Auswahl der wissenschaftlichen Literatur zum Thema „Nihonga (peinture)“
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Dissertationen zum Thema "Nihonga (peinture)"
Yu, Yue. „La diffusion et la réception des arts graphiques japonais modernes en France (1919-1939)“. Electronic Thesis or Diss., Université de Lille (2022-....), 2023. http://www.theses.fr/2023ULILH062.
Der volle Inhalt der QuelleDuring the 1920s and 1930s, Japan and France enjoyed particularly rich cultural exchanges. Many Japanese artists came to Paris to study Western painting, some going so far as to compete in Parisian Salons. At least 200 artists exhibited at the parisiens Salons. On the Japanese side, for example, 32 group exhibitions of Japanese artists were organised in France during this period, either by the imperial government or on the initiative of the artists themselves. More than 70 solo exhibitions in Parisian galleries were also dedicated to Japanese artists. On the French side, the art dealer Herman d'Oelsnitz and the Société d'art franco-japonaise organised no fewer than 23 exhibitions of French art in Japan. In 1928, masterpieces from the Musée du Luxembourg were sent to Tokyo, while an exhibition of Japanese art was held at the Musée du Jeu de Paume in 1929. After this exhibition, apart from the 13 paintings bought by the French state, 81 paintings and 31 decorative arts were sold to private collectors. As for prints, 19 were bought by the French State. These particularly intense relations lead us to ask questions such as: why did Japanese artists come to Paris? What selection criteria did Japan adopt for exhibitions of Japanese art? How were Japanese artists and their works perceived in France? What type of work was acquired in France, Japanese-style painting (nihonga) or Western-style painting (yōga), or both? The analyses will pave the way for a better understanding of the dynamic exchanges between Japan and France, exchanges whose importance is also reflected in today's art world
Bernier, Yolande. „Genshoku : parfums d'origine pour les Œuvres de la terre“. Master's thesis, Université Laval, 2013. http://hdl.handle.net/20.500.11794/24717.
Der volle Inhalt der QuelleKawachi, Akiko. „Les artistes japonais à Paris durant les années 1920 : à travers le Salon de la Société des Artistes Français, le Salon de la Société Nationale des Beaux-Arts, le Salon d’Automne, le Salon de la Société des Artistes Indépendants et le Salon des Tuileries“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040188.
Der volle Inhalt der QuelleDuring the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists
Bücher zum Thema "Nihonga (peinture)"
Kuboshima, Seiichirō. Mugonkan no uta. Tōkyō: Kōdansha, 2001.
Den vollen Inhalt der Quelle findenMiura, Atsushi. Utsurisumu bijutsu: Japonisumu, Koran, Nihon kindai yōga = Art en migration : japonisme, Collin, peinture japonaise moderne. 8. Aufl. Nagoya-shi: Nagoya Daigaku Shuppankai, 2021.
Den vollen Inhalt der Quelle findenAoki, Kanae, Junko Nishiyama und Hidetsugu Yamano. Myusha to Nihon, Nihon to Oruriku: Mucha and Japan/Japan and Orlik. Tōkyō: Kokusho Kankōkai, 2019.
Den vollen Inhalt der Quelle findenHironaka, Satoko, und Tomoyo Shimizu. Samayoeru efude: Tōkyō, Kyōto senjika no zen'ei gakatachi. Tōkyō-to Bunkyō-ku: Misuzu Shobō, 2021.
Den vollen Inhalt der Quelle findenHanai, Hisaho, Christopher Stephens und Pablo Picasso. "Tsuchi" no naka ni "Nihon" wa atta?: Horiokoshita ato ni, nani ga tatta ka : MOMAT korekushon 1950s-1960s. Herausgegeben von Okamoto Tarō 1911-1996 artist, Ueki Shigeru 1913-1984 artist und Tōkyō Kokuritsu Kindai Bijutsukan. Tōkyō: Tōkyō Kokuritsu Kindai Bijutsukan, 2019.
Den vollen Inhalt der Quelle findenKatō, Yōsuke. Densen kaiga: Kobayashi Kiyochika kara Yamaguchi Akira made. 8. Aufl. Tōkyō-to Chiyoda-ku: Kyūryūdō, 2021.
Den vollen Inhalt der Quelle findenIsao, Shimizu. Bigō no 150-nen: Ishoku Furansujin gaka to Nihon = Hommage à Georges Bigot : à l'occasion du cent cinquantenaire de sa naissance : le peintre original français et la Japon. 8. Aufl. Kyōto-shi: Rinsen Shoten, 2011.
Den vollen Inhalt der Quelle findenChŏng-hyŏn, Kim. Chungguk nae Han-Chung hangil yŏndae ŭi yŏksa wa hyŏnjang. 8. Aufl. Sŏul-si: Tongbuga Yŏksa Chaedan, 2019.
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