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ÀLBUM FOTOGRÀFIC JAPONÈS (C
ÀLBUM FOTOGRÀFIC JAPONÈS (c. 1885-1890) 1 RESUM Amb motiu del Dia Mundial del Patrimoni Audiovisual (27 d'octubre), el Museu del Cinema vol difondre i posar en valor un dels objectes més singulars de la Col·lecció Tomàs Mallol: un àlbum japonès que conté cent fotografies datades entre el 1885 i 1890. Les fotografies d'aquest àlbum estan realitzades amb el procediment fotogràfic a l'albúmina. Cada fotografia està delicadament acolorida a mà i les tapes de l'àlbum són de fusta lacada de vermell, negre i or vell. Aquests àlbums eren objectes de luxe destinats especialment a viatgers, turistes o residents estrangers al Japó. Eren un record de les costums, la gent, les ciutats, els paisatges i el patrimoni del Japó en un època, a finals del segle XIX, en què tot allò provinent de l'Orient, i especialment del Japó, estava de moda a Occident i tenia una influencia notable sobre les arts (japonisme). Alguns d'aquests àlbums s'exportaven també a Europa i Nordamèrica. Aquest tipus de fotografia fou popularitzat per l'estudi fotogràfic de Felice Beato (Yokohama) a partir de 1866. Les fotografies de Beato van tenir un gran èxit i marcaren l'estil que van seguir els estudis fotogràfics posteriors. Es caracteritzaven per l'acoloriment de fotografies a mà realitzat per artistes especialitzats en l'acoloriment dels gravats xilogràfics tradicionals del Japó. La temàtica, molt del gust occidental, era de paisatges, urbans o de la natura, gent i costums del Japó. Sol ser molt difícil identificar l'autoria de la fotografies, atès que la majoria no estan signades i molts àlbums no tenen segell ni marca de l'estudi que els va vendre. -
THE TOM BURNETT COLLECTION of PHOTOGRAPHS of JAPAN 1859 – C. 1912
THE TOM BURNETT COLLECTION OF PHOTOGRAPHS OF JAPAN 1859 – c. 1912 • A TOTAL OF 4,500 VINTAGE PHOTOGRAPHS • 42 ALBUMS CONTAINING A TOTAL OF 2,000 PHOTOGRAPHS • 11 GROUPS OF IMAGES CONTAINING A TOTAL OF 250 PHOTOGRAPHS • AND APPROXIMATELY 2,000 MISCELLANEOUS PHOTOGRAPHS --VARIOUS PHOTOGRAPHIC FORMATS INCLUDING AMBROTYPES, CABINET CARDS, DEGURREOTYPE, CARTES-DE-VISITE, COLLOTYPES, GLASS LANTERN SLIDES, MAMMOTH PRINTS, STEREOVIEWS and PANORAMAS. 1 PREPARED WITH THE ASSISTANCE OF ALDEN REISS REFERENCES cited in this catalogue: Felice Beato, A Photographer on the Eastern Road (Getty Museum), Anne Locoste, 2010 PER (PL – Plate) Felice Beato in Japan, CG Phillipp, Motta edition, 1991 FBJ Japan, Photographs, Clark Worswick, 1979 JP Photography in Japan 1853 – 1912, Terry Bennett, 2006 PIJ Views and Costumes of Japan: A Photograph Album by Baron Raimund von Stillfried-Ratenicz, Luke Gartlan, “The La Trobe Journal” No 76, 2005 VCJ Felice Beato Photographer in Nineteenth-Century Japan, Eleanor M. Hight, 2011 FBUNH La Photographie Japonaise, Patrik Bonneville, 2006 LPJ Koshashin, The Hall Collection, 2009 KO Reinventing Tokyo, Catalogue for Exhibition at Mead Art Museum at Amherst College, 2013 RT Souvenirs from Japan, Margarita Winkel, 1991 SJ Staging Desires: Japanese Feminitity in Kusakabe Kimbei’s Nineteenth-Century Souvenir Photograohy, Mio Wakita, 2013 SD Renjo Shimooka: The Pioneer Photographer in Japan, Ishiguro Keisho, 1999 ISH The British and French Military Garrisons in Yokohama at the Time of the Meiji Restoration, Yokohama Archives of -
5 Souvenir Albums Kimbei, Took a Number of Years to Build a Truly Representative Portfolio Which Covered the Four - Number List and Main Islands
mirrored the actual journey the tourist had taken. Some famous photographers, for example Kusakabe 5 Souvenir Albums Kimbei, took a number of years to build a truly representative portfolio which covered the four - Number List and main islands. In the meantime, Kusakabe and others solved this problem by acquiring prints and Attribution Issues negatives from other studios, effectively filling in the gaps in their own catalogues. This was perhaps Throughout the whole of the Meiji period and to be expected: a Yokohama-based studio might beyond, it was possible for Japan’s foreign visitors, well decide it was impractical, or impracticable, and of course local residents to acquire souvenir to obtain a representative range of views from as photographs of scenic views and portraits. These far away as Nagasaki or Hakodate. Kusakabe, in photographs were usually mounted in albums whose fact, advertised his business as a photographic boards were decorated with attractive lacquer work dealership in the early years of his studio and it was or Japanese silk cloth. The photos themselves were only later that he styled himself as a photographer. invariably hand coloured, but some customers Most Meiji-era studios included work from other favoured them in their original sepia tones. photographers in their souvenir albums, and The albums are sometimes today referred to as arrangements between studios to buy or exchange Yokohama Albums since most of the studios which negatives must have been commonplace. Do not produced them, at least in the early years, were expect, therefore, a souvenir album to necessarily based in that town. After the 1880s, however, an contain the work of just one artist. -
Catalogue 55
CATALOGUE 55 CHARLOTTE DU RIETZ RARE BOOKS 2 3 1 ALLEN, WILLIAM & THOMSON, T.R.H. pedition on board ship, probably taken by Jonas Stadling. A Narrative of the Expedition sent by Her Majesty’s The photograph shows Axel Stake (engineer), Carl August Ehrensvärd (Captain of the ship), Christian Lembke (med- Government to the River Niger, in 1841, under the ical doctor), S.A. Andrée and his two balloon companions of Command by Captain H.D. Trotter. Two volumes. Knut Frænkel and Nils Strindberg. London, Richard Bentley, 1848. € 1 200 After a failed balloon expedition in 1896 a new attempt Pp. xviii, (ii), 510; viii, 512. With three maps, sixteen en- was made by Andrée, Strindberg and Frænkel the follow- graved plates and many woodcut illustrations in the text. ing year. In July the expedition took off from Danes Island Contemporary full calf, covers ruled in gilt, flat spines at Svalbard but flew for only 65 hours before the balloon richly gilt and with title labels, extremities lightly rubbed, was forced down on the pack ice about 300 km north of hinges weak but firm, marbled end papers, marbled edges White Island. Several expeditions were sent out in search First edition of an interesting account of the exploration of the missing balloon team but without any success. A of Niger with information about the natural history of the Norwegian vessel discovered the remains of the expedi- region and of the different tribes. tion at White Island (Kvitøya) in 1930. The British Niger Expedition of 1841 was commissioned by 3 [ART NOUVEAU DESIGN] the government to explore the course of the River Niger SCHMITT, HELENE and make trade treaties with the local rulers to prohibit Stickereien (Embroideries). -
The Building of the Embassy of the Islamic Republic of Afghanistan in Tokyo
Community Information Paper No.40 September 2017 Translated/Issued by Azabu Regional City Office Edited by the Azabu Editing Office 5-16-45 Roppongi, Minato City, Tokyo, 106-8515 Tel: 03-5114-8812 (Rep.) Fax: 03-3583-3782 Please contact Minato Call for inquiries regarding Residents’ Life Support. Tel: 03-5472-3710 A community information paper created and edited by people who live in Azabu. A Baluster style architectural structure (supports shaped like flower bulbs or layered discs) was employed for the roof terrace and to the right and left of the entrance hall. A very regular square or rectangular design is emphasized with a lot of windows and columns at the front of the building. Photo provided by the Embassy of Afghanistan in Tokyo Fascinated by Artistic Azabu ⑬ The Building of the Embassy of the Islamic Republic of Afghanistan in Tokyo The Embassy of Afghanistan in Tokyo is located in a quiet part of the Azabudai area, and it is similar to a magnificent palace in that it appears suddenly on high ground. There are not any adjacent houses or buildings to the site. The Embassy moved here from Yoyogi Uehara in July 2008. The former old conference building for the central government agencies (Chuokancho Godo Kaigisho) was completely renovated and transformed into this exotic and sophisticated embassy building. From the front, this building looks like a two-story building with a rooftop structure. However, viewed from the rear, the two office area basement floors are visible, revealing this to be a four-story building. On the other side of the rooftop structure (around the pole for the national flag) a small dome can be seen (photo taken in 2008). -
Spectacles of Authenticity: the Emergence of Transnational Entertainments in Japan and America, 1880-1905
SPECTACLES OF AUTHENTICITY: THE EMERGENCE OF TRANSNATIONAL ENTERTAINMENTS IN JAPAN AND AMERICA, 1880-1905 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ART AND ART HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Hsuan Tsen August 2011 © 2011 by Hsuan Tsen. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- No Derivative Works 3.0 United States License. http://creativecommons.org/licenses/by-nd/3.0/us/ This dissertation is online at: http://purl.stanford.edu/zn835vf2397 Includes supplemental files: 1. (Tsen Images.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Scott Bukatman, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Wanda Corn I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. James Reichert I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Bryan Wolf Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. -
Le Japon Dans La Collection Photographique Du Peintre Louis-Jules Dumoulin (1860-1924) Julien Béal
Le Japon dans la collection photographique du peintre Louis-Jules Dumoulin (1860-1924) Julien Béal To cite this version: Julien Béal. Le Japon dans la collection photographique du peintre Louis-Jules Dumoulin (1860-1924). 2017. hal-01517490v2 HAL Id: hal-01517490 https://hal.archives-ouvertes.fr/hal-01517490v2 Preprint submitted on 5 May 2017 (v2), last revised 23 May 2017 (v3) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Le Japon dans la collection photographique du peintre Louis-Jules Dumoulin (1860-1924) Par Julien Béal (Université Nice Sophia Antipolis) Le fonds ASEMI1 (Asie du Sud-Est et Monde Insulindien) issu de l’ancien laboratoire mixte CNRS/Ecole des Hautes Etudes en Sciences Sociales CeDRASEMI, est riche de plus de 20 000 documents. Après sa création à Paris en 1958, le fonds ASEMI a ensuite été déplacé avec le laboratoire de recherche à Sophia Antipolis avant d’être installé en 1988 à la Bibliothèque Universitaire de Lettres, -
The Role of Japan in Modern Chinese Art Edited by Joshua A
The Role of Japan in Modern Chinese Art Edited by Joshua A. Fogel Published in association with the University of California Press “This ambitious, very important project defines no less than a new field of inquiry, one that scarcely could have been attempted in the past. The essays in this volume add enor- mously to the documentation of what late-period Chinese art learned from Japan, and begin to formulate conclu- sions that will enrich future accounts of both Japanese and Chinese art.” JAMES CAHILL, University of California, Berkeley The modern histories of China and Japan are inexorably intertwined. Their relationship is perhaps most obvious in the fields of political, economic, and military history, but it is no less true in cultural and art history. Yet the traffic in artistic practices and practitioners between China and Japan remains an understudied field. In this volume, an international group of scholars investigates Japan’s impact on Chinese art from the mid-nineteenth cen- tury through the 1930s. Individual essays address a range of perspectives, including the work of individual Chinese and Japanese painters, calligraphers, and sculptors, as well as artistic associations, international exhibitions, the collotype production or artwork, and the emergence of a modern canon. JOSHUA A. FOGEL is Canada Research Chair and a professor of history at York University, Toron - to, and a specialist in the history of cultural and political ties between China and Japan in the mod - ern era. CONTRIBUTORS: Julia F. Andrews | Shana J. Brown | Chen Jie | Lisa Claypool | Walter B. Davis | Zaixin Hong | Yu-chih Lai | Tamaki Maeda | Kuiyi Shen | Richard Vinograd | Cheng-hua Wang | Aida Yuen Wong New Perspectives on Chinese Culture and Society, 3 The Role of Japan in Modern Chinese Art New PersPectives oN chiNese culture aNd society A series sponsored by the American Council of Learned Societies and made possible through a grant from the Chiang Ching-kuo Foundation for International Scholarly Exchange 1. -
Le Origini Della Scuola Di Yokohama
Francesco Paolo Campione Un’estetica della nostalgia Le origini della Scuola di Yokohama Venerdì 25 Novembre 2016, ore 17:00 In occasione dell'esposizione temporanea Via Giulotto 12, Polo universitario Cravino, Pavia Un mondo allo specchio. Viaggio e fotografia nel Giappone dell’Ottocento Aula Magna «Maria Antonietta Sairani» Pavia, Residenza Universitaria Biomedica, 25.XII.2016 – 25.II.2017 Legenda dei simboli e delle abbreviazioni adoperati Argomenti Argomenti nella presentazione teorici tecnici abc Concetto guida MCL Museo delle Culture, Derivazione logica Lugano Attenzione Inv. Collezione Ceschin Bibliografia Pilone, già Collezione 横 Esempio Fagioli Pagina successiva Inv. CP Collezione Perino 浜 Parola chiave 写 Vedi 真 Yokohama shashin In copertina e in chiusura, Anonimo, Japanese lantern makers, 1880-1900, 20,4×27,1 cm, neg. C41, inv. 42-35. Un singolare connubio Un singolare connubio Tecnica occidentale Tradizione coloristica giapponese In alto: Fotocamera Champion della E. & H. T. Anthony & Company di New York, per lastre di vetro al collodio umido, misura 4”¼ x 6”½. 1887-1889. 1 Sotto: Enami Nobukuni, Photo colorists, ante 1897 (part.), Collezione privata. Periodizzazione Periodizzazione Storico critica Bakumatsu (1853-1867) Meiji (1868-1912) Stilistica 1860 Scelte stilistiche 1910 Pittorialismo Sociologica 1860 Trasformazione 1890 Estensione dell'uso della fotografia Ruolo di F. Beato (dal 1863) • Coloritura • Album • Trasformazione degli atelier A sinistra: Kusakabe Kimbei (attr.), Futagoyama from Hata, ante 1893, 25,3×19,9 cm, neg. 982, inv. 43-18. 2 A destra: Enami Nobukuni (attr.), [Two cranes], 1900 ca, 8,2 ×8,2cm, inv. CP50; Anonimo, [Two men in the shade of a tree], 8,2 ×8,3 cm, 1900 ca, inv. -
Western Books on Asia: Japan Fiche Listing
Western Books on Asia: Japan Fiche Listing Spalding, J. W. (J. Willett), 1827. Oliphant, Laurence, 1829-1888. Japan and around the world : an account of three Narrative of the Earl of Elgin's mission to China visits to the Japanese empire. and Japan in the years 1857, '58, '59. New York: Redfield. 1855 New York : Harper & Bros. 1860 Geography Geography 377 p., [8] leaves of plates : ill. ; 20 cm.; CTRG92B4; 645 p., [1] leaf of plates : ill. (1 col.) ; 24 cm.; by J. W. Spalding. CTRG92B8; by Laurence Oliphant. Fiche: 1-5 Fiche: 36-43 Japan. Monbusho. Hishida, Seiji G. (Seiji George), b.1874. Japan : from the Japanese Government history. The international position of Japan as a great Philadelphia : J. D. Morris. c1906 power. History New York : The Columbia University Press. 1905 xxiii, 348 p., [10] leaves of plates : ill., (1 col.), maps Politics and Government ; 24 cm. (The History of nations ; v. 7); CTRG92B5; 289 p. ; 24 cm. (Studies in history, economics and edited, with supplementary chapters, by K. Asakawa. public law ; v. 24, no. 3, (whole no. 64)); Fiche: 6-10 CTRG92B9; by Seiji G. Hishida. Fiche: 44-47 Lombard, Frank Alanson. Pre-Meiji education in Japan : a study of Japanese Furuya, Hisatsuna, 1874-1919. education previous to the restoration of 1868. Système représentatif au Japon. Tokyo : Kyo Bun Kwan (Methodist Publishing Bruxelles : H. Lamertin. 1899 House). [1913] Politics and Government Education xi, 262 p. ; 25 cm.; CTRG92B10; par Hisatsuna iii, 271 p., [6] leaves of plates : ill. ; 21 cm.; Furuya. CTRG92B6; by Frank Alanson Lombard. Fiche: 48-50 Fiche: 11-14 Griffis, William Elliot, 1843-1928. -
Visualizing Beauty
Visualizing Beauty Gender and Ideology in Modern East Asia Edited by Aida Yuen Wong Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong www.hkupress.org © Hong Kong University Press 2012 ISBN 978-988-8083-89-3 (Hardback) ISBN 978-988-8083-90-9 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Liang Yu Printing Factory Ltd. in Hong Kong, China Contents Contributors vii Note on Language xi Acknowledgements xiii Introduction 1 Aida Yuen Wong 1 Beauty Battle: Politics and Portraiture in Late Meiji Japan 11 Karen M. Fraser 2 Painting Manuals and Gendered Modernity in Republican-era Shanghai 23 Lisa Claypool 3 How “Modern” was the Modern Woman? Crossed Legs and Modernity in 1930s Shanghai Calendar Posters, Pictorial Magazines, and Cartoons 45 Francesca Dal Lago 4 Fashioning Appearances: Feminine Beauty in Chinese Communist Revolutionary Culture 63 Hung-yok Ip 5 The Modern Girl (Modeon Geol) as a Contested Symbol in Colonial Korea 79 Yeon Shim Chung 6 Female Images in 1930s Korea: Virtuous Women and Good Mothers 91 Yisoon Kim 7 Japanese Images of Asian Women in “Traditional” Clothes in the Age of Empire 101 Kaoru Kojima 8 The Gender of Beauty in Architectural and Interior Design Discourse in Modern Japan 113 Sarah Teasley Notes 131 Glossary 157 Bibliography 163 Index 175 Contributors Yeon Shim Chung (Ph.D., Institute of Fine Arts, New York University) is Assistant Professor in the Department of Art History & Theory at Hongik University in Seoul, Korea. -
Francesco Paolo Campione Yokohama-Skolen. Fotografiet I
Francesco Paolo Campione Francesco Paolo Campione Yokohama-skolen. Fotografiet i Japan fra 1860 til 1910: Rejsekunst mellem dokumentation og tradition En anonym maler, der var ansat i Kusakabe Kimbeis atelier, benyttede en pensel med kun et hår til at male detaljerne på hver af de to hundrede munkes øjne og læber, som var på fotografiet Yokohama-skolen. Fotografiet i Japan fra 1860 til 1910 Yokohama-skolen. Billedkunstskolernes forlag ISBN 978-87-7945-092-9 Figura Yokohama-skolen Fotografiet i Japan fra1860 til 1910: Rejsekunst mellem dokumentation og tradition Også i Figura-serien fra Billedkunstskolernes forlag: Gilles Deleuze, Francis Bacon – Sansningens logik Georges Bataille, Manet – Et biografisk og kritisk studie Figura-serien redigeres af Carsten Juhl Francesco Paolo Campione Yokohama-skolen Fotografiet i Japan 1860-1910: Rejsekunst mellem dokumentation og tradition Periodisering af japansk historie Oversættelse og tekstredaktion ved Carsten Juhl Epoker: Jōmon (indtil 200 f.v.t.) Yayoi (200 f.v.t. – 250 e.v.t.) Kofun (250 – 552) Asuka (552 – 646) Hakuhō (646 – 710) Nara (710 – 794) Heian (794 – 1185) Kamakura (1185 – 1333) Nanbokuchō (1336 – 1392) Muromachi (1392 – 1568) Azuchi Momoyama (1568 – 1600) Tokugawa eller Edo (1600 – 1853/1868) Overgangen til moderniteten: Bakumatsu, der betyder “tæppefald” nemlig for shogunatet (= Bakufu) og landets isolationistiske politik (1853 – 1867) Meiji-epoken (1868 – 1912), også kaldet Meiji Restaurationen på grund af kejserens indsættelse i en halvguddommelig position Billedkunstkolernes forlag Moderne perioder: Det kgl. danske Kunstakademi Taishō (1912 – 1926) København Shōwa (1926 – 1988) Heisei (1988 –) 2016 Francesco Paolo Campione Indholdsfortegnelse La Scuola di Yokohama La fotografia nel Giappone dell’Ottocento Giunti – Esovisioni 10, Firenze og Milano, 2015 © 2015 Giunti Arte Mostre Musei S.r.l.