 1905, as the Meiji government promoted travel within Japan to have citizens better know their country.  In 1915, publisher Shōzaburō Watanabe introduced the term shin-hanga ("new prints") to describe a style of prints he published that featured traditional Japanese subject matter and were aimed at foreign and upscale Japanese audiences.  Prominent artists included Goyō Hashiguchi, called the "Utamaro of the Taishō period" for his manner of depicting women; Shinsui Itō, who brought more modern sensibilities to images of women; and Hasui Kawase, who made modern landscapes.  Watanabe also published works by non-Japanese artists, an early success of which was a set of Indian- and Japanese-themed prints in 1916 by the English Charles W. Bartlett (1860–1940). Other publishers followed Watanabe's success, and some shin-hanga artists such as Goyō and Hiroshi Yoshida set up studios to publish their own work.Artists of the sōsaku-hanga ("creative prints") movement took control of every aspect of the printmaking process—design, carving, and printing were by the same pair of hands.  Kanae Yamamoto (1882–1946), then a student at the Tokyo School of Fine Arts, is credited with the birth of this approach. In 1904, he produced Fisherman using woodblock printing, a technique until then frowned upon by the Japanese art establishment as old-fashioned and for its association with commercial mass production.  The foundation of the Japanese Woodcut Artists' Association in 1918 marks the beginning of this approach as a movement.  The movement favoured individuality in its artists, and as such has no dominant themes or styles.  Works ranged from the entirely abstract ones of Kōshirō Onchi (1891–1955) to the traditional figurative depictions of Japanese scenes of Un'ichi Hiratsuka (1895–1997).  These artists produced prints not because they hoped to reach a mass audience, but as a creative end in itself, and did not restrict their print media to the woodblock of traditional ukiyo-e.Prints from the late-20th and 21st centuries have evolved from the concerns of earlier movements, especially the sōsaku-hanga movement's emphasis on individual expression.  Screen printing, etching, mezzotint, mixed media, and other Western methods have joined traditional woodcutting amongst printmakers' techniques.
Descendents of ukiyo-e.
A:
What is the full name of the person who produced Fisherman using woodblock printing?