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
