アドルフォ・ファルサーリとは - わかりやすく解説 Weblio辞書

アドルフォ・ファルサーリ

出典: フリー百科事典『ウィキペディア（Wikipedia）』 (2023/10/13 08:55 UTC 版)

アドルフォ・ファルサーリ（Adolfo Farsari, 1841年 2月11日 - 1898年 2月7日）は明治時代に横浜を拠点に活躍したイタリア人の写真家。ファーサリ、ファサリとも呼ばれる。彼はアメリカ南北戦争に参加するなど短期間軍務に就いたあと、実業家、商業写真家として成功を収めた。当時彼の写真、特に彩色肖像写真と風景写真は高く評価され、外国人居住者や旅行者の間で評判となる。ファルサーリの写真は本や刊行物などで広く流布し、ときには他メディアのアーチストによって再現されることもあった。それらは日本の人々や景観に対する外国人への印象に大きな影響を及ぼした。

脚注

注釈

^ 本項目内の写真、絵画の邦題には定訳がなく、ウィキペディア日本語版への翻訳にあたって、訳出者が読者の便宜のためにつけた仮の邦題である

出典

^ Sanders of Oxford, s.v. "Farsari" Archived 2007年3月10日, at the Wayback Machine.. Accessed 9 December 2006.
^ Terry Bennett, Early Japanese Images (Rutland, Vt.: Tuttle, 1996), 44–45; Sebastian Dobson, "Yokohama Shashin", 27, in Art and Artifice: Japanese Photographs of the Meiji Era: Selections from the Jean S. and Frederic A. Sharf Collection at the Museum of Fine Arts, Boston (Boston: MFA, 2004).
^ An 1890 edition of Keeling's Guide reproduces several maps credited to A. Farsari, and an advertisement in the Guide refers to "A. Farsari" as "photographer, painter & surveyor". George C. Baxley Stamps, Keeling's Guide to Japan. The title page of an 1890 photograph album refers to A. Farsari & Co. as "photographers, painters, surveyors, publishers & commission agents". Waseda University Library; Exhibitions; WEB; Farsari, No. 37.
^ Dobson, 21, 28.
^ Frederic A. Sharf, "A Traveler's Paradise", 10, in Art and Artifice.
^ Dobson, 21; Bennett, 45.
^ Luke Gartlan, "A Chronology of Baron Raimund von Stillfried-Ratenicz (1839–1911)", 146, in John Clark, ed., Japanese Exchanges in Art, 1850s to 1930s with Britain, Continental Europe, and the USA: Papers and Research Materials (Sydney: Power, 2001).
^ Dobson, 21.
^ Bennett, 60.
^ Dobson, 20.
^ Dobson, 21–22.
^ ^a ^b Dobson, 15.
^ Bennett, 61.
^ In what was probably a veiled reference to the work of Tamamura's studio, Farsari disparaged the poor quality of hand-coloured images produced quickly, saying, "Just imagine, a Japanese paints sixty photographs – very badly – a day". Quoted in Dobson, 34–35. Bennett, 45; Gartlan, 174.
^ "... [T]he best [photographs] are to be found at the house of Farsari and Co., whose reputation extends from Saigon even to America. Mr. Farsari is a nice man, eccentric and an artist, for which peculiarities he makes you pay, but his wares are worth the money...". Dobson, 22–23.
^ Dobson, 27. Dobson refers to "King Victor Emmanuel II", but as ヴィットーリオ・エマヌエーレ2世 died in 1878, the presentation was probably made to either ウンベルト1世 or the future king ヴィットーリオ・エマヌエーレ3世.
^ Bennett, 59.
^ Dobson, 23.
^ Dobson, 27.
^ Dobson, 28.
^ Quoted in Dobson, 21.
^ Melissa Banta, "Life of a Photograph: Nineteenth-Century Photographs of Japan from the Peabody Museum and Wellesley College Museum", 12, in Melissa Banta and Susan Taylor, eds, A Timely Encounter: Nineteenth-Century Photographs of Japan (Cambridge, Mass.: Peabody Museum Press, 1988).
^ Furthermore, Beato also represented pre-Meiji-era Japan, as his earliest photographs in Japan date back to at least 1863. Clark, 96; Anne Nishimura Morse, "Souvenirs of 'Old Japan': Meiji-Era Photography and the Meisho Tradition", 43, 48, 49, in Art and Artifice.
^ The Japanese had a tradition of 名所, or “famous sites” for pilgrimage, tourism, and inspiration, which were often celebrated in ukiyo-e, painting, poetry and other art forms. These sites included such places as 東海道五十三次(depicted by 安藤広重, et al), but the Daibutsu, located in the "sleepy backwater" of Kamakura, was not a traditional meisho and did not achieve fame until Beato photographed it in 1863, followed by Stillfried, Farsari and other photographers. Thereafter, the Daibutsu and other similarly neglected sites increased in importance amongst Japanese as well as foreign tourists. Morse, 46, 48.
^ Haruko Iwasaki, "Western Images, Japanese Identities: Cultural Dialogue between East and West in Yokohama Photography", 25, in Banta and Taylor, eds.
^ Located in the Treaty Ports of 横浜, 神戸, 長崎, 函館, and 新潟 and the Open Cities of 東京 and 大阪. Sharf, 12.
^ Dobson, 15, 16.
^ Gartlan, p. 172. Commercial photographers’ images were often reproduced and used by others in this manner.
^ 現在は「京都・四条通の風景(View of Shijo-dori, Kyoto)」と呼ばれている
^ Dobson, 36-7.
^ Morse, 48–9.
^ Dobson, 36.
^ Even A. Farsari & Co.’s photographs of the Imperial Gardens, to which the studio had exclusive access by the 1890s, sometimes appear in the albums of other artists, such as Kusakabe and Tamamura. Presumably, the latter photographers simply acquired Farsari images of the Gardens and sold them with their own. Bennett, 46, 59.
^ Bonnell D. Robinson, "Transition and the Quest for Permanence: Photographers and Photographic Technology in Japan, 1854–1880s", 41, in Banta and Taylor, eds. 41.
^ Officer's Daughter is one among several titles by which this image has been known. It has been suggested that this is actually a portrait of Farsari's daughter. Bernard Quaritch, Ltd.; Bibliopoly; Bernard J. Shapero Rare Books; "Farsari, Adolfo (attributed to) Officer's Daughter" Archived 2007年10月8日, at the Wayback Machine..
^ Clark Worswick, Japan: Photographs 1854–1905 (New York: Pennwick/Alfred A. Knopf, 1979), 144; Banta, 12.
^ Quoted in Gartlan, 174; Worswick, 144.
^ Quoted in Gartlan, 174.
^ Ellen Handy, "Tradition, Novelty, and Invention: Portrait and Landscape Photography in Japan, 1860s–1880s", 57, in Banta and Taylor, eds.
^ Bennett, 45.
^ Dobson, 15, 37.
^ Art and Artifice.