344 :名無しさん@Next2ch:2017/01/14(土) 16:55:00.45 ID:???0 1001 Photographs You Must See Before You Die Paul Lowe Quintessence 0108わたしはダリ?名無しさん?2017/01/14(土) 18:35:26.88>>107 Frank Hurley, 1917 William Eggleston, 1969 Alex Webb, 1985 0109わたしはダリ?名無しさん?2017/01/14(土) 22:38:15.70 ニューヨークが生んだ伝説 写真家 ソール・ライター展 Bunkamura ザ・ミュージアム 2017/4/29(土・祝)−6/25(日) *5/9(火)、6/6(火)のみ休館
Centenary Medal Centenary medal (small) Instituted in 1993, this medal is awarded in recognition of a sustained, significant contribution to the art of photography. This medal also carries with it an Honorary Fellowship of The Society.
2016 Thomas Struth 2015 Wolfgang Tillmans RA 2014 Steve McCurry HonFRPS 2013 Professor Brian Griffin HonFRPS 2012 Joel Meyerowitz HonFRPS 2011 Terry O'Neill Hon FRPS 2010 Albert Watson HonFRPS 2009 Annie Leibovitz 2008 Martin Parr HonFRPS 2007 Don McCullin 2006 Susan Meiselas 2005 David Bailey HonFRPS 2004 Arnold Newman 2003 Special 150th Anniversary Medal awarded to: Richard Avedon, William Eggleston, Lee Friedlander, David Hockney HonFRPS, Eikoh Hosoe, Don McCullin HonFRPS and Gordon Parks. A President's medal was awarded to The Lord Puttnam of Queensgate CBE and Sir Roy Strong
2002 Elliott Erwitt 2001 Paul Caponigro 2000 Ray Metzker 1999 William Klein 1998 Josef Koudelka 1996/7 Freddie Young 1995 Robert Delpire 1994 Cornell Capa 1993 Sebastião Salgado 0122わたしはダリ?名無しさん?2017/01/28(土) 22:14:01.52http://mem-inc.jp/topics/news/
update : 2016/11/04 PARIS PHOTO 2016, Booth C12 logo
11月10日よりパリのグラン・パレで開催される「PARIS PHOTO 2016」へ出展致します。 日時:2016年11月10日(木) – 12日(土) 12:00-20:00 2016年11月13日(日) 12:00-19:00 VIPプレビュー:2016年11月9日 14:00-21:30 会場:Grand Palais (Avenue Winston Churchill 75008 Paris) ブース:C12 0123わたしはダリ?名無しさん?2017/01/28(土) 22:18:12.65 MEM will take part in PARIS PHOTO, at Grand Palais. Dates and hours:November 10 Thu. – 12 Sat. 12:00-20:00 November 13 Sun. 12:00-19:00 Vernissage:November 9 Wed. 14:00-21:30 Venue:Grand Palais (Avenue Winston Churchill 0124わたしはダリ?名無しさん?2017/01/30(月) 21:48:29.38 75008 Paris) map Booth:C12
The Tampei Photography Club and Modern Photography viagra cheap in Japan KONO Toru, OTONO Sutezo, SHIIHARA Osamu MEM, sous la supervision de l’historien de la photographie Ryuichi Kaneko, organisera une exposition centrée sur le cialis pharmacy coupon mouvement avant-garde qui émergea dans who should not pom wonderful and viagra how long before viagra works take viagra les années 1930 au Kansaï. À l’époque, KONO Toru, OTONO Sutezo, et SHIIHARA Osamu, viagra dose for recreational use grands photographes du Tampei Shashin Club, expérimentaient de nouvelles techniques telles que le photomontage, le photogramme, la solarisation et l’exposition multiple. Dans cette exposition, 30 à 40 de leurs photographies vintage réalisées entre 1930 et 1950 seront présentées. Précieusement conservées par les familles des photographes, elles seront pour la plupart exposées pour la premiere fois en Europe. 0125わたしはダリ?名無しさん?2017/01/30(月) 21:55:05.84 MEM, under the supervision of the independent photography historian boots pharmacy online doctor Ryuichi Kaneko, will be holding an exhibition focusing on the Photo
Avant-Garde movement that emerged in the 1930s in the Kansai region. At the time, KONO Toru, OTONO Sutezo, and SHIIHARA Osamu, as leading photographers from Tampei Shashin Club, were experimenting new photographic techniques, such as photomontage, photogram, solarization
and multi-exposure. In the exhibition, 30 to 40 of their vintage prints made between 1930 and 1950 will be presented. Most of the prints, which have generic cialis been kept by the photographers’ families, will be exhibited for the first
今回は、京都国立近代美術館のコレクションを用いた展覧会「オーダーメイド:それぞれの展覧会」をテーマに、美術展に於けるキュレーションとはどういったことなのかを牧口千夏氏(京都国立近代美術館主任研究員)からお話して頂きます。 また、京都市立芸術大学ギャラリー@KCUAで開催中の「still moving – on the terrace」を例に高橋悟氏(京都市立芸術大学 教授)に美術館とは別の観点からキュレーションをお話頂きます。 その後、気になった出品作家や作品について、京都府立図書館にて文献を参照しながら記事を作成します。 一口に展覧会のキュレーションと言っても、キュレーターやテーマによって全く異なったアプローチがあることを学べます。 ※「still moving – on the terrace」展は事前の鑑賞をオススメします。 0142わたしはダリ?名無しさん?2017/02/10(金) 21:37:35.53 1,「オーダーメイド:それぞれの展覧会」について 京都国立近代美術館で開催中の「オーダーメイド:それぞれの展覧会」のキュレーションを担当した牧口千夏氏(京都国立近代美術館主任研究員)に、展覧会についてお話して頂きます。 2,「still moving – on the terrace」展について 京都市立芸術大学ギャラリー@KCUAで開催中の「still moving – on the terrace」を例に高橋悟氏(京都市立芸術大学 教授)に、展覧会についてお話して頂きます。 3,「オーダーメイド:それぞれの展覧会」鑑賞 実際に「オーダーメイド:それぞれの展覧会」の会場で作品を鑑賞します。 気になる作家や作品を見つけてください。 4,Wikipediaの記事作成 @京都府立図書館 京都府立図書館にて、二つの展覧会に関する作家などの記事を資料を下に作成します。 ※プログラム内容は変更する場合があります。 京都国立近代美術館「オーダーメイド:それぞれの展覧会」オフィシャルサイト ギャラリー@KCUA「still moving – on the terrace」オフィシャルサイト 0143わたしはダリ?名無しさん?2017/02/10(金) 21:38:10.42 「Wikipediaの記事」を書いたことがない人でも大丈夫。書き方のレクチャーもありますし、司書さんが資料の探し方も教えてくれるので、心配はいりません。 必要なのは、アートへの思いと、好奇心、それと資料を調査する少しの努力です。 Wikipedia ARTSは、M(ミュージアム)L(ライブラリ)連携や、アートエデュケーション、地域文化の発信に興味がある人にも最適なプロジェクトです。 さあ、みんなで「オーダーメイド:それぞれの展覧会」展と「still moving – on the terrace」展を記事にしちゃいましょう! 0144わたしはダリ?名無しさん?2017/02/10(金) 21:39:12.81 Wikipedia オリジナルバッジをプレゼント!
「ウィキペディアアーツ」は「ウィキペディアタウン」の文化芸術版です。地域の美術館や図書館、文化施設を活動の核として、市民やアートNPOなどと共に協同して文化芸術についてWikipediaの記事を作成するプロジェクトです。 「ウィキペディアタウン」とは、その地域にある文化財や観光名所などの情報を「ウィキペディア」に掲載し、さらに掲載記事へのアクセスの容易さを実現した街(町)、あるいはその取り組みのことです。 イギリス・ウェールズ州の人口9,000人弱のモンマスという町で初めて開催され、日本では横浜、東京、京都などで開催されています。 世界初の Wikipedia Town とされるMonmouth(モンマス)。町の案内板にウィキペディアのロゴが付いている。 世界初の Wikipedia Town とされるMonmouth(モンマス)。町の案内板にウィキペディアのロゴが付いている。 Wikipedia 0145わたしはダリ?名無しさん?2017/02/10(金) 21:39:39.49 開催概要
http://kansai100.komma.jp/sakka1.html 問い合わせ先 関西写真家たちの軌跡100年 展覧会事務局 電話 06-6744-1662 FAX 06-6744-6744 (祥プロダクション内) 0155わたしはダリ?名無しさん?2017/02/10(金) 23:53:38.17>>107 >1001 Photographs You Must See Before You Die
この本なに? 尼でも見つからないが? 0156わたしはダリ?名無しさん?2017/02/11(土) 00:20:27.02 >1001 Photographs You Must See Before You Die
ガセだろ、どうせ 0157わたしはダリ?名無しさん?2017/02/11(土) 08:45:58.70 >1001 Photographs You Must See Before You Die
まだ刊行されてないだけで、出る予定だろう? 0158わたしはダリ?名無しさん?2017/02/11(土) 10:13:20.69 「1001 Photographs You Must See Before You Die」なんて、まだなかったの? 0159わたしはダリ?名無しさん?2017/02/11(土) 10:21:28.03 1001シリーズはたくさんありすぎて、
なにが刊行されてるか、何が刊行されていないのかが、
もうよくわからない 0160わたしはダリ?名無しさん?2017/02/11(土) 11:02:24.25 「1001 Photographs You Must See Before You Die」
1001作品って、壮観だろうな 0162わたしはダリ?名無しさん?2017/02/11(土) 11:11:58.55 「1001 Photographs You Must See Before You Die」に、日本人の作品が何点含まれるか? 10点あるかね? 0163わたしはダリ?名無しさん?2017/02/11(土) 11:27:57.92>>162 >1001 Photographs You Must See Before You Die
The Steerage is a photograph taken by Alfred Stieglitz in 1907. https://en.wikipedia.org/wiki/The_Steerage0165わたしはダリ?名無しさん?2017/02/11(土) 13:14:49.40 >1001 Photographs You Must See Before You Die どの作品が選ばれるのだろう。 早く教えてほしい。 0166わたしはダリ?名無しさん?2017/02/11(土) 18:06:46.89>>165 日本は情報が流れにくいから、「早く」なんて無理だろうな 0167わたしはダリ?名無しさん?2017/02/11(土) 18:20:31.88>>165 >>166 「早く」どころか、いつまでたっても無理だろうねww 日本は、情報不足だよね 0168わたしはダリ?名無しさん?2017/02/11(土) 18:46:19.77>>166⁻167 どういう意味? 日本が情報不足? 0169わたしはダリ?名無しさん?2017/02/11(土) 19:17:10.66 1001がどういう作品または写真家なのかは、十分に紹介されないままになるだろう、ということ 0170わたしはダリ?名無しさん?2017/02/11(土) 19:21:34.37 1001なんて、日本語だけじゃなくても無理だろう? 0171わたしはダリ?名無しさん?2017/02/11(土) 19:22:20.43>>170 アルバムだけど、英語ならあるよ。 http://www.rocklistmusic.co.uk/steveparker/1001albums.htm0172わたしはダリ?名無しさん?2017/02/11(土) 19:24:44.98>>171 こんなこと、日本ならやらないな 0173わたしはダリ?名無しさん?2017/02/11(土) 19:25:41.00 「1001 Photographs You Must See Before You Die」の作品リスト、どこかで公表してほしいよ 0174わたしはダリ?名無しさん?2017/02/11(土) 19:28:50.04>>173 日本語じゃなくて、英語でいいんだけどね。 0175わたしはダリ?名無しさん?2017/02/11(土) 19:29:34.79 だから、日本語ははなから無理だって 0176わたしはダリ?名無しさん?2017/02/11(土) 20:47:16.40>>175 何故だろう? 0177わたしはダリ?名無しさん?2017/02/11(土) 21:52:59.22 日本では、そういう情報を提供しようという感覚が欠如してるんだろうな 0178わたしはダリ?名無しさん?2017/02/11(土) 22:09:31.24 そんなリスト、出版社が公表すればいいんだけど もともとデータを持っているだろうから、 ホームページにでもそのまま掲載すればいい 0179わたしはダリ?名無しさん?2017/02/11(土) 22:10:46.74 >1001 Photographs You Must See Before You Die
リストがあるに越したことはないが、本の刊行が何より必要 とにかく刊行よろしく 0180わたしはダリ?名無しさん?2017/02/11(土) 22:13:38.30 1001点も写真が掲載された本は、今まで類を見ない。 0181わたしはダリ?名無しさん?2017/02/11(土) 23:27:45.02>>180 1001 Photographs You Must See Before You Die
活発じゃないな、、、、 0209わたしはダリ?名無しさん?2017/02/25(土) 15:09:23.98 普後均展に、今行ってる人いる? 0210わたしはダリ?名無しさん?2017/02/25(土) 20:41:30.39 1001 Photographs You Must See In Your Lifetime Written by Paul Lowe 0211わたしはダリ?名無しさん?2017/02/25(土) 22:32:58.31http://www.shimane-art-museum.jp/exhibition/shiotani_chirashi.pdf 塩谷定好 0212わたしはダリ?名無しさん?2017/02/26(日) 19:18:08.88>>211
なかもり やすふみ 2010年ヒューストン美術館で企画した展覧会「Ruptures and Continuities: Photography Made after 1960 from the Museum of Fine Arts Houston Collection」の会場で Lewis Baltzによる「The New Industrial Park Near Irvine, California」のインストレーションの前で。 (撮影:畠山直哉) テキサス州ヒューストン美術館 写真部 キュレーター コーネル大学にて博士号(近代美術建築史)取得。 著書『Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (The Museum of Fine Arts, Houston in association with Yale University Press, 2010)』は全米美術協会(College Art Association) より2011 Alfred H. Barr, Jr. Award (for best museum scholarship) for smaller collections and exhibitionsを受賞。 執筆記事 リレーコラム 77 米国の百科事典式美術館(encyclopedic art museum)でのキュレーターの仕事 0252わたしはダリ?名無しさん?2017/03/18(土) 13:31:23.80 米国の百科事典式美術館(encyclopedic art museum)でのキュレーターの仕事
中森 康文 テキサス州ヒューストン美術館 写真部 キュレーター
米国テキサス州ヒューストン市にあるヒューストン美術館(The Museum of Fine Arts, Houston)でキュレーターをしています。 美術館は6万余点の作品を収集する百科事典形式の美術館、つまりギリシャ、ローマ美術から始まり、現代美術まで、古今東西南北で制作された美術品を収集、展示する美術館で、米国では4番目の規模。 ニューヨーク市にあるメトロポリタン美術館を小さくしたもの、と考えてください。 僕は、当美術館の写真部門のキュレーター2人のうちのひとりで、2万8000点あまりにおよぶ写真作品(19世紀前半から現代まで)全般のコレクションを解釈、管理し、展覧会や出版物をつくる仕事に携わっています。 大学院では近代美術史(19、20世紀)を学び、写真史およびニューメディア史全般に加え、日本の戦後美術、建築史を専門とします。 0253わたしはダリ?名無しさん?2017/03/18(土) 13:31:35.64 百科事典形式の美術館の美術館のキュレーターに求められるものは、担当する美術分野の専門知識と美術史全体に関する一般知識でしょうか。 コレクション構築を通して美術史の一部を解釈し、歴史に新たな一ページを加えていく仕事は、時としてやりがいがあります。 ただし、観客は主にヒューストン(米国で4番目に大きな都市)の一般市民ですから、解釈が学研的すぎてもいけない。 観客を意識しつつ展覧会と(観客がグローバルである)出版物を通して、いかに従来の美術史を改訂していくか、西洋美術が主体たる近代美術史で、いかにアジアの近代美術を、その特性を語りつつ、歴史の一部にのせていくのかを意識しています。 0254わたしはダリ?名無しさん?2017/03/18(土) 13:34:23.80 仕事の大切な一部は、コレクション作品の拡大および解釈にあるわけで、館長のディレクションのもとに、キュレーターが中心となって購入資金を集め、作品購入を行う。 日本の美術館学芸員とは違い、自分たちが企画する展覧会やコレクションのビジョンをコレクターや事業慈善家にアピールし、美術館専属の資金調達の専門家とともにファンドレイズ活動を行い、ビジョンを成就していく。 キュレーターに要求される大切な資質の一つは、資金調達の能力でしょう。
米国ヒューストン美術館(The Museum of Fine Arts, Houston)写真部門キュレーターを経て、2016年5月より現職。 ヒューストン美術館における2010年企画展覧会には1960年以降のコンセプチュアル・アートと写真の系譜を主題とした「Ruptures and Continuities: Photography Made after 1960」と 石元泰博と丹下健三による1960年出版の共著「桂:日本建築の創造と伝統」に焦点を充てた「Katsura: Picturing Modernism in Japanese Architecture」がある。 近現代写真及び建築に関するものに加えて、著作権と写真との関係に関する著作多数。 また、これまでにハーバード大学デザインスクール、ニューヨーク近代美術館、コーネル大学などで講義を行う。 米国ウィスコンシン大学ロースクール卒業 (ニューヨーク州弁護士)。 2009年に、コーネル大学にて美術史博士課程を修了する。(博士論文「Imagining Cities: Visions of Avant-Garde Architects and Artists in 1953 to 1970 Japan」) 0264わたしはダリ?名無しさん?2017/03/18(土) 13:48:06.45 宮原洋子【森美術館 館長秘書/AITアドバイザー】
米国法弁護士として東京で働いた1999年から2002年の間に、日本戦後美術及び建築史に魅了され、日本各地の美術館や建築を巡り、現代美術作家と親交を持つ。 2008年より2016年4月までヒューストン美術館にて写真部門アソシエイト・キュレーターを務め、ライス大学にて近代・現代東アジア美術、1945年以降の日本美術・建築史を教えた。 2016年5月より現職。 博士論文(米コーネル大)では1953年から70年までの建築家と美術・写真家による協同作業に焦点を絞り、特に丹下健三、磯崎新ら建築家を中心とするアンビルト作品を日本戦後近代化への模索と捉え、「伝統論争」に鑑みて分析した。 博士論文の一部より米国で出版されたKatsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiroでは1960年出版の丹下健三と石元泰博の共著『桂 日本建築の創造と伝統』を丹下の戦後建築におけるマニフェストと捉え、 College Art Associationより2011年Alfred H. Barr, Jr. Awardを受賞。 2015年に企画した展覧会及び書籍For a New World to Come: Experiments in Japanese Art and Photography, 1968 – 1979は、米国の主要な美術メディアに高く評価された。Getty Leadership Instituteに参加(2016年)。
ミネアポリス美術館(Minneapolis Institute of Art)写真・ニューメディア部門長。 2008年より米国の主要美術館のひとつであるヒューストン美術館写真部門のキュレーターを務めた後、2016年にミネアポリス美術館の1万3千余点を所蔵する写真・ニューメディア部門のヘッド長に就任。 1945年以降の美術・写真の専門家としてさまざまな展覧会を企画。 代表的な展覧会に「Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro」(桂:日本建築におけるモダニズム 石元泰博の写真)(2010年ヒューストン美術館)、 「For a New World to Come: Experiments in Japanese Art and Photography 1968-1979」(来るべき新たな世界の為に。1968年から1979年における日本美術と写真における実験)(2015年ヒューストン美術館)がある。 数ある著作の中で『桂:日本建築におけるモダニズム 石元泰博の写真』(イェール大学出版局)は米国大学美術協会より2011年度アルフレッド・バー賞を受賞する。 1995年から2002年まで会社法、証券法を専門とするニューヨーク州弁護士としてニューヨークと東京で勤務した経験を持つ。 特定非営利活動法人アーツイニシアティヴトウキョウ(AIT/エイト)の創設メンバー。 早稲田大学、ウィスコンシン大学ロースクール、コーネル大(博士号)卒業。 0268わたしはダリ?名無しさん?2017/03/18(土) 14:12:07.96 日本美術オーラル・ヒストリー・アーカイヴ
Muzeum Sztuki w Łodzi Ojrzyński, Jacek Gałązka, Ewa 木村, 一貫 (キムラ, ヒトヤス)
100 years of Polish photography : from the collection of muzeum Sztuki in Łódź XX wiek w fotografii Polskiej : z kolekcji muzeum Sztuki w Łódźi 0272わたしはダリ?名無しさん?2017/03/20(月) 13:09:24.45 新潟市美術館展覧会コレクション展V 牛腸茂雄 〈わたし〉という他者
http://www.kyotographie.jp/0319わたしはダリ?名無しさん?2017/04/09(日) 15:59:31.12 1. フランス国立ギメ東洋美術館・写真コレクション| Guimet National Museum of Asian Arts, Photographic collections 「Theater of Love」 虎屋 京都ギャラリー >Detail
2. アーノルド・ニューマン | Arnold Newman 「マスタークラス −ポートレートの巨匠−」presented by BMW 特別展示:BMW アート・カー by アンディ・ウォーホル 二条城 二の丸御殿台所 東南隅櫓 >Detail
2種類の人気写真展『ねこ』と『ねこのとけい』から選りすぐりの作品約200点を展示いたします。 0341わたしはダリ?名無しさん?2017/05/07(日) 22:20:57.16 1001 Photographs You Must See in Your Lifetime
Paul Lowe Universe Publishing, 2017/09/05 - 960 ページ
A new generation, enabled by selfie sticks and social media, is being drawn to photography, and this is the perfect book to inspire and illuminate their appreciation of the full and rich history of this seminal art form and its many genres and techniques. Award-winning photographer, critic, and educator Paul Lowe presents a carefully curated selection of the greatest still images--visually arresting, aesthetically complex, and historically significant--from the medium's earliest days to the present. Included are photographs from all over the globe, taken by both female and male photographers: famous iconic images, key signature works by notable photographers, and less familiar images that are nevertheless essential viewing. From 1850 to the present, from daguerreotype to digital, this book embraces all genres--documentary, portrait, photojournalistic, and more--as it traces the development of photography to the present day. It is organized chronologically with text that accompanies each photograph providing historical context and technical details. Each work is indexed by artist and by title, making it easy to find specific works and the oeuvres of particular photographers throughout the volume. Whether a gift or a self-purchase, this guide to the history and practice of photography is a must for budding amateurs and experienced practitioners alike. 0342わたしはダリ?名無しさん?2017/05/13(土) 21:22:03.49>>211 塩谷定好展が終わってしまった。 行けなかった。 残念だ。 0343わたしはダリ?名無しさん?2017/05/14(日) 22:34:32.68>>334 Saul Leiter って、artphotositeの「アーティスト(フォトグラファー)ガイド」にも含まれていないんだね。 http://artphoto-site.com/artist.html0344わたしはダリ?名無しさん?2017/05/14(日) 22:39:21.73>>325 関連企画 解説会 「大陸の風貌−櫻井一郎と〈亞東印画協会〉」 講師:竹葉丈(名古屋市美術館学芸員) 2017年5月6日(土)14:00- 会場:名古屋市美術館2階講堂 定員:180名、入場無料
「建国と崩壊のグラフィズム」 講師:竹葉丈(名古屋市美術館学芸員) 2017年6月17日(土)14:00- 会場:名古屋市美術館2階講堂 定員:180名、入場無料 0345わたしはダリ?名無しさん?2017/05/23(火) 23:00:14.72>>334 ソール・ライター展 行った方います? どうでした? 0346わたしはダリ?名無しさん?2017/05/26(金) 19:31:44.01 The history of Japanese photography is necessarily understood in relation to Western developments, yet it is important to avoid being overwhelmed by the seemingly endless stream of images that flow from Japan. As well, it is important to decode long-standing Western fantasies about Japanese representation. Yet the preeminence of Japanese photography in areas such as equipment manufacturing during the second half of the twentieth century and the Japanese love of the photographic medium stand as unique features in world photographic history. 0347わたしはダリ?名無しさん?2017/05/26(金) 19:47:44.84>>345 カラー写真は良かった 0348わたしはダリ?名無しさん?2017/05/27(土) 13:01:37.26>>347 そうか、行ってみようかな ありがとう 0349わたしはダリ?名無しさん?2017/05/27(土) 13:27:07.24 Photography was brought to Japan by Dutch travelers between 1839 and 1840; in other words, photography was introduced to Japan virtually from the beginning. In 1848, at the beginning of the Tokugawa period (1848–1868), photographic equipment is mentioned in a document written by a Nagasaki merchant named Toshionojo Ueno. At that time, Nagasaki was the only city where Dutch and Chinese ships were allowed. Soon after, Japan was shaken by violent political and military conflicts, rendering photographic experimentation difficult. The first recorded Daguerreotype was realized by Eliphalet Brown, Jr. in 1854 at the time of the second expedition of Admiral Perry, who had been sent by the United States government to force commercial exchange between Japan and the United States. Brown had been mandated to create an illustrated report, but unfortunately most of these photographs disappeared in a fire in the United States two years later. 0350わたしはダリ?名無しさん?2017/05/27(土) 15:18:08.89 The Meiji Restoration of 1968 saw the nation’s capital moved to Tokyo (renamed from ‘‘Edo’’), and for the first time, Western ideas and products were freely allowed into Japan. Thus, for this period of Japanese photography, it is not surprising that the most renowned photographers are Westerners. Felice Beato, who had been the first European to work in China, exploited the growing market for Japanese art in the West and created many delicately hand-colored works published in two albums: Views of Japan with Historical and Descriptive Notes and Native Types. Baron Raimund von Stillfried-Ratenicz, originally an Austrian painter and direct competitor to the Italian Beato, set up a studio with a number of Japanese assistants, ultimately buying out Beato’s studio. The native pioneers of Japanese photography, Hikoma Ueno in Nagasaki, Renjo Shimooka (1823–1914) in Yokohama, and Kimbei Kusakabe (1841–1934) are less well known. Hikoma Ueno is credited with setting up the first native-run studio. Kimbei Kusakabe had trained with both Beato and Stillfried, and he founded his own studio in 1877. It is Renjo Shimooka who is often dubbed the ‘‘father of Japanese photography.’’ Although their studios catered to a great extent to Western tourists, they allowed the diffusion of photography in the Japanese society. Landscapes proved popular subjects aside from the portraits that were their main trade, and they largely combined Western conventions while enhancing some details with color. Because most of these productions were intended for the Western 0351わたしはダリ?名無しさん?2017/05/27(土) 15:18:55.19 market, they fulfilled Western expectations of the Land of the Rising Sun as a place of pastoral beauty and elegant, exotic people. The misty mountainscape, gentle geisha, or the fierce Samuri were popular images. 0352わたしはダリ?名無しさん?2017/05/27(土) 20:03:31.46 History of European Photographyのpdf fullファイルは、まだ、ネット上には掲載されていないのかな? 0353わたしはダリ?名無しさん?2017/05/27(土) 20:06:55.55 • 869. Tomohiko Yoshida (b. 1960) [Japanese]
グループ展 「Illusion:Japanese Photograph」ストックホルム(2001年)「ヘルテン国際写真フェスティバル’99」ヘルテン(1999年)、 「Document & Art その相互浸透性をめぐって」アート・ミュージアム・ギンザ(1997年)、「GV」スタジオ・エビス・フォト・ギャラリー(1996年)、 「Liquid Crystal Futur es: Contemporary Japanese Photography」フルーツマーケット・ギャラリー(エジンバラ 1994年)、 「Slides on the Wall」I.C.A.C. ウエストン・ギャラリー(1992年)、「期待される若手写真家20人展」パルコ・ギャラリー(1990年)、 「New Prim itive Photographers」ミノルタ・フォト・スペース(1988年)、「Exhibition of S hashin 写真・展」有楽町朝日ギャラリー(1987年)、 「Concerning Landscape」オリンパス・ギャラリー(1985年)、「ContemPolaroid−V」ポラロイド・ギャラリー(1984年)、 「ContemPolaroid−IV」ポラロイド・ギャラリー(1983年)
パブリックコレクション プリンストン大学美術館(プリンストン、アメリカ)、国際交流基金 0354わたしはダリ?名無しさん?2017/05/27(土) 20:10:49.41 吉田友彦 0355わたしはダリ?名無しさん?2017/05/27(土) 23:12:45.24 At the turn of the nineteenth century, there were well over a hundred photography studios operating in Japan, but the expansion of the field had been limited by the fact that all photographic equipment had to be imported at great cost, as there were no native manufacturers. This sitiuation changed in the early years of the century, with the Cherry Portable camera debuting in 1903. A forerunner of Konica, this modest dry-plate camera marked the beginning of the Japanese camera industry, which was soon to become a dominant force. The Fujii Lens Seizo-sho factory was founded in 1908, equipped with modern manufacturing equipment imported from Germany, and consolidated in 1917 into Nippon Kogaku Kogyo K.K., a forerunner of Nikon, considered one of the finest lines of cameras in the twentieth century. For the amateur market, an affordable pocket-sized camera called the Minimum Idea was introduced in 1911. Its huge popularity can be surmised from the founding, two years later, of the Minimum Photo Club. 0356わたしはダリ?名無しさん?2017/05/27(土) 23:22:16.39 During the Meiji era, photography had been linked to the aristocracy and the upper class, both as patrons and subject matter. At the turn of the century, however, newspapers begin to publish photographs; the first Japanese photojournalists covered the Boxer Rebellion in China in 1900 and the Russian-Japanese war in 1904–1905. Important pioneering photographers of this period were Reiji Ezaki and Kenzo Tamoto, who studied with Hikoma Ueno and created the well-known work, Ainu woman harvesting seaweed (ca. 1900), and paved the way for a more realistic photographic style. Great expansion in the field took place during the Taisho era (1912–1926). With Emperor Taisho’s succession to Emperor Meiji, Japan was finally fully emerging on the international scene. Despite the boom of the Minimum Idea camera, photography was still largely an artistic medium, remaining under the influence of painting in the dominant Western style known as Pictorialism. Japanese Pictorialists include: Teiko Shiotani, Hakuyo Fukumori, Ori Umesaka, and Yasuzo Nojima, who, like their western counterparts Robert Demachy, Julia Margaret Cameron, and Gertrude Ka¨sebier, concentrated on techniques to enhance texture, create half tones, and soften outlines. In Japan, painting and photo are so closely linked that the term which is used is shashin-ga, which could be translated as ‘‘photographic painting.’’ 0357わたしはダリ?名無しさん?2017/05/27(土) 23:23:06.98 Until 1920, the division of style common in painting was applied to photography: on one hand, the Nihonga style or Japanese painting and on the other hand, the Yoga style, which means Western painting. The Fukuhara brothers, Shinzo and Roso, who were a major force in the early days of modern photography in Japan, and Kiyoshi Nishiyama are key figures of this period. They were the first to breach this stylistic partition, associating the spare but atmospheric characteristics of the Nihonga tradition with a clearer pictorial vision, as exemplified by the emerging Modernists in the West such as Paul Strand or Edward Weston. In 1921, Shinzo Fukuhara, who had traveled and photographed extensively in the West, formed Shashin-Geijyutsu-sha along with his brother Roso and Isao Kakefuda and Motoo Ootaguro, and founded the magazine Shashin Geijutsu (Art Photography). Shinzo also served as first chairman of the Japan Photographic Society. These photographers did not free themselves entirely from Pictorialism, as can be seen in Shinzo’s Paris et la Seine, 1922. Roso Fukuhara, however, achieved a more Modernist vision in his works. 0358わたしはダリ?名無しさん?2017/05/27(土) 23:23:53.99 A number of illustrated news and popular magazines appeared during the 1920s, providing venues for photography, including Kokusai Shashin Joho, Kokusai Jiji Gappo (later named Sekai Jiji Gappo), and Kokusai Gappo. Photography magazines included Geijutsu Shashin Kenkyu, Photo Times, and Amateur. The first major photography curriculum at the college level, the Konishiroku Shashin Senmon Gakko photo school, was established in Tokyo. Renamed Tokyo Shashin Senmon Gakko in 1926, the school currently exists as the Tokyo Institute of Polytechnics. This program joined the already exisiting photography department, founded in 1915, of Tokyo Bijutsu Gakko (Tokyo Art School). 0359わたしはダリ?名無しさん?2017/05/27(土) 23:24:28.83 During the Taisho period, the history of Japanese photography also saw a major milestone with the introduction and subsequent widespread use of the small format, roll-film camera. A leading example was the Kodak Vest Pocket, introduced by Eastman Kodak in 1912, and available in Japan around 1915. This camera spawned the Vesu-tan group, who experimented with lens effects and printing techniques that were relatively simple and did not require a professional studio to achieve. In 1925, the Konishiroku Honten Company introduced the highly popular Pearlette camera as an imitation of the Vest Pocket. The consequence was a major expansion of amateur photography associated with Japanese practice. The 1920s also saw the founding and expansion of numerous photographic clubs and associations. Along with Shinzo Fukuhara’s Nihon Shashin-kai (Japan Photographic Society), founded 1924, the Zen-Nihon Shashin Renmei (All-Japan Association of Photographic Societies) formed from the consolidation of numerous smaller clubs. This organization published the influential Asahi Camera magazine. 0360わたしはダリ?名無しさん?2017/05/27(土) 23:25:05.49 Advances in equipment manufacturing continued. Asahi Kogaku Goshi Kaisha, the forerunner of Asahi Optical Company, Ltd., the maker of Pentax cameras, had been established in Tokyo in 1919 as a manufacturer of opthalmic lenses. By 1934, it had become a major supplier of camera lenses for manufacturers such as Konishiroku and Minolta. The forerunner of Olympus Optical Co., Ltd., Takachiho Seisaku-sho, had also been established in 1919, as a microscope manufacturer. It made its first photographic lens in 1936. Photographic papers were being widely manufactured by this era as well. In 1928, the forerunner of Minolta Camera Company was founded. Along with several other lens manufacturers producing innovative products, Nippon Kogaku Kogyo K. K. manufactured its first Nikkor lens, which in 1936 was first mounted on the Hansa Canon camera. The forerunner of Canon, Inc. was established in 1933 as Seiki Kogaku Kenkyusho (Precision Optical Instruments Laboratory), introducing the Hansa Canon in 1935. In 1934, the Fuji Photo Film Company was established. That same year, the ‘‘Super Olympic,’’ the first 35mm camera made in Japan, was produced. 0361わたしはダリ?名無しさん?2017/05/27(土) 23:25:31.83 In the first half of the 1930s, at the beginning of the Showa period (1926–1989), Japanese photography saw the impressive burgeoning of the medium also characteristic of the interwar years in Europe. Along with the influence of European avantgardes, there was the development of press photography or photojournalism, and the advent of modernist design and advertising. Building on the expansion of artistic thought and practice of the 1920s, institutions that could form the basis for an academic movement, a counter-culture, and an avant-garde were in place. Photography followed the race for development of Japanese society in general, and reflected the changing conditions and the new sensibilities of individuals. During this period, marked by two major disasters—the 1923 Tokyo earthquake and the devastation of the atomic bombing of Hiroshima and Nagasaki in 1945—the medium entered into a stage wherein there was the uneasy coexistence of opposing expressions: the traditional Pictorial-influenced realism, and experimental practices. 0362わたしはダリ?名無しさん?2017/06/01(木) 21:36:21.10 英語は面倒くさい 0363わたしはダリ?名無しさん?2017/06/03(土) 23:33:34.71 In the 1930s, photography bloomed in the illustrated press, which in part was inspired by the picture stories of Life magazine, which began publication in 1936. Yonosuke Natori was the first Japanese photographer to be published in Life, with his images of Japanese soldiers. The photojournalists, however, were opposed to shinko shashin (new or modern photography), whose adherents mixed Pictorialism with aspects of the European avant-garde. Modernism represented a decisive rupture, a rejection of a pictorialist aesthetic that many Japanese photographers were reluctant to make. Fueled by technical advances, however, the modern movement included significant experimentation, which led artists to discover new possibilities. 0364わたしはダリ?名無しさん?2017/06/03(土) 23:34:40.48 Those who practiced shinko shashin, or the new photography, included Kiyoshi Koishi, Nakaji Yasui, Iwata Nakayama, Yasuzo Nojima, and Ihee Kimura; they were particularly influenced by the German movement Neue Sachlichkeit (New Objectivity), and the teachings eminating from the Bauhaus schools in Dessau and Berlin. They were able to experience firsthand the European avantgardes via the Film und Foto exhibition, organized in 1929 at Stuttgart, Germany and presented in 1931 in Tokyo and Osaka. This exhibition showed the works of La´szlo´ Moholy-Nagy, Albert Renger- Patzsch, and many others. The Photo-Times magazine, founded in 1924, had also begun to publish new trends in foreign photography in the 1930s. 0365わたしはダリ?名無しさん?2017/06/03(土) 23:35:09.95 Innovations proposed by the shinko shashin philosophy were spread via three important clubs, each reflecting the personality of their founders: Kiyoshi Koishi with the Naniwa Shashin Club of Osaka, Nakaji Yasui with the Tanpei Shashin Club, and Iwata Nakayama with the Ashiya Camera Club. Another group, Zen ’ei Shashin Kyokai (photographic avant-garde), was in part inspired by Surrealism. In parallel, the Realist Movement appeared with, among others, Ihee Kimura, Shoji Ueda, Yonosuke Natori, and Hiroshi Hamaya. 0366わたしはダリ?名無しさん?2017/06/03(土) 23:36:07.15 An important magazine that supported the expression of the modern photography movement, Koga, published 18 issues between May, 1932 and December, 1933. Graphic design and typography as innovative as the photographs that appeared were published by the magazine’s principals, Yasuzo Nojima, Iwata Nakayama, Nakaji Yasui, and Ihee Kimura. The first issue consisted of a manifesto that urged photographers ‘‘to smash into pieces the concepts of traditional art.’’ Works by Koga’s three founders are characteristic of the shinko shashin movement. Nojima, the head of the magazine and the oldest of the three, had practiced a Pictorialist style for more than 20 years, as exemplified by the 1910 photograph Troubled. Waters. Around 1930, he made a radical move to experimental forms, as seen in Untitled, Model F of 1931. While he specialized in nudes and portraits, Nojima consistently tried to go beyond the rules of these genres. Kimura was the first to use a 35-mm Leica to produce snapshot-like photographs of the daily life of the working classes of Tokyo. His photo- graphic style is characterized by a floating space, an emphasis on texture that suggests a zen spirit in the conception of his photographs, as can be seen in Portraits of Literary Artists of 1933. Nakayama had worked in portrait studios in New York and Paris, where he came into contact with what was called ‘‘Pure Photography,’’ as exemplified by Paul Strand or Albert Renger-Patzsch. When he returned to Japan, he worked on photograms and multiple exposures. 0367わたしはダリ?名無しさん?2017/06/03(土) 23:36:53.89 During the short life of Koga, several essays on theoretical and experimental topics were published, further disseminating these ideas among Japanese photographers. Publication ceased in 1933 for financial reasons and because Ihee Kimura decided to pursue photojournalism. The modern or new photography movement revealed the fluid situation of Japanese photography in the 1930s. The most important club, the Naniwa Shashin Club, which had been a leader of Pictorialist style for 20 years, moved, for a short period, to the promotion of experimental works. Several smaller groups in the Kansai area (Osaka and Hyogo) were dedicated to experimentation. The Tanpei Shashin Club, created by Bizan Ueda and Nakaji Yasui in February 1930, attracted Osamu Shiihara and Tershichi Hirai, who practiced styles very strongly influenced by the German New Objectivity. Shoji Ueda, a mainstay of the Naniwa Club, was particularly inspired by Moholy-Nagy’s Malereı¨, Fotographie und film, and was one of the first Japanese photographers to develop a highly personal aesthetic, photographing his family as models in his ongoing Dunes series. Sutezo Otono and Ei-Q (Sugita Hideo) were the first photographers to explore the possibilities of photogram, a technique pioneered by Moholy-Nagy and Man Ray. Ei-Q worked on a plastic approach to photography, combining painting and photography. 0368わたしはダリ?名無しさん?2017/06/03(土) 23:38:04.16 Also, Surrealism had been important in Japan because it gave birth to a new photographic style in the late 30s. Gingo Hanawa, Yoshio Tarui, and Terushichi Hirai created the avant-garde group Zoei Shudan. They used techniques such as photograms and multiple exposures and printing to describe imaginary worlds. The photomontage work of Gingo Hanawa that explored themes of dream and illusion and which he dubbed ‘‘Complex Pictures,’’ is created with a collage technique, allowing a broader definition of photography. With his Hansekai series, Kiyoshi Koishi proved that he had integrated and digested avant-garde techniques, employing them as tools to elaborate his own photographic universe. However, Pictorialism continued to exert attraction on young photographs after 1930, carrying this style much beyond its general practice in the West. Sakae Tamura and Giro Takao, two young photographers of this period who had been published in Photo Times, created pictorialist pictures, modeled on Impressionist painting and infused with subjectivity, that were considered as works that forecast Surrealism. 0369わたしはダリ?名無しさん?2017/06/03(土) 23:38:48.18 Established figures such as Ihee Kimura, Shoji Ueda, and Yonosuke Natori, with their adaptations of Social Realism, a style practiced in Europe and America especially during the Great Depression, took up the visual vocabulary and the themes of the German illustrated press. But in the mid-1930s, the Japanese government, marching inexorably toward militarization, took over these themes to make fearsome weapons of propaganda in magazines such as Front or Nippon. Propaganda, along with a film shortage and government crack-down on the manufacture or importation of photographic equipment asWorld War II began, cut significantly into photographic production. Censorship was also practiced. Ken Domon’s protest against censorship published in Nihon Hyoron in 1943 resulted in the banning of the magazine, and the last months of World War II saw the destruction of thousand of so-called ‘‘compromising negatives.’’ The war era also saw the consolidation or cessation of publication of many photography magazines as part of the general contraction in the field. 0370わたしはダリ?名無しさん?2017/06/04(日) 15:53:23.28 . この英語、どこからコピペ? 0371わたしはダリ?名無しさん?2017/06/05(月) 22:47:04.58 From the oldest surviving photograph from 1826, to Trump's election win in 2016, this is a chronological tour through the greatest images ever captured, and an all-inclusive guide to the art of photography. Featuring photographs from around the world and by myriad different photographers, readers can discover all the big names, from Henri Cartier-Bresson to Annie Leibovitz, Ansel Adams to Helmut Newton, and many more besides. Whether you are already a photography buff looking to widen your scope of knowledge, or a photography newbie looking for a concise yet comprehensive guide to the most iconic photographs of all time, this book is for you.
著者について Paul Lowe is an award-winning photographer whose work has appeared in a wide range of publications, including Time, Newsweek, Life, The Sunday Times Magazine, the Observer and the Independent. He is currently Course Director of the Masters program in Photojournalism at London College of Communication. 0372わたしはダリ?名無しさん?2017/06/06(火) 22:54:10.90 A new generation, enabled by selfie sticks and social media, is being drawn to photography, and this is the perfect book to inspire and illuminate their appreciation of the full and rich history of this seminal art form and its many genres and techniques.
Award-winning photographer, critic, and educator Paul Lowe presents a carefully curated selection of the greatest still images—visually arresting, aesthetically complex, and historically significant—from the medium’s earliest days to the present. Included are photographs from all over the globe, taken by both female and male photographers: famous iconic images, key signature works by notable photographers, and less familiar images that are nevertheless essential viewing.
From 1850 to the present, from daguerreotype to digital, this book embraces all genres—documentary, portrait, photojournalistic, and more—as it traces the development of photography to the present day. It is organized chronologically with text that accompanies each photograph providing historical context and technical details. Each work is indexed by artist and by title, making it easy to find specific works and the oeuvres of particular photographers throughout the volume. Whether a gift or a self-purchase, this guide to the history and practice of photography is a must for budding amateurs and experienced practitioners alike.
著者について Paul Lowe is an award-winning photographer whose work has appeared in Time, Newsweek, Life, and many other publications. He teaches at the London College of Communication and is a consultant to the World Press Photo foundation in Amsterdam regarding the education of professional photojournalists worldwide. 0373わたしはダリ?名無しさん?2017/06/10(土) 09:20:39.31 Artist HAL
Author: Paul Lowe Format: Hardcover Pages: 960 Publisher: Rizzoli (September 5, 2017) Release Date: September 5, 2017 Language: English ISBN-13: 9780789327680 ISBN-10: 0789327686 Weight: 20oz Dimensions: 6.375" x 8.375" Case Pack: 12 0379わたしはダリ?名無しさん?2017/06/17(土) 17:25:37.21 A new generation, enabled by selfie sticks and social media, is being drawn to photography, and this is the perfect book to inspire and illuminate their appreciation of the full and rich history of this seminal art form and its many genres and techniques. Award-winning photographer, critic, and educator Paul Lowe presents a carefully curated selection of the greatest still images—visually arresting, aesthetically complex, and historically significant—from the medium’s earliest days to the present. Included are photographs from all over the globe, taken by both female and male photographers: famous iconic images, key signature works by notable photographers, and less familiar images that are nevertheless essential viewing.
From 1850 to the present, from daguerreotype to digital, this book embraces all genres—documentary, portrait, photojournalistic, and more—as it traces the development of photography to the present day. It is organized chronologically with text that accompanies each photograph providing historical context and technical details. Each work is indexed by artist and by title, making it easy to find specific works and the oeuvres of particular photographers throughout the volume. Whether a gift or a self-purchase, this guide to the history and practice of photography is a must for budding amateurs and experienced practitioners alike. 0380わたしはダリ?名無しさん?2017/06/24(土) 20:38:06.52 Mad :mad:Stick Out Tongue :pWink ;)Big Grin :DEmbarrassment :oSmile :)Frown :(Confused :confused:Roll Eyes (Sarcastic) :rolleyes:Cool :cool:EEK! :eek: 0381わたしはダリ?名無しさん?2017/06/25(日) 17:42:45.76 ウジェーヌ・アジェのインスピレーション 時代を超えて波及するアジェのスピリット(仮称) 2017.12.2(土)—2018.1.28(日) 開催期間:2017年12月2日(土)〜2018年1月28日(日) 休館日:毎週月曜日(ただし月曜日が祝日の場合は開館し、翌平日休館) 料金:一般 600(480)円/学生 500(400)円/中高生・65歳以上 400(320)円 ※ ( )は20名以上団体、当館の映画鑑賞券ご提示者、各種カード会員割引(ご利用案内をご参照ください)/ 小学生以下、都内在住・在学の中学生および障害をお持ちの方とその介護者は無料/第3水曜日は65歳以上無料
期 間: 2017年7月1日(土)〜9月18日(月・祝) 会 場: 3階展示室 内 容: 近代化の歩みの中で、京都という都市に人々がどのような眼差しを注いできたか、写真とそこに写る被写体に関係する資料を合わせてご覧いただき、文化と歴史の都としての京都の姿を明らかにします。 0395わたしはダリ?名無しさん?2017/07/01(土) 09:01:07.13 Burda, Vani (Korça, 1875 – 1949) learned photography in Rumania and in 1913 designed the first Albanian photoposter. He also developed the first photographic collages which were popular as postcards in patriotic circles. He opened his own studio in Korça in 1920. 0396わたしはダリ?名無しさん?2017/07/01(土) 09:01:26.56 Idromeno, Kolë (Nikollë Idromeno) (Shkodra, 1860 – 1939) was a gifted artist with notable contributions to painting, photography and architecture. He took his first drawing lessons in the atelier of Pjetro Marubi and there he came in contact with photography. He later went to Venice where he apparently studied painting at the city’s academy of Fine Arts for a short time. In 1884 he opened his own photographic studio in Shkodra called Dritëshkronja e Kolës. He was the first Albanian to show a film in his hometown in 1911 – 1912. As an architect he was noted for building some of the most renowned buildings in Shkodra such as the Grand Café, the National Bank and others. He is revered as one of the most complex and important Albanian artists of the 19th and 20th centuries. 0397わたしはダリ?名無しさん?2017/07/01(土) 09:02:00.32 Marubi, Kel (Mikel Kodheli) (Shkodra, 1870 – 1940) started working in Pjetro Marubi’s studio as an assistant and in 1885 served a two-year photography apprenticeship in Guglielmo Sebastianutti’s studio in Trieste, Italy, returning to work with Pjetro Marubi in his studio. In 1903, on the death of Marubi, he inherited the studio and changed his name to Kel Marubi. In the late 1920s he enrolled as one of the official photographers to King Zog’s court. At the height of his activity he was a permanent member of Shkodra’s city council and had a major influence on the political life of the city. 0398わたしはダリ?名無しさん?2017/07/01(土) 09:02:36.08 Marubi, Pjetro (Pietro Marubbi) (Piacenza, Italy 1834 – 1903) lived and worked in Shkodra but little is known of his early years. Allegedly a supporter of Garibaldi, he left Italy for political reasons, chased by Austrian troops, and he initially travelled to Corfu and then to Vlora in Albania. Following the advice of the Italian consul there he visited Shkodra, a city that then had a population of around 45,000 people and over 3,000 stores. As an amateur painter and decorator he settled there and in the early 1860s set up a photography studio, the first in Albania, called Marubbi P. He is the founder of Albanian photography and also painted the murals and frescoes of the Orthodox Church in Shkodra. 0399わたしはダリ?名無しさん?2017/07/01(土) 09:02:50.34 Pici, Shan (a.k.a. Mark Pici) (Shkodra, 1904 – 1976) had his first contact with photography in Studio Marubbi. In 1924, he and his brothers Tefë and Ndrekë opened their own photographic studio in Shkodra. He particularly focused on panoramic and landscape photography and photographic documentation of sporting and social events. 0400わたしはダリ?名無しさん?2017/07/01(土) 09:03:09.26 Sotiri, Kristaq (Mborje 1883 – 1970) emigrated to the United States at an early age where he gained valuable photographic experience by working in various studios. For eight years he worked at George Steckel’s Portrait Studio in Los Angeles (a studio where Edward Weston had worked before him in 1908 as a retoucher). In 1922 he moved to New York and in 1923, after nearly 20 years in the United States, he returned home to Korça where he opened Studio Sotiri. He focused particularly on photoportraiture, achieving remarkable results. In 1974, the Grand Palace of Culture in Tirana held a major retrospective of some of his best works. 0401わたしはダリ?名無しさん?2017/07/01(土) 12:34:37.81 その他 ホテル日航プリンセス京都 X パリ・マグナム写真展 世界最高の写真家集団マグナム・フォト創立70周年 “パリ・マグナム写真展” 鑑賞券付き ランチプラン “パリ・マグナム写真展” とパリの香り漂う おしゃれなランチをお楽しみいただけるプランです。 実施期間: 2017年7月1日(土)〜9月18日(月・祝) 場 所: ホテル日航プリンセス京都 カフェ&ダイニング アンバーコート ランチタイム: 11:00〜14:30 ◆メニュー◆ ・ビストロ風お惣菜の盛り合わせ“キッシュ・パテ・キャロットラペ” ・帆立貝のポアレ デュバリー風カリフラワーのムース“カフェ・ド・パリ” ・牛サーロインのグリエ ソース・ベルシー パリ12区の思い出… ・クラシックなデザート“ピーチメルバ” ・カフェ または 紅茶 お一人様 ¥3,800 ※上記料金には、鑑賞券(一般)、税金、サービス料込が含まれております。 ※お食事前に「パリ・マグナム写真展」を鑑賞されるお客様は前もって 「カフェ&ダイニング アンバーコート」にてご精算ください。 鑑賞券をお渡しいたします。
Alexandre Antony, Maurice Borrenbergen, Jozef Emiel Buyle, Ferdinand Breyer, Albert Chavepeyer, Emile Claine, EvrardGuillaume Colard, Hector De Smet, Robert Dhuicque, Eugène Dubreuil, Pierre Fierlants, Edmond Gevaert, Lieven Ghémar, Louis Ghisoland, Norbert Guidalevitch, Victor Guiette, René Hannon, Edouard Hersleven, Jacques Kessels, Willy 0403わたしはダリ?名無しさん?2017/07/01(土) 16:01:14.44 Photographers
Lefrancq, Marcel-G. Leirens, Charles Magritte, René Massart, Jean Marissiaux, Gustave Mesens, Edouard Léon Théodore Misonne, Léonard Neuckens, Antony Nougé, Paul Remes, Henri Rombaut, Emile Simenon, Georges Sterken, Jozef Sury, Joseph Ubac, Raoul Van Parys, Germaine 0404わたしはダリ?名無しさん?2017/07/01(土) 17:42:31.20 Photographers
Arning, Eduard Bayer, Herbert Consemüller, Erich Dührkoop, Rudolph Erfurth, Hugo Eugene, Frank Graeff, Werner Hausmann, Raoul Heartfield, John Hilsdorf, Jacob Höch, Hannah Hoffmann, Heinrich Hofmeister, Oscar Hofmeister Theodor Lendvai-Dircksen, Erna Lerski, Helmar Man, Felix H. Moholy, Lucia Moholy-Nagy, Laszlo Munkácsi, Martin Perscheid, Nicola Peterhans, Walter Renger-Patzsch, Albert Retzlaff, Erich Salomon, Erich Sander, August Stone, Sasha Umbo 0405わたしはダリ?名無しさん?2017/07/01(土) 17:57:31.50>>378 >1001 Photographs You Must See In Your Lifetime
日本語版でる予定ないのかね? 知ってる人情報をたのむ。 0406わたしはダリ?名無しさん?2017/07/01(土) 17:58:38.36 1001 Movies You Must See Before You Die by Stephen Jay Schneider (Editor); published 2003, updated 2011. ISBN 9781845664930 (2011 ed.) 1001 Golf Holes You Must Play Before You Die by Jeff Barr (Editor); published March 1, 2005. 1001 Natural Wonders You Must See Before You Die by Michael Bright (Editor); published May 1, 2005. 1001 Albums You Must Hear Before You Die by Robert Dimery (Editor), Preface by Michael Lydon; published February 7, 2006. 1001 Books You Must Read Before You Die by Peter Boxall (Editor), Preface by Peter Ackroyd; published March 6, 2006. 1001 Gardens You Must See Before You Die by Rae Spencer-Jones (Editor), Preface by Alan Titchmarsh; published February 1, 2007. 1001 Paintings You Must See Before You Die by Stephen Farthing (Editor), Preface by Geoff Dyer; published March 20, 2007 1001 Buildings You Must See Before You Die by Mark Irving (Editor), Preface by Peter St John; published October 23, 2007. 1001 Classical Recordings You Must Hear Before You Die by Matthew Rye (Editor), Preface by Steven Isserlis; published February 12, 2008. 1001 Historic Sites You Must See Before You Die by Richard Cavendish (Editor), Preface by Koichiro Matsuura; published April 15, 2008. 1001 Foods You Must Taste Before You Die by Frances Case (Editor), Preface by Gregg Wallace; published June 6, 2008. 1001 Wines You Must Try Before You Die by Neil Beckett (Editor), Preface by Hugh Johnson; published June 6, 2008 1001 Days That Shaped the World by Peter Furtado (Editor), Preface by Michael Wood; published October 1, 2008. 1001 Inventions That Changed the World by Jack Challoner (Editor), Preface by Trevor Baylis; published February 15, 2009. 1001 Children's Books You Must Read Before You Grow Up by Julia Eccleshare (Editor), Preface by Quentin Blake; published September 21, 2009. 1001 Beers You Must Try Before You Die by Adrian Tierney-Jones (Editor), Preface by Neil Morrissey; published May 3, 2010 0407わたしはダリ?名無しさん?2017/07/01(土) 18:00:34.28 1001 Video Games You Must Play Before You Die by Tony Mott (Editor), Preface by Peter Molyneux; published August 2, 2010, updated 2013. 1001 Songs You Must Hear Before You Die (And 10,001 You Must Download) by Robert Dimery (Editor), Preface by Tony Visconti; published November 2, 2010, updated 2013. 1001 Battles That Changed the Course of History by R.G. Grant (Editor), Preface by Laurence Rees; published May 2, 2011 1001 Comics You Must Read Before You Die by Paul Gravett (Editor), Foreword by Terry Gilliam; published October 11, 2011 1001 TV Shows You Must Watch Before You Die by Paul Condon and Robb Pearlman published October 6, 2015 0408わたしはダリ?名無しさん?2017/07/01(土) 18:01:41.80>>405 可能性があるのは、どこの出版社だろうね? 0409わたしはダリ?名無しさん?2017/07/01(土) 18:03:50.32 1. 1001 Movies You Must See Before You Die by Stephen Jay Schneider (Editor); published 2003, updated 2011. ISBN 9781845664930 (2011 ed.) 2. 1001 Golf Holes You Must Play Before You Die by Jeff Barr (Editor); published March 1, 2005. 3. 1001 Natural Wonders You Must See Before You Die by Michael Bright (Editor); published May 1, 2005. 4. 1001 Albums You Must Hear Before You Die by Robert Dimery (Editor), Preface by Michael Lydon; published February 7, 2006. 5. 1001 Books You Must Read Before You Die by Peter Boxall (Editor), Preface by Peter Ackroyd; published March 6, 2006. 6. 1001 Gardens You Must See Before You Die by Rae Spencer-Jones (Editor), Preface by Alan Titchmarsh; published February 1, 2007. 7. 1001 Paintings You Must See Before You Die by Stephen Farthing (Editor), Preface by Geoff Dyer; published March 20, 2007 8. 1001 Buildings You Must See Before You Die by Mark Irving (Editor), Preface by Peter St John; published October 23, 2007. 9. 1001 Classical Recordings You Must Hear Before You Die by Matthew Rye (Editor), Preface by Steven Isserlis; published February 12, 2008. 10. 1001 Historic Sites You Must See Before You Die by Richard Cavendish (Editor), Preface by Koichiro Matsuura; published April 15, 2008. 11. 1001 Foods You Must Taste Before You Die by Frances Case (Editor), Preface by Gregg Wallace; published June 6, 2008. 0410わたしはダリ?名無しさん?2017/07/01(土) 18:04:08.90 12. 1001 Wines You Must Try Before You Die by Neil Beckett (Editor), Preface by Hugh Johnson; published June 6, 2008 13. 1001 Days That Shaped the World by Peter Furtado (Editor), Preface by Michael Wood; published October 1, 2008. 14. 1001 Inventions That Changed the World by Jack Challoner (Editor), Preface by Trevor Baylis; published February 15, 2009. 15. 1001 Children's Books You Must Read Before You Grow Up by Julia Eccleshare (Editor), Preface by Quentin Blake; published September 21, 2009. 16. 1001 Beers You Must Try Before You Die by Adrian Tierney-Jones (Editor), Preface by Neil Morrissey; published May 3, 2010 17. 1001 Video Games You Must Play Before You Die by Tony Mott (Editor), Preface by Peter Molyneux; published August 2, 2010, updated 2013. 18. 1001 Songs You Must Hear Before You Die (And 10,001 You Must Download) by Robert Dimery (Editor), Preface by Tony Visconti; published November 2, 2010, updated 2013. 19. 1001 Battles That Changed the Course of History by R.G. Grant (Editor), Preface by Laurence Rees; published May 2, 2011 20. 1001 Comics You Must Read Before You Die by Paul Gravett (Editor), Foreword by Terry Gilliam; published October 11, 2011 21. 1001 TV Shows You Must Watch Before You Die by Paul Condon and Robb Pearlman published October 6, 2015
死ぬまでに観ておきたい世界の絵画 1001/実業之日本社 (2013/ 死ぬまでに観たい映画1001本 改訂新版/ネコ・パブリッシング; 改訂新版 (2015 死ぬまでに観たい映画1001本/ネコパブリッシング (2004/ 世界の小説大百科 死ぬまでに読むべき1001冊の本/柊風舎 (2013 死ぬまでに聴きたいアルバム1001枚/ソフトバンククリエイティブ (2008 死ぬまでに見たい世界の名建築1001/エクスナレッジ (2008 死ぬまでに飲みたいビール1001本/KADOKAWA/角川マガジンズ (2014/ 0412わたしはダリ?名無しさん?2017/07/01(土) 18:21:10.34 1. 1001 Movies You Must See Before You Die 2003, updated 2011 2. 1001 Golf Holes You Must Play Before You Die 2005. 3. 1001 Natural Wonders You Must See Before You Die 2005. 4. 1001 Albums You Must Hear Before You Die 2006. 5. 1001 Books You Must Read Before You Die 2006. 6. 1001 Gardens You Must See Before You Die 2007. 7. 1001 Paintings You Must See Before You Die 2007 8. 1001 Buildings You Must See Before You Die 2007. 9. 1001 Classical Recordings You Must Hear Before You Die 2008. 10. 1001 Historic Sites You Must See Before You Die 2008. 11. 1001 Foods You Must Taste Before You Die 2008. 12. 1001 Wines You Must Try Before You Die 2008 13. 1001 Days That Shaped the World 2008. 14. 1001 Inventions That Changed the World 2009. 15. 1001 Children's Books You Must Read Before You Grow Up 2009. 16. 1001 Beers You Must Try Before You Die 2010 17. 1001 Video Games You Must Play Before You Die 2013. 18. 1001 Songs You Must Hear Before You Die (And 10,001 You Must Download) 2010, updated 2013. 19. 1001 Battles That Changed the Course of History 2011 20. 1001 Comics You Must Read Before You Die 2011 21. 1001 TV Shows You Must Watch Before You Die 2015
■2016 年 9 月 3 日 - 2016 年 9 月 17 日 山本雅紀×平良博義×瀬頭順平 写真展 Press release 及び8名の新人作家によるブック形式ポートフォリオ展 キュレーター:布施直樹 Three and Eight: A Group Exhibition of Photography, curated by Naoki Fuse Masaki Yamamoto x Hiroyoshi Taira x Jumpei Seto and EIGHT emerging photographers in portfolio book format
■2016 年 8 月 6 日 - 2016 年 8 月 17 日 架菜梨案 絵画作品展「à la recherche d'un point de contact」 Kanaria Painting Exhibition "à la recherche d'un point de contact" Press release
■8月03日 - 8月10日 架菜梨案ペインティング個展 Painting exhibition of Kanaria DM
■7月15日 - 7月31日 北井一夫 Kazuo Kitai「湯治場 the healing spas of rural Japan」DM 0436わたしはダリ?名無しさん?2017/07/02(日) 19:00:08.42 禅フォトギャラリー過去の展覧会
【2011】
■7月1日 - 7月13日 企画展 "boys little worlds" group exhibition Artists: 林志鵬223 韓超Han Chao 森栄喜Eiki MORI DM
■6月17日 - 6月29日 佐藤 理 Osamu Sato「山 人 The Mountain People 」DM
■6月9日 - 6月16日 井上青龍「釜ヶ崎の子ども 」 写真展 Photography Exhibition of Seiryu Inoue "Children of Kamagasaki" DM
■5月19日 - 6月8日 Manit Sriwanichpoom & Tim Porter 「涅槃 Nirvana」写真展
■4月29日 - 5月15日 池内功和「PANANUFA」写真展
■4月15日 - 4月27日 企画展 "IMAGES of TOHOKU" Exhibition
Note: This exhibition “Images of Tohoku” is available as a package of prints to be sent to galleries, museums and Japan affiliated institutions around the world, to allow people to see the situation in Tokohu through the eyes of more than 20 photographers who have been to the disaster areas. We only ask that any proceeds from donations or entry fees would be passed to Tohoku relief works, and that the prints are returned to Zen Foto following the exhibition. Prints will be sent and may be displayed pinned or clipped without frames because the immediacy of the situation. For any institution interested, please contact Zen Foto.
■4月1日 - 4月14日 莫 毅 Mo Yi 「赤色の風景 Landscapes with Red Color」
■3月25日 - 3月27日 「 PHOTO AUCTION FOR TSUNAMI VICTIMS」photos of the event overall report
■2月16日 - 03月24日 ギャラリーコレクション展「CHINA FOTO」
出展作家 Artists: 劉錚 Liu Zheng 「國人 The Chinese」 木格 Muge 「回家 Go Home」Images 劉珂 Liu Ke 「平湖 Still Lake」Images 楊延康 Yang YanKang 「藏傳佛教 Buddhism in Tibet」 榮榮&映里 Rong Rong & Inri 「玉龍雪山-中國 Yùlóngxuě Snow Mountain, China」 王寧コ Wang Ningde 「某一天 Some Days」Image 劉錚 Liu Zheng 「驚夢 Dream Shock」Image 張玉明 Zhang Yuming 「古塔 The Ancient Towers」Image 韓超 Han Chao 「 Rhapsody for my Wretched Little Universe」 223 「My Private Broadway」 林舒 Lin Shu「鴆 Toxic」
■9月24日 - 10月17日 張玉明 Zhang Yuming 「古塔 The Ancient Towers」DM
■9月17日 - 9月20日 TOKYO PHOTO DM
■9月03日 - 9月22日「寫真に歸れ SHASHIN NI KAERE」展 DM
■8月18日 - 09月01日 伊藤大輔 Ito Daisuke 「Losolmo Gym」DM
■7月23日 - 08月15日 石川真生 Mao Ishikawa「Life in Philly」 「熱き日々 in キャンプハンセンHot Days in Camp Hansen」DM 0440わたしはダリ?名無しさん?2017/07/02(日) 19:02:27.70 禅フォトギャラリー過去の展覧会
【2010】
■6月25日 - 7月18日 北井一夫「1973中国」"Kazuo Kitai in China, 1973" DM
■6月4日 - 6月20日 Pawel Jaszczuk 「Kinky City」DM
■5月14日 - 5月23日 A. face to face with Chin-Chin Wu DM
■4月28日 - 5月8日 渡辺晃一「テクストとイマージュの肌膚」"The Skin of Text and Image" DM
■3月31日 - 4月25日 王寧コ 「某一天」 Wang NingDe "Some Days" DM
■4月2日 - 4月4日 Tokyo Art Fair DM
■2月26日 - 3月24日 劉珂「平湖」 Liu Ke "Still Lake" DM 0441わたしはダリ?名無しさん?2017/07/02(日) 19:02:52.49 禅フォトギャラリー過去の展覧会
【2009】
■12月18日 - 1月17日 木格「回家」 Muge "Go Home" DM
■11月20日 - 12月15日 楊延康「藏傳佛教」 Yang YanKang "Buddhism in Tibet" PR (J) PR(E) Images
歴史の天使 The Fallen Angels I Love Art of Photography 会期 3月20日(金)2009年-5月10日(日) 2009年 休館日:月曜日[5月4日は開館] 開館時間:11時より19時まで(毎週水曜日は21時まで延長) 入場料 入場料:大人1,000円 学生800円(25歳以下) (期間中、何度も使えるパスポート制) 主催 ワタリウム美術館 展示協力 株式会社日立製作所 参加作家 第一章 Photography by アウグスト・ザンダー August Sander マン・レイ Man Ray ルネ・マグリット Ren_ Magritte ダイアン・アーバス Diane Arbus ロバート・フランク Robert Frank ジョエル=ピーター・ウィトキン Joel-Peter Witkin ギルバート&ジョージ Gilbert & George ロバート・メイプルソープ Robert Mapplethorpe 永瀬正敏 Masatoshi Nagase 第二章 ヨゼフ・スデク Joseph Sudek アルベルト・レンガー=パッチュ Albert Renger-Patzsch 平川典俊 Noritoshi Hirakawa 佐藤玲 Rei Sato 第三章 ジャック=アンリ・ラルティーグ Jacques-Henri Lartigue ホルス Horst P. Horst ヘルム−ト・ニュートン Helmut Newton リチャード・アベドン Richard Avedon アンディー・ウォーホル Andy Warhol ジャン・ルー ・シーフ Jeanloup Sieff ピーター・ビアード Peter Beard 0468わたしはダリ?名無しさん?2017/08/06(日) 14:43:49.30 レンガー=パッチュ展を希望してるんだが 0469わたしはダリ?名無しさん?2017/08/07(月) 22:36:14.73>>468 残念ながら、無理だと思う。 0470わたしはダリ?名無しさん?2017/08/11(金) 14:15:19.44 「ドイツ新興写真展」のようなグループ展で我慢するしかないと思うが、 それですら、開催はありえないかもね 0471わたしはダリ?名無しさん?2017/08/12(土) 12:59:17.55 モホリ=ナジとドイツ新興写真 東京都写真美術館 1990年
出品作家: ラスロ・モホリ=ナジ(László Moholy-Nagy), エンネ・ビールマン(Aenne Biermann), ポール・シトロエン (Paul Citroen), フランツ・ロー(Franz Roh), T.ルックス・ファイニンゲル(T.Lux Feininger), ウンボ(Umbo), ヴァルター・ペーターハンス(Walter Peterhans), カール・シュトラウプ(Karl Straub), フランツ・エーリッヒ(Franz Ehrlich), ハインツ・レーフ(Heinz Loew), ヴァルター・フンカート(Walter Funkat), ヘルベルト・バイヤー(Herbert Bayer), カット・ボート(Katt Both), エドムント・コルライン(Edmund Collein), オイゲン・バーツ(Eugen Batz), ゲルトルート・アルント(Gertrud Arndt), ギューラ・パップ(Gyula Pap), ロッテ・シュタム=ベーゼ(Lotte Stam-Beese), ヴェルナー・マンツ(Werner Mantz), ヤロスラフ・レスラー(Jaroslav Rossler) 0472わたしはダリ?名無しさん?2017/08/15(火) 08:27:51.22 Eight Books for Asia: Limited Edition of 200 Boxed Sets Theseus Chan ¥ 41,278 ハードカバー: 1000ページ 出版社: Steidl; Limited版 (2017/12/26) 言語: 英語 ISBN-10: 3958293689 ISBN-13: 978-3958293687 発売日: 2017/12/26 https://www.amazon.co.jp/dp/3958293689/0473わたしはダリ?名無しさん?2017/08/15(火) 08:29:06.27 On the occasion of the 2016 exhibition 1001 Steidl Books in Singapore, artists from across Asia were invited to submit book dummies for the Steidl Book Award Asia. In January 2017, eight photographers, selected by Gerhard Steidl, came to Gottingen and the Steidl presses to make their books. This limited-edition box set, published in a run of 200 copies, includes the eight winning books and other printed literature accompanying each title. The photographers are Zhang Lijie, Kapil Das, Woong Soak Teng, Jongwoo Park, Robert Zhao Renhui, Yukari Chikura, Broy Lim and Jake Verzosa. 0474わたしはダリ?名無しさん?2017/08/15(火) 09:18:58.29http://yukari.chikura.me/public/profile.html
Yukari Chikura Born in Tokyo, Yukari Chikura studied music and initially worked as a composer and programmer, before moving to photography. Her work has been published in the New York Times and is held in collections including the Bibliothèque nationale de France in Paris and the Griffin Museum of Photography in Winchester, Massachusetts. Chikura has been honored at the LensCulture Emerging Talent Awards, the International Photography Awards, Critical Mass and the Sony World Photography Awards, among others. In 2015 she was artist in residence at the Mt. Rokko International Photo Festival. 0476わたしはダリ?名無しさん?2017/08/15(火) 23:31:06.13 地蔵 ゆかり
https://mainichi.jp/articles/20170819/ddl/k24/040/124000c0479わたしはダリ?名無しさん?2017/08/19(土) 21:16:14.15 Peru´ Peruvian photo-historian Adelma Benavente suggests that during the early 1900s, the center of photographic activity in Peru´ was in the south, specifically in Arequipa and Cuzco. Max T. Vargas (c. 1872–c. 1958), a commercially successful photographer, owned studios in Arequipa and La Paz, Bolivia. He trained and mentored a number of young men who artistically surpassed him, including Martin Chambi, the Vargas brothers (probably no relation to Max), and Juan Manuel Figueroa Aznar. Vargas’ studio produced portraits, landscapes, vistas, and also ethnographic images on postcards. Sometime in the 1920s, Vargas relocated to Lima, where he continued on a modest commercial level, doing portrait work and producing postcards of Lima and its environs. His career spanned almost 70 years, and he served as an aesthetic and didactic link between the late nineteenth- and early twentieth-century generation of Peruvian photographers. Carlos (1885–1979) and Miguel (1886– 1979) Vargas, also in Arequipa, were bohemian dandies whose photographs personified what writer Tom Rowson called the ‘‘stylized glamour culture of the twenties.’’ Their surrealist, avante-garde images included modern, daring images of women. Most notable were their nocturnos (night scenes), produced with dramatic illumination. Their archive languished until 1990, when photographer Peter Yenne organized an ongoing project to preserve and digitize their archive. Martı´n Chambi (1891– 0480わたしはダリ?名無しさん?2017/08/19(土) 21:17:36.78 1973) eventually settled in Cuzco during the heyday of the Cuzco School of Photography and the Indigenismo movement (c. 1910–1930). Cuzco School photographers were influenced by the Indigenismo movement, which advocated for the poli- tical and social rights of the Indigenous people of Peru´. Chambi is recognized for his photos of Macchu Picchu, but most notably for his images of people and cityscapes of Cuzco. Castro has noted that Chambi photographed Cuzco society ‘‘without exoticizing the Indians or ridiculing the wealthy.’’ Between the late 1930s and the late 1970s, Chambi was scarcely acknowledged, until, due to the efforts of photographer Edward Ranney and other researchers, Chambi emerged into the international spotlight and is now considered one of the fathers of twentieth-century Latin American photography. According to photographer and researcher Jorge Heredia, the decade of the 1950s was the ‘‘era of photojournalism’’ in Peru´, represented by Pestan˜a and Chino Domı´nguez. In the late 1970s, photographer Fernando La Rosa was director of Fotogalerı´a Sequencia, which ‘‘fostered a renaissance among photographers of all ideologies.’’ Another notable project was TAFOS (1986–1997), which provided the means for grassroots people to photograph themselves. Fernando Castro noted that their images ‘‘reveal their own intimate world without transgressing it.’’ Other Peruvian photographers include Romulo Sessarego, Sebastia´n Rodrı´- 0481わたしはダリ?名無しさん?2017/08/19(土) 21:17:56.84 guez, Abraham Guille´n Melgar, Billy Hare, and Roberto Huarcaya. A major international exhibition, Peruvian Photography: Images of the Southern Andes, 1900–1945 (1996) showcased the work of Cuzco School photographers Martı´n Chambi, Miguel Chani, Juan Manuel Figueroa Aznar, Jose Gabriel Gonza´lez, and Crisanto Cabrera. 0482わたしはダリ?名無しさん?2017/08/19(土) 22:28:00.77 戦間期の写真家一覧
1. ベレニス・アボット Berenice Abbott (1898-1991) 2. アンセル・アダムス Ansel Adams (1902-1984) 3. マヌエル・アルバレス・ブラボ(マニュエル・アルヴァレス・ブラーヴォ) Manuel Alvarez Bravo (1902-2002) 4. ヘルベルト・バイヤー Herbert Bayer (1900-1985) 5. セシル・ビートン Cecil Beaton (1904-1980) 6. カール・ブロスフェルト Karl Blossfeldt (1865-1932) 7. アーウィン・ブルーメンフェルド Erwin Blumenfeld (Jan Bloomfield) (1897-1969) 8. ピエール・ブーシェ Pierre Boucher (1908-2000) 9. マーガレット・バーク=ホワイト Margaret Bourke-White (1904-1971) 10. ビル・ブラント Bill Brandt (1904-1983) 11. ブラッシャイ(ブラッサイ )Brassaï (Gyula Halász) (1899-1984) 12. フランシス・ジョセフ・ブリュギエール Francis Joseph Bruguière (1879-1945) 13. アンリ・カルティエ=ブレッソン Henri Cartier-Bresson (1908-2004) 14. イモージン・カニンガム Imogen Cunningham (1883-1976) 15. フランティセック・ドルティコル Frantisek Drtikol (1883-1961) 16. ウォーカー・エバンス(ウォーカー・エヴァンズ) Walker Evans (1903-1975) 17. ローラ・ギルピン Laura Gilpin (1891-1979) 18. ラウル・ハウスマン Raoul Hausmann (1886-1971) 19. ジョン・ハートフィールド John Heartfield (Helmut Herzfeld) (1891-1968) 20. フローレンス・アンリ Florence Henri (1893-1982) 21. ハンナ・ヘッヒ Hannah Höch (1889-1978) 22. ホルスト・P・ホルスト Horst Paul Horst (Horst Paul Bohrmann) (1906-1999) 23. ジョージ・ホイニンゲン=ヒューン George Hoyningen-Huene (1900-1968) 24. ロッテ・ヤコビ Lotte Jacobi (Lotte Johanna Jacobi) (1896-1990) 25. ケルテース・アンドル(アンドレ・ケルテス) André Kertész (1894-1985) 0483わたしはダリ?名無しさん?2017/08/19(土) 22:28:40.34 戦間期の写真家一覧 その2
26. ジェルメーヌ・クルル Germaine Krull (1897-1985) 27. ドロシア・ラング Dorothea Lange (1895-1965) 28. エル・リシツキー El Lissitzky (1890-1941) 29. ジョージ・プラット・ラインス George Platt Lynes (1907-1955) 30. マン・レイ Man Ray (Emmanuel Radenski) (1890-1976) 31. ティナ・モドッティ Tina Modotti (1896-1942) 32. モホリ=ナジ・ラースロー(ラズロ・モホリ=ナギ) László Moholy-Nagy (1895-1946) 33. ムンカーチ・マールトン(マーティン・ムンカッチ) Martin Munkàcsi (Martin Marmorstein) (1896-1963) 34. ポール・アウターブリッジ・ジュニア Paul Outerbridge, Jr. (1896-1958) 35. アルベルト・レンガー=パッチュ Albert Renger-Patzsch (1897-1966) 36. アレクサンドル・ロトチェンコ Alexander Rodchenko (1891-1956) 37. エーリッヒ・ザロモン Erich Salomon (1886-1944) 38. アウグスト・ザンダー August Sander (1876-1964) 39. クリスチャン・シャド(クリスチャン・シャート) Christian Schad (1894-1982) 40. チャールズ・シーラー Charles Sheeler (1883-1965) 41. エドワード・スタイケン Edward Steichen (1879-1973) 42. ラルフ・スタイナー Ralph Steiner (1899-1986) 43. アルフレッド・スティーグリッツ Alfred Stieglitz (1864-1946) 44. ポール・ストランド Paul Strand (1890-1976) 45. ヨゼフ・スデック Josef Sudek (1896-1976) 46. モーリス・タバール Maurice Tabard (1897-1984) 47. ラウル・ユバック Raoul Ubac (1909-1985) 48. ウンボ Umbo (Otto Maximilan Umbehr) (1902-1980) 49. エドワード・ウエストン Edward Henry Weston (1886-1958) 0484わたしはダリ?名無しさん?2017/08/20(日) 00:23:45.31 イギリスの戦間期の写真・写真家について調べたい いい文献を紹介していただければ、幸いです 0485わたしはダリ?名無しさん?2017/08/21(月) 21:49:26.99 日本橋高島屋の沢田教一展、 平日なのに人が多すぎワロタ 0486わたしはダリ?名無しさん?2017/08/22(火) 21:33:58.45https://www.amazon.co.jp/dp/3958291767/ The Japanese Photobook, 1912–1990 Ryuichi Kaneko (寄稿), Duncan Forbes (寄稿), Matthew Witkovsky (寄稿), Manfred Heiting (編集) ハードカバー: 576ページ 出版社: Steidl (2017/8/22) 言語: 英語 ISBN-10: 3958291767 ISBN-13: 978-3958291768 発売日: 2017/8/22 ¥ 14,160
こんなこともある。Amazon 売れ筋ランキングのカテゴリー別でベストセラー1位。 ↓ ハードカバー: 576ページ 出版社: Steidl (2017/8/22) 言語: 英語 ISBN-10: 3958291767 ISBN-13: 978-3958291768 発売日: 2017/8/22 商品パッケージの寸法: 27.2 x 5.6 x 29.2 cm おすすめ度: この商品の最初のレビューを書き込んでください。 Amazon 売れ筋ランキング: 洋書 - 354位 (洋書の売れ筋ランキングを見る) 1位 ─ 洋書 > Arts & Photography > Graphic Design > Commercial > Book Design 1位 ─ 洋書 > Arts & Photography > Photography > History 0507わたしはダリ?名無しさん?2017/09/21(木) 23:14:05.81>>506 内容紹介 From pictorialism to Provoke: the most extensive history of Japanese photobooks ever published
The Japanese Photobook, 1912-1990 illustrates the development of photography as seen in photo publications in Japan--from the early influence of European and American pictorialism, the German Bauhaus and imperial military propaganda to the complete collapse and destruction of the country in 1945. Then followed a new beginning: with the unique self-determination of a young generation of photographers and visual artists highlighted by the Provoke style--an experimental Japanese photography magazine that had a profound effect on the medium in the 1970s and '80s--as well as protest and war documentation of the late 1950s to the early '70s, the signature Japanese photobook, as we have come to know it, was born.
Edited by Manfred Heiting, who has also designed and edited extensive surveys of German and Soviet photobooks, the volume is over 500 pages and features such photographers as Yoshio Watanabe, Akira Hoshi, Hayao Yoshikawa, Shinichi Kato, Yasuo Wakuda, Tetsuo Kitahara, Moriyama Daido, Koji Taki, Takuma Nakahira, Yutaka Takanashi, Kimura Ihei, Hamaya, Katura, Kazano, Kikuti, Mituzumi, Watanabe, Yamahata, Sozo Okada and Kazano Karuo, among many others.
With detailed information and illustrations of over 400 photo publications, an essay by Ryuichi Kaneko, the leading historian of Japanese photobooks, and contributions from Duncan Forbes, Matthew S. Witkovsky and others, this is the most extensive English-language survey of Japanese photobooks of this period and a crucial step in making the history of Japanese photography--long neglected by the Western canon--accessible to the English-speaking world. 0508わたしはダリ?名無しさん?2017/09/21(木) 23:15:00.94 著者について Ryuichi Kaneko is the leading historian of Japanese photobooks. As the former curator at the Tokyo Metropolitan Museum of Photography, he oversaw the development of the institution's collection. Over the past 45 years Kaneko has amassed a formidable private collection of more than twenty thousand volumes, magazines and catalogues. As a scholar, he has been an important advocate in supporting the scholarship and study of Japanese photography and photobooks.
Manfred Heiting is a designer and editor of photo publications and a collector of photobooks focusing on the period between 1886 and 1980. He has designed and edited extensive surveys of German, Soviet and Japanese photobooks. Heiting is currently working on surveys of Czech and Dutch photobooks. 0509わたしはダリ?名無しさん?2017/09/22(金) 20:59:20.06>>506 この状態は、もまいらは全員買ったってことかな? 0510わたしはダリ?名無しさん?2017/09/23(土) 16:09:49.40>>509 いやいや、このカテゴリ、2冊しか売れてなくても1位とかあるから(笑) 0511わたしはダリ?名無しさん?2017/09/23(土) 17:05:38.16 『1001 Photographs You Must See Before You Die』も刊行されているから、情報あれば教えてね 0512わたしはダリ?名無しさん?2017/09/23(土) 20:24:00.50>>511 どういう情報が欲しいのだろうか? 0513わたしはダリ?名無しさん?2017/09/29(金) 22:37:24.19 藤村里美 フジムラ・サトミ 著者プロフィール
The Photobook: A History VOLUME 1, 2004 The Photobook: A History VOLUME 2, 2006 Swiss Photobooks from 1927 to the Present: A Different History of Photography, 2011 The Latin American Photobook, 2011 The Dutch Photobook: A Thematic Selection from 1945 Onwards, 2012 Photobooks Spain 1905-1977, 2014 The Photobook: A History Volume III, 2014 The Soviet Photobook 1920-1941, 2015 The Chinese Photobook: From the 1900s to the Present, 2016 (1st edition was published in 2015) The Japanese Photobook, 1912–1990, 2017 0541わたしはダリ?名無しさん?2017/10/20(金) 22:17:53.92https://www.databazeknih.cz/knihy/the-history-of-european-photography-1970-2000-komplet-2-sv-332120 The History of European Photography 1970-2000 komplet 2 sv. 0542わたしはダリ?名無しさん?2017/10/21(土) 08:54:00.52 東京都写真美術館 総合開館20周年記念 TOPコレクション 「シンクロニシティ」 平成をスクロールする 秋期 2017.9.23(土・祝)—11.26(日)
「1001 Photographs You Must See Before You Die 」だが、 写真家名だけのリストでいいなら、見かけた気がする もう一度探してみる 0596わたしはダリ?名無しさん?2017/12/23(土) 20:48:16.95 もうよく知られているかもしれないが、 来年度といっても再来年に、 国立国際美術館でボルタンスキーをするみたいね。
深瀬昌久 Masahisa Fukase(日本) アルベルト・ガルシア・アリックス Alberto García-Alix(スペイン) ジャン=ポール・グード Jean-Paul Goude(フランス)presnted by BMW with a special CHANEL× GOUDE highlight ローレン・グリーンフィールド Lauren Greenfield(アメリカ) ロミュアルド・アゾゥメ Romuald Hazoumè(ベナン共和国) フランク・ホーヴァット Frank Horvat (フランス)「Un moment d’une femme」presented by CHANEL NEXUS HALL K-NARF (フランス) ギデオン・メンデル Gideon Mendel (南アフリカ)「Drowning World」 宮崎いず美 Izumi Miyazaki(日本) 森田具海 Tomomi Morita(日本) 中川幸夫 Yukio Nakagawa(日本) 小野 規 Tadashi Ono (日本) ステファン・シェイムス Stephen Shames(アメリカ)「Power to the People」 0609わたしはダリ?名無しさん?2018/01/02(火) 14:20:24.47 高知県立美術館 岡上淑子コラージュ展 ―はるかな旅 Okanoue Toshiko Retrospective Exhibition A Long Journey 2018年01月20日[土] - 2018年03月25日[日] https://moak.jp/event/exhibitions/post.html
No.1-1 ヴァルター・ペーターハンス PETERHANS. Walter 死んだウサギ Toter Hase 1929 290 X 385
No.1-2 ヴァルター・フンカート FUNKAT, Walter ガラス玉 Glaskugen 1929 172 X 121 0653わたしはダリ?名無しさん?2018/03/11(日) 18:09:20.86 No.1-3 ラースロー・モホイ=ナジ MOHOLY-NAGY、Laszlo アスコーナのオスカー・シュレン マー Oskar Schlemmer in Ascona 1927 235 X 174
No.1-4 ラースロー・モホイ=ナジ MOHOLY-NAGY、Laszlo ボート Kahn 1927 234 X 175
No.1-5 ピクター・ケプラー KEPPLER, Victor 題不詳 Title Unknown c. 1930 240X197
No.1-6 ヘルペルト・バイヤー BAYER, Herbert 題不詳 Title Unknown c.1930 286 X 223 0654わたしはダリ?名無しさん?2018/03/11(日) 18:12:17.57 No.1-7 ヘルペルト・バイヤー BAYER、Herbert 題不詳 Title Unknown c. 1930 233 X 164
No.1-8 ラースロー・モホイ=ナジ MOHOLY-NAGY, Laszlo Untitled 無題 1925-1928 388 X 288
No. 1-9 リー・ミラー MILLER, Lee 題不詳 Title Unknown c. 1931 246 X 224
No.1-10 チャールズ ・シーラー SHEELER, Charles 題不詳 Title Unknown c. 1930 240 X 190 0655わたしはダリ?名無しさん?2018/03/11(日) 18:18:29.69 No. 1-11 イヴァ YVA 題不詳 Title Unknown c. 1930 238 X 176
No.1-12 チャ ールズ・シーラー SHEELER, Charles 題不詳 Title Unknown c. 1930 181 X 225
No.1-13 ラースロー ・モホイ=ナジ MOHOLY-NAGY, Laszlo マルセイユ Marseille c. 1929 242 X 176
No. 1- 14 ヘッダ ・ヴァルター WALTHER, Hedda 題不詳 Title Urknown c. 1931 234 X 172 0656わたしはダリ?名無しさん?2018/03/11(日) 18:18:59.91 No. 1- 15 ペーター ・ヴェラー WELLER, Peter 題不詳 Title Urknown c. 1930 240 X 177
No.1-16 マーガレット ・バーク=ホワイト BOURKE-WHITE, Margaret ウインチ At the Wincher c. 1930 332 X 223
No. 1-17 ベーター ・ヴェラー WELLER 、Peter 題不詳 Title Urknown c. 1930 233 X 172
No.1-18 リー・ ミラー MILLER, Lee 題不詳 Title Unknown c. 1931 231 X 178 0657わたしはダリ?名無しさん?2018/03/11(日) 18:19:31.80 No.1-19 ヘッダ・ヴァルター WALTHER, Hedda 題不詳 Title Urknown c. 1931 232 X 175
No.1 -20 ウンポ UMBO 題不詳 Title Unknown c. 1929 230 X 166
No.1-21 ウンポ UMBO 題不詳 Title Unknown c. 192.9 238 X 175
No.1-22 イヴァ EVA 題不詳 Title Unknown c. 1930 196 X 167 0658わたしはダリ?名無しさん?2018/03/11(日) 18:19:54.90 No.1-23 ピクター ・ケプラー KEPPLER, Victor 題不詳 Title Unknown c. 1930 238 X 185 0659わたしはダリ?名無しさん?2018/03/11(日) 18:56:44.04 第2章 Section 2
No.2-8 紅谷吉之助 BENIYA Kichinosuke ・・・・ 1932 298 X 243 芦屋市立美術博物館 Ashiya c;ty Museum of Art & History 0662わたしはダリ?名無しさん?2018/03/11(日) 19:24:39.74 No.2-9 高麗清治 KORAI Seiji ・・・・ 1932 280 X 198 個人蔵 Private collection
No.2-10 木村伊兵衛 KIMURA lhee 工場地風景 Landscape: A factory district 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 154 X 197
No.2-11 佐久間兵衛 SAKUMA Hyoue 都会風景 Cityscape 1932 292 X 242 0663わたしはダリ?名無しさん?2018/03/11(日) 19:25:12.05 No.2-12 錦古里孝治 NISHIGORI Koji 風 Wind 1932 プロムオイル・プリント Br omoil print 336 X 413 日本大学藝術学部 Nihon University College of Art
会期 2010年10月21日(木)〜2011年1月10日(月・祝) 0760わたしはダリ?名無しさん?2018/10/13(土) 13:51:07.39 モホリナジとドイツ新興写真(Moholy-Nagy and the new vision ) 会期・会場: 1990年7月19日-8月28日:東京都写真美術館 主催: 東京都写真美術館
#15 Billy the Kid, Unknown, 1879-80, $2,300,000, £1,401,208, Brian Lebel's Old West Show & Auction in 2011 #14 Paris, Montparnasse, Andreas Gursky, 1993, $2,416,475, £1,494,935, Sotheby's London in 2011 #13 Chicago Board of Trade, Andreas Gursky, 1997, $2,507,755, £1,625,983, Sotheby's London in 2013 #12 Untitles #153. Cindy Sherman, 1985, $2,770,500, £1,715,640, Phillips de Pury & Co. New York in 2010 #11 Los Angeles, Andreas Gursky, 1998, $2,900,000, £1,455,542, Sotheby's London in 2008 #10 The Pond - Moonlight, Andreas Gursky, 1904, $2,928,000, £1,680,681, Sotheby's New York in 2006 #9 Untitled Film Still #48, Cindy Sherman, 1979, $2,965,000, £1,882,458, Sotheby's New York in 2015 #8 Untitled (Cowboy), Richard Prince, 1989, $3,077,000, £1,833,295, Christie's New York in 2014 #7 Chicago Board of Trade III, Andreas Gursky, 2009, $3,298,755, £2,151,897, Sotheby's London in 2013 #6 99 Cent II Diptychon, Andreas Gursky, 2001, $3,346,456, £1,718,857, Sotheby's London in 2007 #5 Dead Troops Talk, Jeff Wall, 1992, $3,666,500, £1,875,682, Christie's New York in 2012 #4 To Her Majesty, Gilbert & George, 1973, $3,765,276, £1,891,697, Christie's London 2008 #3 Untitled #96, Cindy Sherman, 1981, $3,890,500, £2,381,375, Christie's New York in 2011 #2 Spiritual America, Richard Prince, 1981, $3,973,000, £2,355,163, Christie's New York in 2014 #1 Rhein II, Andreas Gursky, 1999, $4,338,500, £3,316,384, Christie's New York in 2011 0769わたしはダリ?名無しさん?2018/10/21(日) 17:22:35.31>>768 >#10 The Pond - Moonlight, Andreas Gursky, 1904, $2,928,000, £1,680,681, Sotheby's New York in 2006
凡例 ◎作品のデータは、 作品番号、 作家名、 作品名、 シリーズ名、 制作年、 技法、 イメージサイズ(縦×横mm)、 所蔵 の順に掲戟した。 ◎技法記戟のないものはすぺて ゼラチン・シルパー・プリント。 ◎所蔵記戟のないものはすぺて 東京都写真美術館蔵。 ◎『光画』に掲駁されていた作品 については、当時の作品名を使 用している。 ◎会場構成の都合により、展示の 順番は作品リストの順番と異な る場合がある。 0808わたしはダリ?名無しさん?2018/11/04(日) 14:15:52.19 Notes • Data in the list of works is presented in the following order: work number, artist, work title, series title, year produced, technique, image size (h. x w. mm)、 collection. • All works for which no technique is listed belong to Gelatin silver prmt. • All works for which no collection is listed belong to the Tokyo Photographic Art Museum. • The original titles are used for the photographs that had been published in Koga. • Due to layout of the venue, not all exhibits appear in same order as the list of works. 0809わたしはダリ?名無しさん?2018/11/04(日) 14:16:20.20 第1章 Section l
No.1-1 ヴァルター・ペーターハンス PETERHANS, Walter 死んだウサギ Toter Hase 1929 290 X 385
No.1-2 ヴァルター・フンカート FUNKAT. Walter ガラス玉 Glaskugen 1929 172 X 121
No.1-3 ラースロー・モホイ=ナジ MOHOLY-NAGY, Laszlo アスコーナのオスカー・シュレン マー Oskar Schlemmer in Ascona 1927 235 X 174 0810わたしはダリ?名無しさん?2018/11/04(日) 14:17:04.49 No. 1-4 ラースロー・モホイ=ナジ MOHOLY-NAGY, Laszlo ポート Kahn 1927 234 X 175
No .1-5 ピクター・ケプラー KEPPLER, Victor 題不詳 Title Unknown c. 1930 240 X 197
No. 1-6 ヘルベルト・パイヤー BAYER, Herbert 題不詳 Title Unknown c. 1930 286 X 223
No.1-7 ヘルペルト・バイヤー BAYER, Herbert 題不詳 Title Unknown c. 1930 233 X 164 0811わたしはダリ?名無しさん?2018/11/04(日) 14:17:36.38 No.1-8 ラースロー・モホイ=ナジ MOHOLY-NAGY, Laszlo Untitled 無題 1925-1928 388 X 288
No.1-9 リー・ミラー MILLER, Lee 題不詳 'Title Unknown c. 1931 246 X 224
No.1-10 チャールズ・シーラー SHEELER, Charles 題不詳 Title Unknown c. 1930 240 X 190
No.1-11 イヴァ YVA 題不詳 Title Unknown c. 1930 238 X 176 0812わたしはダリ?名無しさん?2018/11/04(日) 14:18:10.90 No.1-12 チャールズ・シーラー SHEELER, Charles 題不詳 Title Unknown c.1930 181 X 225
No.1-13 ラースロー・モホイ=ナジ MOHOLY-NAGY, Laszlo マルセイユ Marseille c. 1929 242 X 176
No.1-14 ヘッダ・ヴァルター WALTHER, Hedda 題不詳 Title Urknown c. 1931 234 X 172
No.1-15 ペーター・ヴェラー WELLER, Peter 題不詳 Title Urknown c. 1930 240 X 177 0813わたしはダリ?名無しさん?2018/11/04(日) 14:18:38.01 No.1-16 マーガレット・バーク=ホワイト BOURKE-WHITE、Margaret ウインチ At the Wincher c. 1930 332 X 223
No. 1-17 ペーター・ヴェラー WELLER, Peter 題不詳 Title Unknown c. 1930 233 X 172
No.1-18 リー・ミラー MILLER, Lee 題不詳 Title Unknown c. 1931 231 X 178
No.1-19 ヘッダ・ヴァルター WALTHER, Hedda 題不詳 Title Unknown c. 1931 232 X 175 0814わたしはダリ?名無しさん?2018/11/04(日) 14:19:10.09 No.1-20 ウンポ UMBO 題不詳 Title Unknown c.1929 230 X 166
No.1-21 ウンポ UMBO 題不詳 Title Unknown c. 1929 238 X 175
No.1-22 イヴァ YVA 題不詳 Title Unknown c. 1930 196 X 167
No.1-23 ピクター・ケプラー KEPPLER, Victor 題不詳 Title Unknovm c. 1930 238 X 185 0815わたしはダリ?名無しさん?2018/11/04(日) 14:20:00.78 第2章 Section2 No.2-1 木村専一 KIMURA Sen'ichi 〈フォトアウゲ)より Photo Eye 1931 387 X 288
No.2-6 野島朕三 NOJIMA Yasuzo 女 Woman 1931 プロムオイル印画 Bromoil print 409 X 320 京都国立近代美術館(NY-A125) National Museum of Modern Art, Kyoto
No.2-7 窪川得三郎 KUBOKAWA Tokusaburo 雪景 Snowscape 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 196 X 272 0817わたしはダリ?名無しさん?2018/11/04(日) 14:21:39.97 No.2-8 紅谷吉之助 BENIYA Kichinosuke ・・・・ 1932 298 X 243 芦屋市立芙術博均館 Ashiya City Museum of Art & History
No.2-9 高屁清治 KORAI Seiji ・・・・ 1932 280 X 198 個人蔵 Private collection
No. 2-10 木村伊兵衛 KIMURA lhee 工場地風景 Landscape: A factory district 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 154 X 197 0818わたしはダリ?名無しさん?2018/11/04(日) 14:22:11.83 No. 2-11 佐久問兵衛 SAKUMA Hyoue 都会風景 Cityscape 1932 292 X 242
No.2-12 綿古里孝治 NISHlGORI Koji 風 Wind 1932 プロムオイル・プリント Bromoil print 336 X 413 日本大学藝術学部 Nihon University College of Art
No. 2-13 青木春雄 AOKI Haruo 尨大なる優美 Colossal Elegance 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 242 X 172 0819わたしはダリ?名無しさん?2018/11/04(日) 14:22:38.71 No.2-14 岡野一 OKANO Hajime 顔 Face 1932 293 X 240
No. 2-15 飯田幸次郎 IIDA Kojiro 看板風景 The Landscape with a sign 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 191 X 196
No. 2-16 中山岩太 NAKAYAMA Iwata ・・・・ 1932 203 X 148 中山岩太の会 (兵庫県立美術館寄託) The Iwata Nakayama Foundation (on deposit at the Hyogo Prefectural Museum of Art) 0820わたしはダリ?名無しさん?2018/11/04(日) 14:23:13.43 No. 2-17 佐久間兵衛 SAKUMA Hyoue 汽船 Steamship 1932 380 X 254
No.2-18 堀野正雄 HORINO Masao 乞食 The Begger i932 220 X 145
No. 2-19 堀不佐夫 HORI Fusao 青年像 Portrait of a young man 1932 302 X 253 0821わたしはダリ?名無しさん?2018/11/04(日) 14:23:46.63 No.2-20 井深微 IBUKA Akira ・・・・ 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 197 X 156
No. 2-24 野島康三 NOJIMA Yasuzo 女 Woman 1932 ブロムオイル印画 Bromoil print 407 X 307 京都国立近代美術館(NY-A19) National Museum of Modern Art, Kyoto
No.2-25 堀野正雄 HORINO Masao 託児所の子供達 Children of Day Nursery 1932 292 X 192 0823わたしはダリ?名無しさん?2018/11/04(日) 14:25:09.37 No. 2-26 野島康三 NOJIMA Yasuzo 女 Woman 1932 556 X 431 京都国立近代美術館(NY-A110) National Museum of Modern Art, Kyoto
No.2-27 野島康三 NOJIMA Yasuzo 女 Woman c. 1932 555 X 425 京都国立近代美術館(NY-B80) National Museum of Modern Art, Kyoto
No.2-28 中山岩太 NAKAYAMA Iwata ・・・・ 1932 262 X 219 中山岩太の会 (東京都写真美術館寄託) 'The Iwata Nakayama Foundation (on deposit at the Tokyo Photograpic Art Museum) 0824わたしはダリ?名無しさん?2018/11/04(日) 14:25:50.28 No.2-29 三浦義次 MIURA Yoshitsugu ・・・・ 1932 写真網目銅凸版印刷 Copper halftone photoengraving printing 192 X 157
No.2-31 木村伊兵衛 KIMURA lhee ・・・・ 1932 写真網目銅凸版印刷 Copper nalftone photoengraving printing 188 X 242 0825わたしはダリ?名無しさん?2018/11/04(日) 14:26:34.39 No.2-32 中山岩太 NAKAYAMA Iwata ・・・・ 1932 304 X 247 中山岩太の会 (兵庫県立美術館寄託) The Iwata Nakayarna Foundation (on deposit at the Hyogo Prefectural Museum of Art)
No.2-37 ハナヤ勘兵衛 HANAYA Kanbee ・・・・ 1933 242 X 205 個人蔵(兵庫県立美術館寄託) Private collection (on deposit at the Hyogo Prefectural Museum of Art) 0827わたしはダリ?名無しさん?2018/11/04(日) 14:27:35.26 No.2-38 野島康三 NOJIMA Yasuzo 光画第二巻第一号表紙 Cover (Vol. 2-1) 1932 557 X 450 京都国立近代美術館(NY-A118) National Museum of Modern Art, Kyoto
No.2-39 木村伊兵衛 KIMURA lhee ・・・・ 1932 190 X 285 東京工芸大学 Tokyo Polytechnic University
No.2-40 木村伊兵衛 KIMURA lhee 詰将棋 A Japanese Chess Problem 1933 190 X 284 東京工芸大学 Tokyo Polytechnic University 0828わたしはダリ?名無しさん?2018/11/04(日) 14:28:18.57 No.2-41 中山岩太 NAKAYAMA Iwata ・・・・ 1932 295 X 249 中山岩太の会 (東京都写真美術館寄託) The Iwata Nakayama Foundation (on deposit at the Tokyo Photograpic Art Museum)
No.2-42 堀不佐夫 HORI Fusao レコード Record 1932 296 X 246 横浜芙術館(堀昭ー氏寄贈) Yokohama Museum of Art (Donated by Mr. Shoichi HORI) 0829わたしはダリ?名無しさん?2018/11/04(日) 14:28:49.82 No.2-43 飯田幸次郎 IIDA Kojiro ポスター Poster 1933 写真網目銅凸版印刷 Copper halftone photoengraving printing 165 X 188
No. 2-54 佐久間兵衛 SAKUMA Hyoue ・・・・ 1933 250 X 329 0833わたしはダリ?名無しさん?2018/11/04(日) 14:44:01.71 No. 2-55 中山岩太 NAKAYAMA Iwata 光画第二巻第四号表紙 Cover (Vol. 2-4) 1927 203 X 230 中山岩太の会蔵 (兵庫県立美術館寄託) The Iwata Nakayama Foundation (on deposit at the Hyogo Prefectural Museum of Art)
No.2-57 野島康三 NOJIMA Yasuzo T嬢像 Portrait of Miss. T 1933 555 X 453 京都国立近代美術館(NY-A128) National Museum of Modern Art、Kyoto 0834わたしはダリ?名無しさん?2018/11/04(日) 14:44:45.32 No.2-58 飯田幸次郎 IIDA Kojiro 無題 Untitled 1933 写真網目銅凸版印刷 Copper halftone photoengraving printing 222 X 180
No. 2-60 山川健一郎 YAMAKAWA Ken'ichiro ・・・・ 1933 199 X 210 芦屋市立美術博物館 Ashiya City Museum of Art & History 0835わたしはダリ?名無しさん?2018/11/04(日) 14:45:20.05 No. 2-61 中山岩太 NAKAYAMA Iwata ・・・・ 1933 581 X 412
No.2-62 ハナヤ勘兵衛 HANAYA Kanbee ・・・・ 1933 217 X 211 個人蔵(兵庫県立美術館寄託) Private collection (on deposit at the Hyogo Prefectural Museum of Art)
No.2-63 佐藤虹児 SATO Koji 氷柱 Icicle 1933 写真網目銅凸版印刷 Copper halftone photoengraving printing 197 X 166 0836わたしはダリ?名無しさん?2018/11/04(日) 14:45:56.18 No. 2-64 大束元 OOTSUKA Gen ・・・・ 1933 写真網目銅凸版印刷 Copper halftone photoengraving printing 166 X 208
No.2-84 飯田幸次郎 IIDA Kojiro ・・・・ 1933 写真網目銅凸版印刷 Copper halftone photoengraving printing 230 X 163 0843わたしはダリ?名無しさん?2018/11/04(日) 14:50:07.26 No. 2-85 ハナヤ勘兵衛 HANAYA Kanbee ・・・・ 1933 184 X 165 個人蔵(兵庫県立美術餌寄託) Private collection (on deposit at the Hyogo Prefectural Museum of Art)
No. 2-86 中山岩太 NAKAYAMA Iwata ・・・・ 1924 228 X 177 中山岩太の会 (東京都写真美術館寄託) The Iwata Nakayama Foundation (on deposit at the Tokyo Photograpic Art Museum)
No. 2-87 木村伊兵衛 KIMURA lhee 長谷川如足閑氏 Mr. Nyozekan HASEGAWA 1933 282 X 219 東京工芸大学 Tokyo Polytechnic University 0844わたしはダリ?名無しさん?2018/11/04(日) 14:50:47.46 No.2-88 木村伊兵衛 KIMURA lhee 横光利ー氏 Mr. Riichi YOKOMITSU 1933 281 X 209 東京工芸大学 Tokyo Polytechnic University
No.2-89 木村伊兵衛 KlMURA lhee 佐藤春夫氏 Mr . Haruo SATO 1933 281 X 219 東京工芸大学 Tokyo Polytechnic University
No.2-90 木村伊兵衛 KIMURA lhee 高田保氏 Mr. Tamotsu TAKADA 1933 282 X 219 東京工芸大学 Tokyo Polytechnic University 0845わたしはダリ?名無しさん?2018/11/04(日) 14:51:16.82 No. 2-91 吉川富三 YOSHIKAWA Tomizo 飯田幸次郎君 Mr. Kojiro IIDA 1933 403 X 311
No. 2-92 吉川冨三 YOSHIKAWA Tomizo 野島康三氏 Mr. Yasuzo NOJIMA 1930 プロムオイル印画 Bromoil print 288 X 238