Tetsuya Noda

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Tetsuya Noda
Native name 野田 哲也
Born (1940-03-05)5 March 1940
Uki, Kumamoto, Japan
Nationality Japanese
Known for Woodblock and screen print

Tetsuya Noda (野田 哲也 Noda Tetsuya?, born 5 March 1940) is a contemporary artist and printmaker.[1] He is a professor emeritus of the Tokyo University of the Arts.[2] Noda specializes in artwork done as a series of woodblock, print, and silkscreened diary entries that capture moments in daily life. Noda is the nephew of Hideo Noda an oil painter and muralist.[3]

Early life, family and education

Noda was born in the Uki, Kumamoto Prefecture, on 5 March 1940. From 1959 to 1963, he studied painting and fine arts at the Tokyo National University of Fine Arts and Music.[4] Noda was a student of Tadashige Ono in the art of woodblock printmaking.

In June 1971, Noda married Dorit Bartur, daughter of the Israeli ambassador to Japan.[5]

Career

Before 1980

At the age of 28, Noda won the International Grand Prize at the Tokyo International Print Biennale for diptych Dairy: August 22, 196 and Diary: September 11, 1968.[6] In 1976, Noda was a judge at the 5th British International Biennial of Print in England. From 1978, Noda taught at the Tokyo National University of Fine Arts and Music. In 1978, Noda was a guest artist at the University of Alberta.

1990s

  • Noda became a professor at Tokyo National University of Fine Arts and Music in 1991.
  • Noda was an International judge at the Seoul International Biennial of Print in 1996.
  • Noda taught as a guest artist at University of Canberra Arts and Design in 1990 and at Columbia University in the City of New York in 1998.

2000s

  • On March 31, 2007, Noda resigned his post as a professor of Printmaking at Tokyo National University of Fine Arts and Music.[7]
  • Noda was an International judge at the 2nd Guanlan International Print Biennial in China 2009.
  • Noda became Professor Emeritus of Tokyo National University of Fine Arts and Music.[2]
  • From December 2010 to January 2011, Japan's Agency for Cultural Affairs dispatched Noda to Israel and England for a cultural exchange. Noda taught Japanese woodblock printmaking at London Metropolitan University, England.[8][9][10]

Public collections

Major exhibitions and awards

Works

Since 1968, Noda’s works have been inspired by themes of his own life. The motif is a comment on his daily life - his family, people he knows, his children’s growth and scenery along his way. He takes photographs of what he sees and likes, then develops and retouches them with pencil or brushes. His works are done using materials close at hand.[26][27]

When asked about how he found his theme; “Diary as an opportunity”, He replied, “at the university I was not at all satisfied with the assignment of painting nudes, it did not seem the right way to express myself.” His independent thinking and determination were highly rewarded. “I started to use a mimeograph cutting machine for the photo images in addition to the woodblock printmaking techniques.” In 1968, four years after he graduated from the university, he received the International Grand Prize at the 6th Tokyo International Print Biennale; “for the audacious combination of photography with traditional woodblock print.[28]

In the British Museum Magazine, Timothy Clark, the keeper of Japanese section wrote “ In nearly fifty years, Noda has created some 500 further works that continue his mesmerizing ‘Diary’ series, using the unique combination of color woodblock and photo-based silkscreen onto handmade Japanese paper that he has made his own. Personal snapshots are rigorously reworked to become subtle mementos of universal significance: ‘what’s in a life?’ we are constantly prompted to ask.”[29][30]

Techniques

Noda’s techniques combine woodblock and mimeographed silkscreen printmaking methods based on traditional woodblock print making techniques that use water colors. As in the case of Ukiyo-e, printmaking a key-block is used to define the main image and is printed first, the colors are then applied with color blocks using registration marks. This is possible because the watercolors are transparent. Noda uses the photo-image in the place of the key-block. The mimeographed photo images are applied in the last stage after having printed the colored areas with woodblocks.[28][26]

Evaluation

Daniel Bell talking about the originality of Noda's prints says, "Noda's distinctiveness lies in three things: the remarkably consistent subject matter of his work, the structure and configurations of his compositions, and the novel techniques, consciously derived from Ukiyo-e, as the means of realizing his intentions."[31][32]

The curator in charge of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco Robert Flynn Johnson wrote, “it is Tetsuya Noda who stands as the most original, innovative, and thought-provoking Japanese printmaker of his era".[33]

References

  1. ↑ Japanese Woodblock Printmaking with Professor Tetsuya Noda. Government of Japan, Embassy of Japan in the UK (event).
  2. ↑ 2.0 2.1 [1] Geidai, Tokyo University of the Arts, Tokyo, Japan (Archive).
  3. ↑ Bel, D. Tetsuya Noda: An Appreciation. Media.wix.
  4. ↑ 4.0 4.1 4.2 4.3 4.4 4.5 4.6 List of Noda's works held. Mie Prefectural Art Museum.
  5. ↑ Kenrick, V. Tetsuya Noda. The Japan Times 14 October 2006.
  6. ↑ Prints art magazine Hanga Geijutsu Abe Publishing Ltd. 2006, 34. ISBN 978-4-87242-234-4
  7. ↑ [2] Tetsuya Noda Tokyo National University of Fine Arts Resign memorial exhinbition "Diary" January 11 to 28, 2007
  8. ↑ extension course of London Metropolitan University, London England
  9. ↑ [3] Japan's Agency for Cultural Affairs's report page
  10. ↑ [4] Japan's Agency for Cultural Affairs monthly report No.513
  11. ↑ 11.0 11.1 11.2 [5] The National Museum of Modern Art, Tokyo's Search
  12. ↑ [6] Search result of Museum of Contemporary Art Tokyo
  13. ↑ [7] Search result of the collections of Museum of Modern Art, Wakayama
  14. ↑ [8] Search Result of Tetsuya Noda in the collections of MoMA
  15. ↑ [9] Search result of the collections of The Art Institute of Chicago
  16. ↑ [10] Search result of the collections in Museum of Fine Arts, Boston
  17. ↑ [11] Fine Arts Museums of San Francisco's Collection search. Use keyword "Tetsuya Noda".
  18. ↑ [12] Search result of Tetsuya Noda at Los Angeles County Museum of Art's collection search.
  19. ↑ [13] Collection list of British Museum
  20. ↑ [14] 6th Tokyo International Print Biennale
  21. ↑ [15] World Cat "Ikeda Masuo, Arakawa Shusaka, Noda Tetsuya : [brochure] an invitation to Japanese prints of the twentieth century from the Howard and Caroline Porter Collection, Cincinnati Art Museum, Decemter 7, 1975-February 29, 1976."
  22. ↑ [16] Chronological report of Japan's Art Yearbook by Independent Administrative Institution National Research Institute of Cultural Properties, Tokyo)
  23. ↑ [17] Art in Print Web site "Mokuhanga International"
  24. ↑ [18] Kumamoto prefectural museum of art (room number 3 Western art and modern painting)
  25. ↑ [19] Contemporary Japanese prints Noda Tetsuya’s ‘Diary’ series / 5 April – 5 October 2014 / British Museum
  26. ↑ 26.0 26.1 [20] News issue No.175 of The National Museum of Modern Art, Kyoto, January 1, 1983 written by Nobuharu Kawamoto - search result of CiNii
  27. ↑ [21] Summer Vacation special issue of Tetsuya Noda - The museum of modern art, Wakayama
  28. ↑ 28.0 28.1 Prints art magazine Hanga Geijutsu Abe Publishing Ltd. / Issue 134 (2006) Tadayoshi Nakabayashi "lucked criticism and review" etc. ISBN 978-4-87242-234-4
  29. ↑ [22] The British Museum Noda Tetsuya Biographical details
  30. ↑ [23] All works of Tetsuya Noda 1964-1978 CiNi book list (ISBN 019520834X Japanese Art - Masterpieces in the British Museum (OXFORD) also has quotation)
  31. ↑ Tetsuya Noda: An Appreciation by Daniel Bell - published in Collection of Tetsuya Noda III 1992-2000 published by Fuji TV Gallery
  32. ↑ [24] Japanese Art Society of America (ex Ukiyo-e Society of America) UKIYO-E SOCIETY BULLETIN - Winter 2001
  33. ↑ [25] Days in a Life : The Art of Tetsuya Noda by Robert Flynn JOHNSON ISBN 978-0-93911-722-2

External links

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