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*''Born: [[1898]]/3/21''
*''Died: 1947/9/14''
*''Japanese'': 中村大三郎 ''(Nakamura Daizaburou)''
Nakamura Daizaburô was a ''[[Nihonga]]'' painter who specialized in ''[[bijinga]]'' and served as an artistic director for Nikkatsu film studios, often using actresses from the studio as models for his paintings.
The son of a Kyoto-based kimono dyer, he studied at the [[Kyoto Municipal School of Fine Arts and Crafts]] from [[1912]] to 1916, and then at the Kyoto Municipal School of Painting, where he joined the faculty in 1925. He showed at the [[Bunten]] for the first time in 1918, with a piece titled ''Zange'' (lit. confession, repentance).<ref name=kotobank>"[http://kotobank.jp/word/%E4%B8%AD%E6%9D%91%E5%A4%A7%E4%B8%89%E9%83%8E Nakamura Daizaburô]." ''Nihon Jinmei Daijiten''. Kodansha, 2009. Accessed via Kotobank.jp, 4 May 2011.</ref>
Though early in his career he focused on painting images of [[Edo period]] beauties, or [[geisha]], he is particularly known for a series of three large scale paintings featuring "modern beauties in domestic settings"<ref name=brown73>Brown. p73.</ref> produced in the late 1920s-1930. The women in his earlier works have been described as "doll-like,"<ref name=brown73/> but after marrying Tsuyuko, the eldest daughter of his painting teacher [[Nishiyama Suisho|Nishiyama Suishô]], around 1925-26, he began to paint more realistic and mature-looking women, basing his works more closely on live models.
The first of these works, a four-panel [[byobu|folding screen]] shown at the 1926 Teiten ("Imperial Exhibition"), titled ''Piano'', depicts Daizaburô's wife in a red ''[[furisode]]'', playing a piano. The sheet music is for pieces by 19th century German composer Robert Schumann; a modern lamp stands in the background. In 1928, he showed a horizontal [[hanging scroll]] painting titled ''Amimono'' ("Knitting"), which depicted a young beauty sitting on a sofa, surrounded by a credenza, gold clock, chandelier, and other modern scenery elements. To build the scenes within which the actresses would model for the painting, Daizaburô often borrowed such objects from hotels and other modern spaces.
The third in this series, titled simply ''Fujo'' ("Woman"), depicts the actress [[Irie Takako]] in a red ''furisode'' lounging on a light yellow-green chaise. The painting was shown at the 1930 Teiten, and is now in the collection of the Honolulu Academy of Arts. Along with several of Daizaburô's other works, it served as the inspiration for a series of dolls (complete with their own miniature furniture as in the painting), in what is called the ''Hakata ningyô'' ("Hakata doll") style, produced, presumably, in [[Hakata]].
Daizaburô had a strong interest in traditional performing arts - he practiced [[tea ceremony]], danced [[Noh]], and played flute and hand-drum - and also in Western cinema and classical music. He founded his own studio in 1933 and began taking on students, continuing to paint and to teach painting, but also around 1938 turned to devoting more attention to Noh and related arts.
==References==
*Brown, Kendall et al (eds.). ''Taishô Chic: Japanese Modernity, Nostalgia, and Deco''. Honolulu Academy of Arts, 2001. pp72-77.
<references/>
[[Category:Artists and Artisans]]
*''Died: 1947/9/14''
*''Japanese'': 中村大三郎 ''(Nakamura Daizaburou)''
Nakamura Daizaburô was a ''[[Nihonga]]'' painter who specialized in ''[[bijinga]]'' and served as an artistic director for Nikkatsu film studios, often using actresses from the studio as models for his paintings.
The son of a Kyoto-based kimono dyer, he studied at the [[Kyoto Municipal School of Fine Arts and Crafts]] from [[1912]] to 1916, and then at the Kyoto Municipal School of Painting, where he joined the faculty in 1925. He showed at the [[Bunten]] for the first time in 1918, with a piece titled ''Zange'' (lit. confession, repentance).<ref name=kotobank>"[http://kotobank.jp/word/%E4%B8%AD%E6%9D%91%E5%A4%A7%E4%B8%89%E9%83%8E Nakamura Daizaburô]." ''Nihon Jinmei Daijiten''. Kodansha, 2009. Accessed via Kotobank.jp, 4 May 2011.</ref>
Though early in his career he focused on painting images of [[Edo period]] beauties, or [[geisha]], he is particularly known for a series of three large scale paintings featuring "modern beauties in domestic settings"<ref name=brown73>Brown. p73.</ref> produced in the late 1920s-1930. The women in his earlier works have been described as "doll-like,"<ref name=brown73/> but after marrying Tsuyuko, the eldest daughter of his painting teacher [[Nishiyama Suisho|Nishiyama Suishô]], around 1925-26, he began to paint more realistic and mature-looking women, basing his works more closely on live models.
The first of these works, a four-panel [[byobu|folding screen]] shown at the 1926 Teiten ("Imperial Exhibition"), titled ''Piano'', depicts Daizaburô's wife in a red ''[[furisode]]'', playing a piano. The sheet music is for pieces by 19th century German composer Robert Schumann; a modern lamp stands in the background. In 1928, he showed a horizontal [[hanging scroll]] painting titled ''Amimono'' ("Knitting"), which depicted a young beauty sitting on a sofa, surrounded by a credenza, gold clock, chandelier, and other modern scenery elements. To build the scenes within which the actresses would model for the painting, Daizaburô often borrowed such objects from hotels and other modern spaces.
The third in this series, titled simply ''Fujo'' ("Woman"), depicts the actress [[Irie Takako]] in a red ''furisode'' lounging on a light yellow-green chaise. The painting was shown at the 1930 Teiten, and is now in the collection of the Honolulu Academy of Arts. Along with several of Daizaburô's other works, it served as the inspiration for a series of dolls (complete with their own miniature furniture as in the painting), in what is called the ''Hakata ningyô'' ("Hakata doll") style, produced, presumably, in [[Hakata]].
Daizaburô had a strong interest in traditional performing arts - he practiced [[tea ceremony]], danced [[Noh]], and played flute and hand-drum - and also in Western cinema and classical music. He founded his own studio in 1933 and began taking on students, continuing to paint and to teach painting, but also around 1938 turned to devoting more attention to Noh and related arts.
==References==
*Brown, Kendall et al (eds.). ''Taishô Chic: Japanese Modernity, Nostalgia, and Deco''. Honolulu Academy of Arts, 2001. pp72-77.
<references/>
[[Category:Artists and Artisans]]
