Japan on a glass plate - Dobson Sebastian
the adventure of photography in Yokohama and beyond : 1853-1912
KORTE INHOUD
Drawing from an extensive private collection assembled over many years, Japan on a Glass Plate presents a unique selection of nineteenth-century photographs of Japan, many of which are published here for the first time.
Between the twilight years of the Tokugawa shogunate (1603-1867) and the end of the Meiji Era (1868-1912) that followed it, photography offered a unique insight into the rapid transformation of Japan from an isolated, feudal society to a modern, industrialised state. In the four decades that followed the opening of the country in 1853, the camera evolved from an imported novelty to a familiar witness of Japanese daily life. Operating from the Treaty Ports of Yokohama and elsewhere, early practitioners of photography plied an often precarious trade in images of Japan and laid the foundations of what would soon become a highly competitive industry with a global reach. Whether cherished as souvenirs of an exotic land of fond imagination or curated as visual documents of a fast-changing society, th...
Between the twilight years of the Tokugawa shogunate (1603-1867) and the end of the Meiji Era (1868-1912) that followed it, photography offered a unique insight into the rapid transformation of Japan from an isolated, feudal society to a modern, industrialised state. In the four decades that followed the opening of the country in 1853, the camera evolved from an imported novelty to a familiar witness of Japanese daily life. Operating from the Treaty Ports of Yokohama and elsewhere, early practitioners of photography plied an often precarious trade in images of Japan and laid the foundations of what would soon become a highly competitive industry with a global reach. Whether cherished as souvenirs of an exotic land of fond imagination or curated as visual documents of a fast-changing society, th...
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Lush vegetation in a jungle, butterflies in a field with colorful blooming flowers: Ruud van Empel's work is wonderful and alienating at the same time. The artist uses countless photographed details of people, plants, animals or objects to digitally cut and paste. He assembles this material into a composition on the computer, a process that was done analogously until 1995. The images look real, but they are not. With painting, film and (staged) photography as sources of inspiration, Van Empel has developed ...
