Yasuzo Nojima Yasuzo Nojima
Author(s)
Bibliographic Information
Yasuzo Nojima = Yasuzo Nojima
Skira, 2011
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Catalog of an exhibition at the Fotomuseo Giuseppe Panini, Modena, Italy, March 27-June 5, 2011
Italian and English
Includes bibliographical references (p. 143)
Description and Table of Contents
Description
The first English language monograph on one of the most important figures in the history of modern Japanese photography. Nojima's works range from kaiga shugi shashin (pictorial photography) to shinko- shashin (new/straight photography) of the early twentieth century. His earliest photographs are characterized by a density and heaviness echoing that of pictorialism, based in his subtle sensitivity and the pigment printing process, the mainstream printing method of that time. In the 1930s, his style takes a drastic turn under the influence of new trends in German photography, shifting toward cropped gelatine silver prints in pursuit of a form of expression that is unique to the medium. Nojima was also known as an enthusiastic art lover, opening a gallery called 'Kabutoya Gado-' (1919-20) in the Jimbo--cho- district of Tokyo at his own expense, holding exhibitions of works by up-and-coming artists - especially those of the Shirakaba-ha (White Birch Group), a literary movement that included artists such as renowned painters Umehara Ryu-zaburo- (1888-1986) and Kishida Ryu-sei (1891-1929) - in the salon located in his own home, and acting as a patron for these artists. As an advocate of contemporary art of his time, Nojima not only ran a gallery but also took photographs of artworks for their publication in art magazines and monographs.
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