Shimooka Renjō

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Shimooka Renjō ( Japanese 下 岡 蓮 杖 , actually Sakurada Hisanosuke ( 桜 田 久 之 助 ); artist name as painter: Tōen ; * March 24, 1823 ( traditionally Bunsei 6/2/12) in Shimoda ; † March 3, 1914 ) was one of the first Japanese Photographers.

Shimooka was the son of the official seaport freight forwarder of the Tokugawa Shogun. When he was 13, he went to Tokyo to receive artistic training. Kanō Tōsen Nakanobu (1811–1871) taught him traditional painting .

In the 1850s he was on guard duty at the Shimoda Battery. Either there, or because he was accidentally sent to the daimyo of Satsuma , he saw a daguerreotype for the first time , the realism and wealth of detail he admired. When he was told that this was made with the help of a machine, he came to the conclusion that such perfection could not be achieved with brushes and that he wanted to learn this technique.

Horanda Fūzoku (Dutch genre picture) around 1863 on silk

John Wilson, an American photographer in Yokohama, taught Shimooka to take pictures in early 1860. When Wilson left town in 1861 or 1862, he exchanged his camera for a painting by Shimooka. In the early sixties Shimooka was employed by Raphael Schoyer (1800–1869), an American auctioneer and publicist. Under the guidance of his wife Anna, Shimooka tried painting in the western style. A painting on silk has been preserved that bears his signature toen. At the end of 1862 Shimooka founded his first photo studio in Noge in Yokohama, in which he - co-founding this tradition - mainly made souvenir photographs, i.e. he portrayed tourists or photographed locals in staged scenes and sold prints of them as souvenirs, similar to Felice Beato later.

The studio opened branches in Yokohama and Tokyo, and Shimooka also gave classes. His students include: Yokoyama Matsusaburō , Usui Shūzaburō , Suzuki Shin'ichi I and Suzuki Shin'ichi II , Esaki Reiji .

In Tokyo's Asakusa Park, he opened the Abura-e Chashitsu (German oil painting café) in 1876 , which exhibited panoramas of the Battle of Hakodate (Hakodate Sensō) and the Japanese punitive expedition to Taiwan in 1874 . A year later he stopped taking photos and devoted himself to creating background images for photo studios.

A memorial was erected to him in his hometown.

Autobiography

In 1894 he published his autobiography, which mainly focused on his career as a photographer.

  • Shimooka Renjō, Shashin Jireki , Bijutsu, Nihon Kindai Shisō Taikei 17, Tokyo: Iwanami Shoten, 1989.

literature

  • Karen Fraser, Shimooka Renjø (1823-1914) , in: John Hannavy (Ed.), Encyclopedia of Nineteenth Century Photography , Vol. 2, New York et al.: Routledge 2005, p. 1266. ISBN 978-0415972352
  • Asahi Noboru, Shimo'oka Renjo no Shashin to Sono Shuhe no Gakatachi

Web links

Individual evidence

  1. Shimooka Renjō in the digital edition of 日本人 名 大 辞典 , Kōdansha 2009.
  2. ^ A b Karen Fraser, Shimooka Renjø (1823-1914) , in: John Hannavy (Ed.), Encyclopedia of Nineteenth Century Photography , Vol. 2, New York et al .: Routledge 2005, p. 1266. ISBN 978-0415972352
  3. Kohtaro Iizawa, The Shock of the Real: Early Photography in Japan , in: Robert Stearns, Photography and Beyond in Japan: Space, Time, and Memory , New York 1993, p 41. ISBN 0810935198
  4. Sawatari Kiyoko, Innovational Adaptations: Contacts between Japanese and Western Artists in Yokohama 1859–1899 , in: Ellen P. Conant (Ed.): Challenging Past and Present: the Metamorphosis of Nineteenth-Century Japanese Art , University of Hawaiʻi 2006, p 89. ISBN 978-0824829377
  5. Sawatari Kiyoko, Innovational Adaptations: Contacts between Japanese and Western Artists in Yokohama 1859–1899 , in: Ellen P. Conant (Ed.): Challenging Past and Present: the Metamorphosis of Nineteenth-Century Japanese Art , University of Hawaiʻi 2006, p 98. ISBN 978-0824829377
  6. Kohtaro Iizawa, The Shock of the Real: Early Photography in Japan , in: Robert Stearns, Photography and Beyond in Japan: Space, Time, and Memory , New York 1993, p 45. ISBN 0810935198
  7. Two pictures of the monument