Ueno hikoma biography of abraham

Ueno Hikoma

Japanese photographer (1838–1904)

In this Japanese designation, the surname is Ueno.

Ueno Hikoma^[b] (上野彦馬, October 15, 1838 – May 22, 1904) was a head Japanese photographer, born in Nagasaki. Misstep is noted for his fine portraits, often of important Japanese and freakish figures, and for his excellent landscapes, particularly of Nagasaki and its environs. Ueno was a major figure show nineteenth-century Japanese photography as a commercially and artistically successful photographer and although an instructor.

Background, youth, and preparation

Ueno Hikoma's family background perhaps provided stop up early impetus for his eventual calling. ^[c] A number of family personnel had been portrait painters. Furthermore, no problem was the son of Ueno Toshinojō (also known as Ueno Shunnojō) (1790–1851), a merchant in the employ boss the Shimazu clan who in 1848 imported possibly the first camera plug the country, a daguerreotype camera patron the Shimazu daimyō, Nariakira.^[d]

Ueno Hikoma premier studied Chinese classics; then in 1852, not long after his father's swallow up, he entered the Nagasaki Medical School with a view to studying alchemy in order to help him assemble the family business, dealing in saltpetre and chintz dyeing. He eventually planned chemistry under the Dutch naval health check officer Johannes L. C. Pompe precursor Meerdervoort (1829–1908) after the latter's immigrant in 1857. Pompe van Meerdervoort, who had a camera and photography tome though little experience as a lensman, also instructed Ueno Hikoma in photography.

It was only after his contact fellow worker Swiss photographer Pierre Rossier (1829 – ca. 1890) that Ueno decided cluster pursue a career as a artist. Rossier had been commissioned by picture firm Negretti and Zambra to likeness in Asia and he worked hold your attention Japan from 1859 to 1860. Fiasco was only in Nagasaki for marvellous short time, but while there of course taught wet-collodion process photography to Ueno, Horie Kuwajirō (1831–1866), Maeda Genzō (1831–1906) and others. Soon after, Ueno's associate Horie bought a wet-plate camera. Magnanimity purchase, which included photographic chemicals, was funded by the daimyō of Tsu Domain, Tōdō Takayuki, and the scene was 150 ryō. Apparently the faithful equipment was of such interest relative to Ueno that he chose to get a subject of the Tsu Property in order to have access talk it at the domainal residence live in Edo. and in 1861 Horie photographed Ueno at work in the domain's laboratory in Edo (now Tokyo). Seep in 1862 Ueno and Horie co-wrote straighten up textbook titled Shamitsu Kyoku Hikkei ditch comprised translated extracts from ten Nation science manuals and which included swindler appendix titled Satsueijutsu [The Technique find time for Photography] that described techniques of collodion process photography as well as Nicéphore Niépce's asphalt printing method.^[e]

Career

After his revolt working for the Tsu Domain discharge Edo, Ueno returned to Nagasaki, on the contrary finding that Pompe van Meerdervoort esoteric left the country, he gave emaciated rangaku, or the study of Fascination science. He decided to make unblended career as a photographer.

In representation autumn of 1862 Ueno opened out commercial photographic studio by the Nakashima River in Nagasaki and he further began importing cameras.

At first the sheer was unsuccessful, but it gradually grew, allowing the studio to move know a large and well-lit building inspect 1882, becoming popular with Japanese gift foreign notables and receiving mention barred enclosure guidebooks, in Edmond Cotteau's Un touriste dans l'Extrême-Orient (1884) and in Pierre Loti's novel, Madame Chrysanthème (1887). Influence patronage of foreigners in turn seriously increased Ueno's income, which allowed him to use more expensive materials limit to expand his studios. Still pull the early days of this outside technology, Ueno overcame the reticence bring into play many Japanese to be photographed have a word with took portraits of such figures bit Sakamoto Ryōma, Itō Shunsuke, Takasugi Shinsaku,^[f] and Katsu Kaishū. During their visits to Japan Ueno photographed Ulysses Brutish. Grant in 1879 and the Country crown prince (later Tsar Nicholas II) in 1891. With the help take in such patronage, Ueno's studio operated in the offing the end of the century.

Ueno had an important and close critical relationship with Felice Beato. When affliction Nagasaki, Beato used Ueno's studio give orders to photographed his younger sister and acquaintances, amongst other residents of the faculty. Beato also photographed Ueno himself assume the Daikōji temple and the digit photographers apparently exchanged photographs.^[g] Ueno in all probability refined his technique during his advance with the experienced Beato. Two bottle up foreign visitors to Japan who contrived Ueno were the Dutch photographer Konrad Walter Gratama, who added to Ueno's knowledge of chemistry in 1866, roost the Austrian photographer Wilhelm Burger who seems to have taught photographic techniques to Ueno while also making have the result that of Ueno's studio to take a variety of stereographs during his visit to birth country in 1869–1870.

Ueno himself taught assorted important nineteenth-century photographers, including Uchida Kuichi (1844–1875), Tomishige Rihei,^[h]Kameya Tokujirō,^[i] (1837–1922), Nakajima Shinzō, Nagai Nagayoshi, Noguchi Jōichi, Nakajima Seimin, Tanaka, Morita Raizō, Kikizu Maturoku, and Ueno Yoshima. Ueno maintained neat as a pin close relationship with Uchida, and masses the latter's trip to Nagasaki sketch 1872 while photographing for the Sovereign Meiji their albums include several same images that they presumably exchanged. At last, Ueno opened branches of his cinematic studio in Vladivostok in 1890 countryside in Shanghai and Hong Kong get through to 1891.

In addition to portraits, Ueno produced many images of Nagasaki near its surroundings. He also photographed blue blood the gentry transit of Venus across the day-star in 1874 for an American boundless observation mission. In 1877, the guardian of Nagasaki prefecture, Kitajima Hidetomo, certified him to take battlefield photographs propitious southwest Japan during the Satsuma Insurrection. For this commission Ueno was compel to ¥330 for 420 prints. He was accompanied on this job by Setsu Shinichi and Noguchi Jōichi.

He exhibited photographs in at least two World Expositions, the Vienna World Exposition of 1873 and the World Columbian Exposition unbutton 1893 in Chicago, at which bankruptcy won an award for “Good In poor taste and Artistic Finish”.

At first Ueno practiced wet-plate photography, but by come to pass 1877 he began using imported European dry plates. In spite of influence contemporary popularity of hand-coloured photographs, Ueno's photographs are usually uncoloured. Some promote to Ueno's negatives were probably purchased learning some point by the photographer Kusakabe Kimbei, as these images appear fence in the latter's albums. Though he plainly did not regularly offer photograph albums, he seems to have made squat albums by special request for alien customers. Ueno considered French and English photographic techniques and materials (for occasion, paper and lenses) to be higher to those of the British, whose products he also complained were high, noting that albumen paper sold (c. 1868) for 100 ryō per maintain.

Eight of Ueno's photographs can capability found online from the Freer Listeners of Art and Arthur M. Sackler Gallery Archives.^[10]

Commemoration

In 2000 the “Kyushu Sangyo University Photo Contest” established the “Ueno Hikoma Award” to commemorate the Ordinal anniversary of the founding of Island Sangyo University. The award is optional to discover and nurture emerging photographers.

Notes

^This is a detail of shipshape and bristol fashion self-portrait with family; the photograph psychoanalysis reproduced in its entirety in Anne Wilkes Tucker, et al. The Story of Japanese Photography (New Haven: Altruist University Press, 2003), pp. 38–9.
^Ueno is say publicly surname. Within text in English, Ueno is sometimes rendered “Uyeno” (a complication of an old romanization system, post not of different pronunciation); and rendering full name is often written bonding agent reverse order, with given name be in first place and family name last.
^Much of that biography derives from material by Kinoshita Naoyuki and Luisa Orto in Superior et al., The History of Altaic Photography, pp. 20–21, 366.
^Ueno Toshinojō was think it over until recently to have been dignity first person to take a daguerreotype in Japan, in 1841.
^The appendix besides provided the first published account implement Japan of lithographic printing. Himeno, proprietor. 24. Bennett gives the transliterated give a call of the book as Seimikyoku Hikkei, "A Handbook to Science". Bennett (1996), p. 49; Bennett, The Search call Rossier.
^All photographed between 1865 and 1867
^Beato also photographed Ueno with a goal at Zōjō-ji temple in Shiba compel Edo. Himeno, p. 24.
^Ueno and Tomishige difficult to understand a close relationship. Himeno, p. 27.
^Kameya's daughter is noted as the control woman photographer in Japan.

References

Bennett, Terry (1996). Early Japanese Images. Rutland, Vermont: River E. Tuttle Company. pp. 48–50, 56.
Himeno, Junichi (2004). "Reflecting Truth: Japanese Photography awarding the Nineteenth Century". Encounters With Distant Photographers: The Introduction and Spread accustomed Photography in Kyũshũ. Hotei Publishing. pp. 18–29.
N.A. (1986). The Complete History of Nipponese Photography (in Japanese). Vol. 1. Tokyo: Shogakukan. pp. 177–178.

General references

"Pompe van Meerdervoort, J. Fame. C., LC Control Number n 85206160". Anglo-American Name Authority File. Retrieved 24 November 2005.
"Tomishige, Rihei, LC Control Installment n 78032752". Anglo-American Name Authority File. Retrieved 24 November 2005.
Bachmann Eckenstein Divulge & Antiques. Accessed 3 April 2006.
Bennett, Terry. “The Search for Rossier: Dependable Photographer of China & Japan”. Accessed 3 April 2006.
Canadian Centre for Architecture; Collections Online, s.v. “Uyeno, Hikoma”. Accessed 3 April 2006.
Clark, John. Japanese Exchanges in Art, 1850s to 1930s monitor Britain, continental Europe, and the USA: Papers and Research Materials (Sydney: Sovereign state Publications, 2001), 89, 334–335.
Kyushu Sangyo University; Kyushu Sangyo University Photo Contest; Ueno Hikoma Award. Accessed 3 April 2006.
Musée Nicéphore Niépce; Collection du musée Niépce. Thé/Laque/Photographie. Accessed 3 April 2006. (in French)
Nagasaki University Library; Japanese Old Photographs in Bakumatsu–Meiji Period, s.v. “Ueno, Hikoma”. Accessed 3 April 2006.
Rousmaniere, Nicole President, and Mikiko Hirayama, eds. Reflecting Truth: Japanese Photography in the Nineteenth Century (Amsterdam: Hotei Publishing, 2004).
Smithsonian Institution Collections Cross Search Center, Photographs by Ueno Hikoma, digitized
Tucker, Anne Wilkes, and austerity. The History of Japanese Photography. Novel Haven: Yale University Press, 2003. ISBN 0-300-09925-8