DOCSLIB.ORG

Castelnuovo-Tedesco

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Castelnuovo-Tedesco 555856bk C-T US 22/9/03 10:33 am Page 4 Jordi Masó DDD 8.555856 Jordi Masó was born in Granollers, near Barcelona, in 1967. He studied at the Conservatory there with Josep M. Roger, at the Barcelona School of Music with the pianist Albert Attenelle, and at the Royal Academy of Music of Mario London with Christopher Elton and Nelly Akopian, graduating in 1992 with the DipRAM, the highest distinction of the academy. He won first prizes in many National and International competitions in Spain and has performed extensively in most European countries and in the United States in piano recitals and in chamber music concerts. CASTELNUOVO-TEDESCO With a repertoire of more than thirty concertos from Mozart to the contemporary, Jordi Masó is regularly invited to play with the most important Spanish orchestras. His wide repertoire, covering all periods and styles, with special Piano Music emphasis on music of the twentieth century, has brought first performances of many piano works by the foremost Spanish composers. His many acclaimed recordings include the 1993 world première recording of the complete Cipressi • Il raggio verde • Epigrafe • Cantico works for piano of Roberto Gerhard (Marco Polo 8.223867), from 1997 to 2000 four discs with the complete piano music by Frederic Mompou (Naxos 8.554332, 8,554448, 8.554570 and 8.554727), and two recordings with music by Josep Soler and Joaquim Homs (Marco Polo 8.225083 and 8.225099). He is now recording the complete piano Jordi Masó music by Joaquín Turina for Naxos. He has also recorded for other major companies. Since 1993 he has been professor at the Granollers Conservatory and, since 1996, a member of the contemporary music group Barcelona 216, which won the Barcelona City Prize for music in 2000. In 2002 he was appointed professor at the leading music school in Catalonia, the ESMUC. 8.555856 4 555856bk C-T US 22/9/03 10:33 am Page 2 Mario Castelnuovo-Tedesco (1895-1968) 1937. Once again Castelnuovo-Tedesco depicts the sea, Vasari in his life of the painter. Epigrafe, written in Piano Music here in the terms of a fairy-story, in which the mermaid 1922, is in a musical language that by now is familiar. encounters the growing amatory difficulties usual to her It is here followed by the prize-winning Cantico, Op.19, The Italian composer, critic and pianist Mario (The Merchant of Venice) won the La Scala Concorso kind, before the serene conclusion. To this the five little of 1920, a piece written Per una statuetta di Castelnuovo-Tedesco derived his family name from the internazionale Campari prize and was given its first waltzes of Passatempi, Op.54, offer a light-hearted S.Bernadino di Niccolò dell’Arca (For a statuette of St Spanish district of Castilla Nueva, from which his performance in Florence in 1961 at the Maggio contrast, the first an off-key Un poco mosso, leading to Bernardino by Niccolò dell’Arca), music that rises to a ancestors had been expelled in 1492, with the scattering musicale. His interest in Shakespeare is further a second in burlesque mood. The third waltz is imbued final dynamic climax in its reflection of the work of the of Sephardim throughout the Mediterranean world. suggested by his series of Shakespeare overtures, his with melancholy and the fourth is pastoral in feeling. fifteenth century artist. Born in Florence in 1895, he was introduced to music Shakespeare songs (Marco Polo 8.223729), and his The dances end with a mock-Viennese waltz. by his mother and in 1908 entered the Cherubini opera All’s well that ends well. Other works show his Vitalba e Biancospino, Op.21, of 1921 takes its Conservatory in Florence. He completed his piano wide literary interests, from an opera based on Oscar starting-point from the story of the two plants of the Keith Anderson studies with Del Valle de Paz in 1914, and had become Wilde’s The Importance of Being Earnest to the ballet title, specifically the clematis and the common a composition pupil of Ildebrando Pizzetti two years The Birthday of the Infanta, music for Pirandello’s I hawthorn, as so often suggesting the composer’s facility (For much of the biographical information on earlier, graduating in 1918. He then studied privately giganti della montagna and settings of Schiller, Keats, in improvisation. The earlier Questo fu il carro della Castelnuovo-Tedesco I am indebted to the article by for the diploma in composition at Bologna Wordsworth, Shelley, Heine and Petrarch. In 1946 he Morte, Op.2, was written in 1913, suggested by the Mila De Santis in Musik in Geschichte und Gegenwart, Conservatory. He owed much to Pizzetti, who was had become an American citizen and until his death in Trionfi della Morte by Piero di Cosimo, as described by Personenteil Bd.IV, Bärenreiter, 2000.) instrumental in introducing him to leading 1968 he taught at the then Los Angeles Conservatory, contemporary composers, including Alfredo Casella, where his pupils included Henry Mancini, Jerry who included Castelnuovo-Tedesco’s 1916 Il raggio Goldsmith, John T. Williams and André Previn. verde in his piano recitals. Cipressi, Op.17, later transcribed by the composer In the period between the wars Castelnuovo- for orchestra, is an evocative piece, suggested by the Tedesco established himself as a pianist, appearing as a cypress trees at Usigliano, where he spent many soloist, accompanist and participant in chamber music, summers, staying at the Villa Forti. In 1924 he married and as a critic for various musical journals. In 1920 he Clara Forti, but the Forti family properties did not won the prize offered by Il pianoforte for the best piano survive the depredations after 1938. Il raggio verde, composition with his Cantico, Op.19. His compositions Op.9, written in 1916, suggests the influence of were also heard abroad, notably at the festivals of the Debussy or Ravel in its musical language. The gently ISCM. After the racial legislation of 1938 and with the reflective Alghe, Op.12, composed in 1919, has a support of Heifetz, Toscanini and Albert Spalding, and delicate simplicity in its suggestions of the sea, again with the assurance of employment, he moved to with suggestions of contemporary French writing. I America. From 1940 to 1956 he worked for various film naviganti, Op.13, dates from the same year and is in a studios in Hollywood, contributing to some 250 largely similar mood. These three works form a trilogy productions. At the same time he continued his own of sea-pieces. Lucertolina, written in 1916, evokes the work as a composer, with a series of some seventy creature of the title, the little lizard, later included in a works of all kinds, including oratorios and cantatas, Sonata zoologica. songs, operas, concertos, guitar music and compositions La sirenetta e il pesce turchino, Op.18, the sea fable for the piano. His 1959 opera Il mercante di Venezia of the little mermaid, was the basis of a later ballet in 8.555856 2 3 8.555856 555856bk C-T US 22/9/03 10:33 am Page 2 Mario Castelnuovo-Tedesco (1895-1968) 1937. Once again Castelnuovo-Tedesco depicts the sea, Vasari in his life of the painter. Epigrafe, written in Piano Music here in the terms of a fairy-story, in which the mermaid 1922, is in a musical language that by now is familiar. encounters the growing amatory difficulties usual to her It is here followed by the prize-winning Cantico, Op.19, The Italian composer, critic and pianist Mario (The Merchant of Venice) won the La Scala Concorso kind, before the serene conclusion. To this the five little of 1920, a piece written Per una statuetta di Castelnuovo-Tedesco derived his family name from the internazionale Campari prize and was given its first waltzes of Passatempi, Op.54, offer a light-hearted S.Bernadino di Niccolò dell’Arca (For a statuette of St Spanish district of Castilla Nueva, from which his performance in Florence in 1961 at the Maggio contrast, the first an off-key Un poco mosso, leading to Bernardino by Niccolò dell’Arca), music that rises to a ancestors had been expelled in 1492, with the scattering musicale. His interest in Shakespeare is further a second in burlesque mood. The third waltz is imbued final dynamic climax in its reflection of the work of the of Sephardim throughout the Mediterranean world. suggested by his series of Shakespeare overtures, his with melancholy and the fourth is pastoral in feeling. fifteenth century artist. Born in Florence in 1895, he was introduced to music Shakespeare songs (Marco Polo 8.223729), and his The dances end with a mock-Viennese waltz. by his mother and in 1908 entered the Cherubini opera All’s well that ends well. Other works show his Vitalba e Biancospino, Op.21, of 1921 takes its Conservatory in Florence. He completed his piano wide literary interests, from an opera based on Oscar starting-point from the story of the two plants of the Keith Anderson studies with Del Valle de Paz in 1914, and had become Wilde’s The Importance of Being Earnest to the ballet title, specifically the clematis and the common a composition pupil of Ildebrando Pizzetti two years The Birthday of the Infanta, music for Pirandello’s I hawthorn, as so often suggesting the composer’s facility (For much of the biographical information on earlier, graduating in 1918. He then studied privately giganti della montagna and settings of Schiller, Keats, in improvisation. The earlier Questo fu il carro della Castelnuovo-Tedesco I am indebted to the article by for the diploma in composition at Bologna Wordsworth, Shelley, Heine and Petrarch.
Load more

Recommended publications
  • Japonisme in Britain - a Source of Inspiration: J
    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).
    [Show full text]
  • Goseda Yoshimatsu (1855-1915) Also with Materials and Bibliography for Kawakami Tôgai (1827 - 1881), Takahashi Yuichi (1828 - 6
    1 The Asian Modern © John Clark, 2013 Goseda Yoshimatsu (1855-1915) also with materials and bibliography for Kawakami Tôgai (1827 - 1881), Takahashi Yuichi (1828 - 6. 7. 1894), Goseda Hôryû I (1827-1892), Hyakutake Kaneyuki /Yasutarô (1842 - 1887), Yamamoto Hôsui (1850 - 1906), Kawamura Kiyo-o (26. 4. 1852 – 26. 5. 1934), Matsuoka Hisashi (1862 - 1944), Goseda Hôryû II (1864-1943), Charles Wirgman (1832- 1891), Antonio Fontanesi (23.2.1818-17.4.1882) These notes include updated and expanded versions of material in my Japanese Exchanges in Art, 1850s-1930s, Sydney, Power Publications, 2001. For ease of reading I have used the calendrical names for months but in years before 1868 these could be the sequential 12 lunar months. In addition, most modern Japanese historical sources have usually translated the previous lunar month dates into modern Gregorian calendrical months, but one cannot always be sure this is the case for all dates, especially before 1868. Domestic precursors also active during first part of Goseda Yoshimatus’s life Kawakami Tôgai (1827 - 1881) 1827 Born in Shinano, adopted out in both 1842 and 1851, the second time to a Bakufu Vassal. 1844 to Edo. 1856 employed in Office for Barbarian Books. 1857 ordered to investigate paintings and drawings. 1857 did three woodblock illustrations for a translation of Robinson Crusoe. 1861 Painting Bureau established in same, Kawakami served as painter. 1862 became Bureau for Study of Western Books, and in 1863 the Development Office. For a time studied Western painting in Yokohama with Mrs. Schoyer. 1868 drawing master at Numazu Military School. Soon thereafter a copyist at Development Office.
    [Show full text]
  • Download the Paper
    Permanent Secretariat Av. Drassanes, 6-8, planta 21 08001 Barcelona Tel. + 34 93 256 25 09 Fax. + 34 93 412 34 92 Strand 2: The Historiography of Art Nouveau (looking back on the past) Paris and Kyoto—Asai Chu making a bridge onto the Art Nouveau from Japan Mori Hitoshi (Professor, Kanazawa College of Art) In Japan, from the fifteenth century onwards, the tea ceremony, flower arrangement, and the incense ceremony have existed as arts and the art theories cultivated there gave form to basic concepts such as “mitate (likening)” or “shitsurai (arrangement)”. There, not only the actual things visible but different perspectives and entirely new concepts were presented through a variety of implements and combinations of them. On such occasions, vases, incense burners, and tea caddies were employed as “tools” to express such ideas. The significance of the existence of such works of art as tools to give form to such ideas was great. In addition, having accomplished the Meiji Restoration in the latter half of the nineteenth century, Japan became open to Western politics, economics, and culture and aimed to form a new nation-state. In doing so, thanks to Japonism, Japanese-made products were highly appreciated abroad. However, in the 1880s, Japonism diminished and export declined. As a result, the producing centers lose confidence. This trend became definite with the emergence of Art Nouveau at the Paris Exposition of 1900. On that occasion, nearly 200 people visited Paris from Japan and recognized the actual state. While, on the one hand, this answer was a scheme to secure the market by means of a price war relying on low wages, on the other hand, there were people who attempted to launch Japanese artistry out into a new art, i.e.
    [Show full text]
  • Regolamento Musei Civici Genovesi
    REGOLAMENTO MUSEI CIVICI GENOVESI Approvato con Deliberazione del Consiglio comunale n. 8 del 18.02.2003 www.comune.genova.it agg. DCC 8/2003 REGOLAMENTO MUSEI CIVICI GENOVESI Approvato con Deliberazione C.C n. 8 del 18/02/2003 In vigore dal 21 Marzo 2003 Organizzazione generale - Art. 1 - Generalità Il presente regolamento disciplina le finalità e i principi di funzionamento e gestione dei Musei civici, delle relative biblioteche specializzate ad essi pertinenti, del Centro di documentazione per l’arte, l’immagine e la storia di Genova, dell’Archivio Storico del Comune, dell’Istituto Mazziniano e disciplina inoltre le modalità di conservazione dei violini storici. - Art. 2 - Musei Civici I Musei del Comune di Genova, disciplinati dal presente Regolamento, rappresentano un insieme organico che ha radici storiche comuni, frutto dell’operato congiunto dell’amministrazione della città e del mecenatismo più illuminato. Essi sono i seguenti: Musei di Arte Antica: - Galleria di Palazzo Rosso - Galleria di Palazzo Bianco - Museo di Sant'Agostino - Museo del Tesoro della Cattedrale di S. Lorenzo Musei del Mare: - Museo Navale - Padiglione del Mare e della Navigazione - Castello D’Albertis - Museo delle Culture del Mondo Musei di Nervi: - Raccolte Frugone di Villa Grimaldi - Galleria d’Arte Moderna “Principe Odone di Savoia” - Museo “Giannettino Luxoro” Museo di Archeologia Ligure Museo di Arte Contemporanea di Villa Croce Museo d’ Arte Orientale “Edoardo Chiossone” Museo Civico di Storia Naturale “Giacomo Doria” Museo del Risorgimento Museo di Storia e Cultura Contadina Genovese e Ligure - Art. 3 - Finalità del Museo Il museo è una struttura permanente, senza fini di lucro, aperta al pubblico, al servizio e per lo sviluppo della società, che acquisisce e conserva collezioni, compie e promuove ricerche sulle testimonianze materiali dell’uomo, del suo ambiente e del mondo naturale, le comunica, le valorizza e le espone al fine di favorirne lo studio e la conoscenza, educare ed intrattenere.
    [Show full text]
  • Jean-Gabriel Eynard, Antonio Fontanesi, La Photographie Et Les Arts Graphiques Dans Les Années 1850
    "Je crois que l'art est fait pour quelque chose de plus" : Jean-Gabriel Eynard, Antonio Fontanesi, la photographie et les arts graphiques dans les années 1850 Autor(en): Kaenel, Philippe Objekttyp: Article Zeitschrift: Kunst + Architektur in der Schweiz = Art + architecture en Suisse = Arte + architettura in Svizzera Band (Jahr): 51 (2000) Heft 4: Fotografie = Photographie = Fotografia PDF erstellt am: 26.09.2021 Persistenter Link: http://doi.org/10.5169/seals-394159 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Philippe Kaenel «Je crois que Tart est fait pour quelque chose de plus» Jean-Gabriel Eynard, Antonio Fontanesi, la photographie et les arts graphiques dans les années 1850 En automne 1854, l'artiste italien résidant à dans les années 1850 en Europe.
    [Show full text]
  • Japan's National Imagery of the “Holy War,”
    SENSÔ SAKUSEN KIROKUGA (WAR CAMPAIGN DOCUMENTARY PAINTING): JAPAN’S NATIONAL IMAGERY OF THE “HOLY WAR,” 1937-1945 by Mayu Tsuruya BA, Sophia University, 1985 MA, University of Oregon, 1992 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Mayu Tsuruya It was defended on April 26, 2005 and approved by Karen M. Gerhart Helen Hopper Katheryn M. Linduff Barbara McCloskey J. Thomas Rimer Dissertation Director ii Copyright © by Mayu Tsuruya 2005 iii Sensô Sakusen Kirokuga (War Campaign Documentary Painting): Japan’s National Imagery of the “Holy War,” 1937-45 Mayu Tsuruya University of Pittsburgh, 2005 This dissertation is the first monographic study in any language of Japan’s official war painting produced during the second Sino-Japanese War in 1937 through the Pacific War in 1945. This genre is known as sensô sakusen kirokuga (war campaign documentary painting). Japan’s army and navy commissioned noted Japanese painters to record war campaigns on a monumental scale. Military officials favored yôga (Western-style painting) for its strength in depicting scenes in realistic detail over nihonga (Japanese-style painting). The military gave unprecedented commissions to yôga painters despite the fact that Japan was fighting the “materialist” West. Large military exhibitions exposed these paintings to civilians. Officials attached national importance to war documentary paintings by publicizing that the emperor had inspected them in the Imperial Palace. This study attempts to analyze postwar Japanese reluctance to tackle war documentary painting by examining its controversial and unsettling nature.
    [Show full text]
  • La Pintura Española En Los Museos Y Colecciones De Génova Y Liguria (Italia)
    Cubierta catalogo:Cubierta Ru jula 8/1/09 08:44 Página 1 70 ónica Vázquez Astorga es profesora umanidades n las cuatro provincias que cons- M H E del Departamento de Historia del Arte de la tituyen la región italiana de Liguria (Imperia, Savona, Géno- Universidad de Zaragoza. Investiga el arte y va y La Spezia) se conservan numerosas obras de pintores la cultura contemporáneos, interesándose Últimos títulos españoles o atribuidas. En este libro se lleva a cabo un exa- especialmente por la arquitectura y por el Pedro Benítez Martín men pormenorizado de dichas obras, que se sitúan crono- mundo del cartel y del dibujo. La formación de un francotirador solitario. lógicamente entre los siglos XV y XX y que corresponden a En 1996, tras concluir su licenciatura en Filo- Lecturas filosóficas de Louis Althusser artistas como Ribera, Zurbarán, Murillo, el Greco, Serafín sofía y Letras (sección de Historia del Arte), (1945-1965) (2007) Avendaño, Sorolla, Tàpies, José Ortega o Eduardo Arroyo, La pintura española obtuvo una beca para realizar el doctorado en Juan Manuel Cacho Blecua (coordinador) entre otros. En la primera parte se analizan las vías de lle- la Università degli Studi de Génova. A esta De la literatura caballeresca al Quijote gada y se valoran en el contexto general de la pintura espa- beca siguieron otras que le permitieron per- (2007) ñola y en el más específico de su influencia en la pintura en los museos y colecciones manecer en Italia a lo largo de dos años, José Julio Martín Romero ligur. El estudio se realiza distinguiendo las obras conserva- durante los cuales preparó su memoria de Entre el Renacimiento y el Barroco: das en museos de las existentes en colecciones particula- licenciatura, titulada La pintura española en Pedro de la Sierra y su obra (2007) res, tanto de la ciudad de Génova como del resto de Liguria.
    [Show full text]
  • The Protection of Cultural Properties in Japan (1)
    The Protection of Cultural Properties in Japan (1) Donatella Failla Introductory Note by Stacey Steele PART ONE I. Introduction II. The Political Perception of Culture and the Arts from the Late 18th to the Mid-19th Century, from the Bakumatsu to Meiji Restoration The Abolition of Feudalism and Meiji Reforms: Consequences for Cultural Heritage III. The Birth and Evolution of the New Ideology of Culture in Meiji Strategies of Political Pragmatism 1. The First Period of Internationalization of Japan: the Contribution of the Iwakura Diplomatic Mission of 1871-73 to the Views of Art and Artistic Culture 2. Aims and Results of the Surveys of Japan’s Cultural Heritage Guided and Sponsored by the State in the 1870s and 1880s 3. The Re-evaluation of the Feudal Past and the Birth of the “Edo period”, a New Historical and Cultural Entity, at the End of the 1880s IV. The Western Influence on the Art Productions, the Art History, and the Scientific Culture of the Meiji Period 1. The Contribution of “Hired Foreigners” to Modernisation and the Introduction of Western Art Techniques 2. The Birth of Scientific Archaeology: Edward Sylvester Morse and William Gowland 3. The Historical and Aesthetic Re-evaluation of Japanese Art Traditions: Ernest Francisco Fenollosa and Okakura Tenshin V. The First Half of the 20th Century 1. The Mingei Undô Movement for the Folk Crafts 2. Summary of the Legislation Relating to Cultural Properties and National Heritage Between the two World Wars and after World War II until 1950 PART TWO ** [VI. The Second Half of the 20th Century and the Beginning of the 21st: Contemporary Japanese Policies on the Protection of Cultural Properties, 1950-2004 VII.
    [Show full text]
  • The Cultural Property Laws of Japan: Social, Political, and Legal Influences
    Washington International Law Journal Volume 12 Number 2 3-1-2003 The Cultural Property Laws of Japan: Social, Political, and Legal Influences Geoffrey R. Scott Follow this and additional works at: https://digitalcommons.law.uw.edu/wilj Part of the Comparative and Foreign Law Commons, and the Cultural Heritage Law Commons Recommended Citation Geoffrey R. Scott, The Cultural Property Laws of Japan: Social, Political, and Legal Influences, 12 Pac. Rim L & Pol'y J. 315 (2003). Available at: https://digitalcommons.law.uw.edu/wilj/vol12/iss2/23 This Article is brought to you for free and open access by the Law Reviews and Journals at UW Law Digital Commons. It has been accepted for inclusion in Washington International Law Journal by an authorized editor of UW Law Digital Commons. For more information, please contact [email protected]. Copyright 0 2003 Pacific Rim Law & Policy Journal Association THE CULTURAL PROPERTY LAWS OF JAPAN: SOCIAL, POLITICAL, AND LEGAL INFLUENCES Geoffrey R. Scott t Abstract: Japan's Law for the Protection of Cultural Properties has been heralded as one of the most sophisticated and complete statutes of its kind and has been viewed as a model for other countries considering means to protect their ethnographic and cultural treasures. This Article examines the social, cultural, political, and legal influences antecedent to the promulgation of the statute and discusses the complexities inherent in composing legislation of this sort. The specific Japanese legislative and administrative efforts undertaken to protect national treasures prior to promulgation of the statute, and the political environment contemporaneous with its passage, are compiled, analyzed, and provided to the western audience.
    [Show full text]
  • Title Vincenzo Ragusa, Artista Siciliano Tra Tokyo E Yokohama
    Vincenzo Ragusa, artista siciliano tra Tokyo e Yokohama Title (Sguardo sul mondo) Author(s) Niglio, Olimpia Citation Agorà (2013), 45: 46-50 Issue Date 2013-03 URL http://hdl.handle.net/2433/175385 Right Type Journal Article Textversion publisher Kyoto University ARTISTI Sguardo sul mondo Vincenzo Ragusa, artista siciliano tra Tokyo e Yokohama Dalla seconda metà del XIX secolo il Giappone, grazie all’ascesa al trono dell’imperatore Meiji e al suo lungimirante governo, ruppe il suo secolare isolamento aprendosi al mondo occidentale. In questa apertura ruolo importante ebbe l’arte, attraverso cui si riuscirono a conoscere e mediare gli stili di vita occidentali. Decisivo l’apporto degli artisti italiani emigrati nella terra del Sol Levante. di Olimpia Niglio 1. Annotazioni storiche attraverso le missioni religiose(1). da Meiji favorì l’apertura del Giappone a letteratura storica individua con Nel 1868 il giovane imperatore Meiji verso l’esterno da cui ne scaturirono L il termine Restaurazione Meiji (1852-1912), ossia “autorité éclairée”, importanti scambi economici e (1868-1912) un momento storico aveva solo 14 anni e nonostante si culturali. L’influenza occidentale di molto importante per il Giappone. pensasse che fosse facilmente nuovi stili sia nel campo dell’arte e Con il ritorno della famiglia imperiale manipolabile, soprattutto da parte delle dell’architettura ben presto si manifestò nel 1868 termina infatti il lungo forze militari, il suo regno invece è stato anche nello sviluppo delle arti locali. dominio, durato quasi tre secoli della il più importante nonché decisivo per «In realtà - come afferma Giorgio famiglia Tokugawa. Così i lunghi anni il futuro politico e culturale del Amitrano - […] alla fine dell’Ottocento di chiusura del paese sotto gli Shôgun, Giappone.
    [Show full text]
  • Fascicolo 68-69
    ©Ministero per beni e le attività culturali-Bollettino d'Arte EIKO KONDO PITTURE GIAPPONESI A BRESCIA: VICENDE DELLA COLLEZIONE FÈ D'OSTIANI E DI ALCUNE OPERE APPARTENUTE A MUSSOLINI Ho avuto occasione di schedare la collezione di pitture guente, e per la seconda volta nel settembre del 1874 giapponesi conservata presso la Direzione dei Civici rimanendovi fino al marzo del 1877.5) Ma anche fra il Musei d'Arte e di Storia di Brescia, e vorrei qui presen­ 1871 e il 1874, sembra abbia mantenuto rapporti col tarla, giacché essa è rimasta fino ad oggi sconosciuta, sia Giappone, giacché, secondo il curriculum, venne nominato in Italia che in Giappone. Mi accingo a farlo con la spe­ commissario del governo giapponese all'Esposizione Uni­ ranza che le mie ricerche contribuiscano a far luce almeno versale di Vienna del 1873. Forse proprio in seguito a su una piccola parte della storia degli scambi culturali fra questo incarico ricevette dall' Austria la Gran Croce di Italia e Giappone. Francesco Giuseppe e dal Giappone l'onorificenza della Spada Imperiale. Durante i due anni e mezzo del suo se­ L - La raccolta in questione è costituita da due nuclei: condo soggiorno in Giappone il conte Fè d'Ostiani con­ uno, il più cospicuo, è segnalato nelle schede più vecchie tribuì enormemente allo scambio culturale fra Italia e della Direzione dei Civici Musei d'Arte e di Storia di Giappone. In quel periodo il governo giapponese aveva in Brescia, dove è indicato come appartenente all'insieme progetto di istituire sul territorio nipponico una scuola delle opere donate ai Musei da Paolina Fè d'Ostiani nel d'arte moderna, e varie personalità straniere avevano maggio del 1920; l'altro è, invece, costituito dalle opere avanzato proposte in tal senso: tra gli altri si possono ricor­ provenienti dal Monte dei Pegni di Brescia ed acquisite dare il chimico tedesco Wagner, e il giornalista russo ai Civici Musei nel giugno del 1950.
    [Show full text]
  • Japan's Love for Impressionism
    JAPAN’S LOVE FOR IMPRESSIONISM 5493_Japan_Impressionismus_Umbruch7_final.indd 1 07.09.15 08:55 O Moon! –if we Should put a handle to you, What a fan you’d be! Yamazaki Sōkan 5493_Japan_Impressionismus_Umbruch7_final.indd 2 07.09.15 08:55 JAPAN’S LOVE FOR IMPRESSIONISM From Monet to Renoir Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn 8 October 2015 – 21 February 2016 PRESTEL Munich · London · New York 5493_Japan_Impressionismus_Umbruch7_final.indd 3 07.09.15 08:55 5493_Japan_Impressionismus_Umbruch7_final.indd 4 07.09.15 08:55 5493_Japan_Impressionismus_Umbruch7_final.indd 5 07.09.15 08:55 page 2 Édouard Manet Chrysanthemums, 1881 (cat. no. 1) page 4 Shintaro Yamashita Woman Reading, 1908 (cat. no. 2) page 5 Édouard Manet The Walk, ca. 1880 (cat. no. 3) REIN WOLFS BEATE MARKS-HANSSEN 9 Foreword 92 … first a colour and a light … Julius Meier-Graefe, Richard Muther Contents and the Reception of Impressionism SHŪJI TAKASHINA in Germany and Japan 11 Words of Greeting BEATE MARKS-HANSSEN 100 Manet and Impressionism ATSUSHI MIURA Exhibits 59 – 72 12 Japan and the Impressionists: The Collections of French MARIANNE MATHIEU Paintings and the Interrelation 120 Tadamasa Hayashi, between French and Japanese Art Kōjirō Matsukata and the Western Collectors and Collections BEATE MARKS-HANSSEN 28 Japan Encounters Europe BEATE MARKS-HANSSEN A historic sketch 128 Renoir, Cézanne and Rodin Exhibits 73 – 91 BEATE MARKS-HANSSEN 34 Tadamasa Hayashi MASATO SATSUMA 150 The Reception of Western Oil Painting BEATE MARKS-HANSSEN in Modern Japan:
    [Show full text]