Obara kuniyoshi (7 Ergebnisse)

Hardcover. Zustand: Very Good. Text in English and Japanese. 201 pages, a very good copy in a scuffed slipcase with pen markings to the front.

21 x 28 cm, 211 S., mit zahlreichen Fotos, Orig.-Leinen, Einband minimal angestaubt, gutes Exemplar. Selten! Zweisprachig (eng./jap.).

Hardcover. Zustand: Very Good. VG cloth in a worn card slip case. Japanese and English. 211 pages : illustrations ; 30 cm.

Hardcover. Zustand: Very Good. VG cloth in a worn card slip case. Japanese and English. 39, 240 pages : chiefly illustrations : 28 cm.

Hardcover. Zustand: Very Good. VG cloth in a worn card slip case. Japanese and English. 201 pages : chiefly illustrations (some colour) ; 28 cm.

Hardcover. Zustand: Very Good. Hardcover. 4to. Tamagawa University Press, Tokyo, Japan. 1964. 214 pgs. Signed and inscribed by Kuniyoshi Obara. Full color frontispiece. Illustrated with b/w photos. Text in Japanese and English. Slipcased. Bound in red cloth over boards, gilt titles on front cover and spine; light gray laid paper end papers; two-color title page. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of marks. Binding tight and solid. Kuniyoshi Obara (Obara Kuniyoshi, April 8, 1887 December 13, 1977) was an influential Japanese education reformer and publisher Obara left a strong mark in education philosophy and on the theories of liberal education, art education and vocational education. In addition to creating his own education theory, Zenjin (or "Whole Person") Education, he was among the leaders of the New Education Movement in Japan and disseminated in that country the works of earlier reformers such as Johann Heinrich Pestalozzi. He was the founder of the campus Tamagawa Gakuen and for many years president of its university, Tamagawa University. E-216; 8vo 8" - 9" tall; 214 pages.…

4to. (258 x 198 mm). [170 leaves: 110 leaves with printed text; 60 leaves of glossy paper with plates]. Printed title in Japanese and Western characters on glossy paper, monochrome photographic portrait of Kandinsky with reproduction of his signature as frontispiece, Kandinsky's translated text in Japanese (with occasional insertions in Western characters) illustrated with 9 monochrome text vignettes, 3 'Tabelle' of colour theory and 57 plates on a variety of paper stocks (9 in colour and 48 in monochrome, several with multiple images on the same sheet, including the 'Abbildungen' at rear), final leaf with imprint verso; the illustration incorporates that for 'Uber das Geistige in der Kunst' as well as many from 'Klänge'. Original publisher's scarlet cloth with gilt vignettes after Kandinsky to front and rear boards, original card slipcase with illustration after Kandinsky to front cover and printed text in Japanese to spine and rear cover. A very scarce edition of Kandinsky's Uber das Geistige in der Kunst published in Japan in 1924. Although Reinhard Piper feared that Kandinsky's treatise on abstraction would not sell well, the book required three editions in the first year it was published. This Japanese edition, published nearly 15 years after the original, incorporates the text and woodcuts of the earlier editions as well as Kandinsky's later introductions to the first and second editions as well as illustration from 'Klänge'. The majority of the plates depict work by Kandinsky but works by Dürer, Raphael, Cézanne, and others are also included. The Japanese translation is by Obara Kuniyoshi (1887 - 1977), the publisher, translator and educational theorist and president of Tamagawa University which he founded. His Idea-Shoin publishing house (later the Tamagawa University Press) was established in 1923 and aimed to produce teaching material, educational work for children (Obara published the first encyclopedia for Japanese children) as well as the complete works of the Swiss educator Johann Heinrich Pestalozzi. Obara's translation of the present work is not only an indication of the importance of Kandinsky's text and theories but also casts light on the emergence of Japan's own avant-garde and its international influences. 'The book, which he [Kandinsky] claimed had been gestating for nearly a decade, elucidated his artistic theories and his valuing of expression and spirituality over naturalistic representation. It also introduced his new pictorial categories derived from the field of music - impressions, improvisations, and compositions - which further de-emphasized the importance of recognizable subject matter. On the cover and in ten woodcuts, Kandinsky illustrated his ideas by reducing complex scenes of spiritual battle and redemption to simplified designs of lines and shapes. For Kandinsky, abstraction was a weapon for transforming what he perceived to be a corrupt, materialist society.' (see MOMA catalogue). 'One of the most important manifestos of modern art. Written in 1910 and first published in 1912, Kandinsky's book is anti-materialistic and anti-naturalistic, calling for painting that goes beyond a recording of the visible world. The non-objective woodcuts are historically important as early graphic demonstrations of the artist's thesis.' (The Artist and the Book). Obara's translation is scarce and we can trace only the copies at the Metropolitan Museum and the Phillips collection outside Japan, for which OCLC list copies at the National Diet Library and Waseda University Library. [see Roethel 82 - 92; see The Artist and the Book 137 for the first edition of 1912].…