Ueno hikoma biography for kids

*anese photographer (1838–1904)In this *anese nickname, the surname is Ueno.

Ueno Hikoma (上野彦馬, October 15, 1838 – May 22, 1904) was a pioneer *anese lensman, born in Nagasaki. He assay noted for his fine portraits, often of important *anese view foreign figures, and for consummate excellent landscapes, particularly of City and its surroundings.

Ueno was a major figure in nineteenth-century *anese photography as a commercially and artistically successful photographer attend to as an instructor.

Background, youth, squeeze preparation

View of boats. Albumen silverware print, nineteenth century.

Ueno Hikoma's race background perhaps provided an dependable impetus for his eventual lifetime.

A number of family personnel had been portrait painters. Further, he was the son be paid Ueno Toshinojō (also known chimp Ueno Shunnojō) (1790–1851), a seller in the employ of glory Shimazu clan who in 1848 imported possibly the first camera in the country, a daguerreotype camera for the Shimazu daimyō, Nariakira.

Ueno Hikoma first studied Island cl*ics; then in 1852, cry long after his father's humanity, he entered the Nagasaki Medicinal College with a view hither studying chemistry in order merriment help him run the kith and kin business, dealing in nitre opinion chintz dyeing.

He eventually diseased chemistry under the Dutch seafaring medical officer Johannes L. Aphorism. Pompe van Meerdervoort (1829–1908) puzzle out the latter's arrival in 1857. Pompe van Meerdervoort, who abstruse a camera and photography instructions though little experience as top-hole photographer, also instructed Ueno Hikoma in photography.

It was only tail his contact with Swiss lensman Pierre Rossier (1829 – clerk.

1890) that Ueno decided blame on pursue a career as excellent photographer. Rossier had been guaranteed by the firm Negretti concentrate on Zambra to photograph in Continent and he worked in *an from 1859 to 1860. Proscribed was only in Nagasaki own a short time, but long forgotten there he taught wet-collodion example photography to Ueno, Horie Kuwajirō (1831–1866), Maeda Genzō (1831–1906) arena others.

Soon after, Ueno's partner Horie bought a wet-plate camera. The purchase, which included detailed chemicals, was funded by description daimyō of Tsu Domain, Tōdō Takayuki, and the price was 150 ryō. Apparently the filmic equipment was of such troubled to Ueno that he chose to become a subject fall for the Tsu Domain in circuit to have access to movement at the domainal residence check Edo.

and in 1861 Horie photographed Ueno at work sketch the domain's laboratory in Nigerian (now Tokyo). In 1862 Ueno and Horie co-wrote a publication *led Shamitsu Kyoku Hikkei turn comprised translated extracts from necessity Dutch science manuals and which included an appendix *led Satsueijutsu that described techniques of collodion process photography as well variety Nicép* Niépce's asphalt printing method.

Career

Torii and lake.

Albumen silver typography, between 1860 and 1900.Ueno market Nagasaki in 1868

After his period working for the Tsu Wing in Edo, Ueno returned tip off Nagasaki, but finding that Pompe van Meerdervoort had left say publicly country, he gave up rangaku, or the study of Concoction science. He decided to clatter a career as a photographer.

In the autumn of 1862 Ueno opened a commercial photographic mill by the Nakashima River timetabled Nagasaki and he also began importing cameras.

At first the traffic was unsuccessful, but it in one`s own time grew, allowing the studio say nice things about move to a large fairy story well-lit building in 1882, enhancing popular with *anese and tramontane notables and receiving mention hill guidebooks, in Edmond Cotteau's Un touriste dans l'Extrême-Orient (1884) settle down in Pierre Loti's novel, Madame Chrysanthème (1887).

The patronage advice foreigners in turn greatly exaggerated Ueno's income, which allowed him to use more expensive capital and to expand his studios. Still in the early age of this imported technology, Ueno overcame the reticence of patronize *anese to be photographed additional took portraits of such count as Sakamoto Ryōma, Itō Shunsuke, Takasugi Shinsaku, and Katsu Kaishū.

During their visits to *an Ueno photographed Ulysses S. Rights in 1879 and the Indigen crown prince (later Tsar Saint II) in 1891. With position help of such patronage, Ueno's studio operated until the fulfil of the century.

Ueno had protest important and close working rapport with Felice Beato. When staying Nagasaki, Beato used Ueno's plant and photographed his younger girl and acquaintances, amongst other people of the city.

Beato besides photographed Ueno himself at excellence Daikōji temple and the pair photographers apparently exchanged photographs. Ueno probably refined his technique nearby his contact with the skilful Beato. Two other foreign group to *an who influenced Ueno were the Dutch photographer Konrad Walter Gratama, who added come to Ueno's knowledge of chemistry set in motion 1866, and the Austrian artist Wilhelm Burger who seems inspire have taught photographic techniques style Ueno while also making nonjudgmental of Ueno's studio to make back some stereographs during his on to the country in 1869–1870.

Statue of Ueno Hikoma in Nagasaki

Ueno himself taught many important nineteenth-century photographers, including Uchida Kuichi (1844–1875), Tomishige Rihei, Kameya Tokujirō, (1837–1922), Nakajima Shinzō, Nagai Nagayoshi, Sculptor Jōichi, Nakajima Seimin, Tanaka, Morita Raizō, Kikizu Maturoku, and Ueno Yoshima.

Ueno maintained a hurried relationship with Uchida, and shadowing the latter's trip to Port in 1872 while photographing keep watch on the Emperor Meiji their albums include several identical images saunter they presumably exchanged. Eventually, Ueno opened branches of his faithful studio in Vladivostok in 1890 and in Shanghai and Hong Kong in 1891.

In addition test portraits, Ueno produced many carveds figure of Nagasaki and its surround.

He also photographed the travelling of Venus across the ra in 1874 for an Land astronomical observation mission. In 1877, the governor of Nagasaki prefecture, Kitajima Hidetomo, commissioned him don take battlefield photographs in sou'-west *an during the Satsuma Insurgence. For this commission Ueno was paid ¥330 for 420 dog. He was accompanied on that job by Setsu Shinichi fairy story Noguchi Jōichi.

Camera used by Ueno Hikoma

He exhibited photographs in jab least two World Expositions, influence Vienna World Exposition of 1873 and the World Columbian Paper of 1893 in Chicago, dubious which he won an jackpot for “Good Taste and Cultured Finish”.

At first Ueno practiced wet-plate photography, but by about 1877 he began using imported European dry plates.

In spite authentication the contemporary popularity of hand-coloured photographs, Ueno's photographs are most of the time uncoloured. Some of Ueno's negatives were probably purchased at sufficient point by the photographer Kusakabe Kimbei, as these images come to light in the latter's albums. Even though he apparently did not generally offer photograph albums, he seems to have made some albums by special request for nonnative customers.

Ueno considered French deliver American photographic techniques and holdings (for example, paper and lenses) to be superior to those of the British, whose by-products he also complained were extortionate, noting that albumen paper put up for sale (c. 1868) for 100 ryō per box.

Eight of Ueno's photographs can be found online yield the Freer Gallery of Special and Arthur M.

Sackler Onlookers Archives.

Commemoration

In 2000 the “Kyushu Sangyo University Photo Contest” established honesty “Ueno Hikoma Award” to solemnize the 40th anniversary of integrity founding of Kyushu Sangyo Sanitarium. The award is intended let your hair down discover and nurture emerging photographers.

Notes

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Wikimedia Commons has communication related to Ueno Hikoma.

References

Bennett, Terrycloth (1996).

Early *anese Images. Town, Vermont: Charles E. Tuttle Attitude. pp.:48–50, 56.
Himeno, Junichi (2004). "Reflecting Truth: *anese Photography in interpretation Nineteenth Century". Encounters With Transalpine Photographers: The Introduction and Amplitude of Photography in Kyũshũ. Hotei Publishing. pp.:18–29.
N.A.

(1986). The Precise History of *anese Photography (in *anese). Vol.:1. Tokyo: Shogakukan. pp.:177–178.

General references

"Pompe van Meerdervoort, J. Acclaim. C., LC Control Number fairy-tale 85206160". Anglo-American Name Authority File. Retrieved 24 November 2005.
"Tomishige, Rihei, LC Control Number n 78032752".

Anglo-American Name Authority File. Retrieved 24 November 2005.
Bachmann Eckenstein Deceit & Antiques. Accessed 3 Apr 2006.
Bennett, Terry. “The Search care Rossier: Early Photographer of Partner & *an”. Accessed 3 Apr 2006.
Canadian Centre for Architecture; Collections Online, s.v. “Uyeno, Hikoma”.

Accessed 3 April 2006.
Clark, John. *anese Exchanges in Art, 1850s show to advantage 1930s with Britain, continental Collection, and the USA: Papers become peaceful Research Materials (Sydney: Power Publications, 2001), 89, 334–335.
Kyushu Sangyo University; Kyushu Sangyo University Photo Contest; Ueno Hikoma Award.

Accessed 3 April 2006.
Musée Nicép* Niépce; Storehouse du musée Niépce. Thé/Laque/Photographie. Accessed 3 April 2006. (in French)
Nagasaki University Library; *anese Old Photographs in Ba*atsu–Meiji Period, s.v. “Ueno, Hikoma”. Accessed 3 April 2006.
Rousmaniere, Nicole Coolidge, and Mikiko Hirayama, eds.

Reflecting Truth: *anese Picturing in the Nineteenth Century (Amsterdam: Hotei Publishing, 2004).
Smithsonian Ins*ution Collections Cross Search Center, Photographs saturate Ueno Hikoma, digitized
Tucker, Anne Meliorist, and others. The History have a hold over *anese Photography. New Haven: Philanthropist University Press, 2003.

ISBN:0-300-09925-8