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VJP title
Utamaro print showing

 

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NODA Tetsuya(野田哲也)
Mixed Media

 

Noda Tetsuya (野田哲也), born 1940 in Uki, Kumamoto, Japan, graduated from the Tokyo University of Art (Tokyo Geijutsu Daigaku: 東京藝術大学) in 1963. He also studied with the sôsaku hanga (creative print: 創作版画) artist Ono Tadashige (小野忠重 1909-1990). Five years later, when he was only twenty-eight, he won the grand prize at the Tokyo International Prints Biennial. Two other grand prizes followed in 1977 (Ljubljana International Print Biennial) and 1978 (Norwegian International Print Biennial), as well as other prizes in competitions.

Noda Tetsuya: "Diary: May 7th, 1972"
Woodcut and Silkscreen; paper: 619 x 606 mm (margins shown slightly cropped here)

As a result of his international successes, Noda has become a contemporary artist, printmaker and educator. He has captured the attention of many collectors and critics with his mixed-media prints, created with various combinations of woodblock printing, photography, hand-applied additions, vinyl stencils made with an electric scanner, mimeograph, and silkscreen, often printed on hand-made Japanese papers.

Noda uses titles that suggest many of his images are daily pictorial diaries, often depicting private moments in his family's life. This last point is something that Noda himself claims distinguishes him from many other modern artists who rely upon photographic imagery of well-known people, places, or things. In contrast, Noda uses personal photos that are familiar only to himself or his family.

Thus, the ordinary or everyday quality of his images is a prime focus in his work, and his prints often have a touching intimacy about them. Noda used the word "Diary" (written in English) on his prints for the first time in January, 1971. A year later he introduced his first still lifes, including the large print shown here, "Diary: May 7th, 1972." It was printed on a silver-ivory patterned paper of a variety called unryû ("cloud dragon"), which measures 61.9 x 60.6 cm. Noda used four impressions from woodblocks and three printings from silkscreens to create this design, which is numbered 20/30. Although it is difficult to appreciate in this small digital scan, there is an expressive softness in the colors and textures that give this image a sensual feeling, while the pale peaches arranged seductively on the pillow have an anthropomorphic quality suggesting an underlying eroticism.

Today, Noda is a professor emeritus of the Tokyo University of Art. His works are in numerous private and public collections, including the Art Gallery of Greater Victoria, Canada; Art Gallery of New South Wales, Australia; Art Institute of Chicago; Asian Art Museum San Francisco; British Museum, London; Brooklyn Museum; Cincinnati Museum of Art; Cleveland Museum of Art; Dresden National Museum; Fine Arts Museums of San Francisco; Krakow Museum, Poland; Los Angeles County Museum of Art; Minnespolis Institute of Art; Museum of Contemporary Art, Tokyo; The Museum of Modern Art, Kamakura, Japan; Museum of Modern Art, New York; Museum of Modern Art, Wakayama, Japan; National Gallery in Prague; National Museum of Modern Art, Kyoto; National Museum of Modern Art, Tokyo; Oslo National Museum, Norway; Shizuoka Prefectural Museum of Art, Japan; Tikotin Museum of Japanese Art, Haifa, Israel; and Warsaw National Museum, Poland. © 2020 by John Fiorillo

BIBLIOGRAPHY

  • Jenkins, Donald: Images from a Changing World: Japanese Prints of the Twentieth Century. Portland, 1983, pp. 149-150.
  • Smith, Lawrence: The Japanese Print Since 1900: Old Dreams and New Visions. London, 1983, pp. 133-137.
  • Tôno, Yoshiaki: Tetsuya Noda: The Works, 1964-1978. Tokyo: Fuji Television Gallery, 1978.
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