Tetsuya Noda (野田 哲也 Noda Tetsuya?, born 5 March 1940) is a contemporary artist, one of the world's pre-eminent printmakers, and a leading figure in Japanese contemporary design.[3] He is a professor emeritus of Tokyo University of the Arts.[4]Noda is most well known for artwork done as a series of silkscreened diary entries that capture moments in daily life: neighborhood scenes, his young daughter, or vegetables in the kitchen. Oil painter Hideo Noda was his uncle.[5]
Works[edit]
Since 1968, Noda's works are themes of daily life. The motif is a comment on one of the pieces of his daily life - his family, people he knows, his children's growth and scenery along his way. He took photographs of what he saw, added pencil or brushes, and then created an art work from the materials he had to hand; photographs, mimeograph, and even wooden block prints can appear.[26][27]
When asked about how he found his theme "Diary as an opportunity”, he says, “I was not satisfied with the assignment of painting nudes, it did not seem right for me." He says his independence and determination were rewarded, "when I started to use a mimeograph fax printmaker with photographs and wood block engraving as a subject of a department.” In 1968, four years after he graduated university, he received the 6th International Grand Prize at the Tokyo International Print Biennale "for the audacious combination of photography with traditional wood engraving as background," at his first exhibit. After that, all of his works were not titled but marked "Diary” and the date.[8]
"The Japanese Arts - Main Collection of British Museum" (1990) introduces and covers art from early Buddhist prints to the 20th century. In that book, "All of Noda's work is only titled by the date, almost every work began with a photograph. The work is very personal; as an example, his "Diary: June 24, 1978" is his daughter Rika aged three and a half.[28][29]
Technique[edit]
Noda's technique combines silkscreen, wood block engraving and mimeograph. it is based on traditional Japanese wood engraving technique that uses water colors. Layering colors applied to the art by pressing the blocks aligned with the black outline block which is the main block of Ukiyo-e style print art. The main difference is that Noda starts with a photograph in the place of the wood engraving that provides a printed background like Ukiyo-e prints. Then the colors are layered on one by one by with blocks on the washi paper made in Ogawa-machi, Saitama.[8][26][30] Daniel Bell says, "Given his early schooling, Noda is completely aware of the Ukiyo-e tradition."
Family[edit]
- Noda's wife, Dorit, is the daughter of Moshe Bartur, a former Israeli ambassador to Japan. In 1968, when he was an assistant ofTadashige Ono.[26] Noda, and then 28, he won the International Grand Prize at the Tokyo International Print Biennale with his work "Dairy: August 22, 1968"” Dorit's younger sister was visiting the ceramics study room and her older sister Dorit was visiting.[8]Regarding prized work, Mrs. Noda says "I was surprised but honored. I was looking a it purely as art work more than that it was a motif myself".[9]
野田哲也1969年版畫作品《日記：1968年8月22日》，上色木板和絲網印刷。
亞洲2014,3001.1，由作者捐贈。
亞洲2014,3001.1，由作者捐贈。
日本當代版畫：野田哲也的《日記》系列作品
2014年4月5日- 10月5日免費
三菱公司日本展館
週五參觀該展覽之前，請遊客致電博物館核查94號展廳的開放時間
從20世紀60年代末開始，日本藝術家野田哲也（Noda Tetsuya，生於1940年）創作了一系列以《日記》為名的版畫作品。家人的親密肖像、旅行中所見的風景和日常生活中的細節等都是他記錄的對象和藝術素材，透出敏感、智慧和某種神秘。他的《日記》系列作品時間跨度有將近50年，現在已達到約500件作品，這些作品展示了個人的世界，又可以通過它們看到一個更廣闊的社會。
此次特殊展覽展出了野田的22幅《日記》版畫作品，它們跨越了他的一生和藝術生涯。他的版畫技法不同尋常，將上有顏料的木板與照相絲印製版相結合。野田將木板切割成版畫的上色區和有著微妙陰影的白色背景區，然後印到手工製作的日式紙張上。野田通過版畫故意修改了一些照片來表達他的個人情感，然後利用絲網來給版畫上色。這就增加了深色的輪廓和陰影區域。野田將照相機比作他的寫生簿，利用它將對他最重要的部分定格成像。野田作品中的日常物品、色彩和輪廓的風格有時會讓人想起日本傳統的浮世繪版畫，觀察日常生活，率直而不賣弄。
博物館近期收藏的野田的作品是由這位藝術家慷慨捐贈的，且受到JTI日本收購基金（JTI Japanese Acquisition Fund）的資助。
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