著者

針貝 綾 Aya HARIKAI 鹿児島県立短期大学地域研究所 The Regional Studies institute of Kagoshima Prefectual College

出版者

鹿児島県立短期大学地域研究所

雑誌

鹿児島県立短期大学地域研究所研究年報 (ISSN:02885883)

巻号頁・発行日

no.34, pp.25-44, 2002

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This paper describes about one hundred and ten monumental outdoor sculptures erected in Kagoshima Prefecture from the Meiji period to the present time, and provides information and clarification about their historical background. Among features characteristic of them as a group two are pointed out here. The first is that there still remain standing in Kagoshima city three Taisho-period portrait sculptures of members of the Shimazu daimyo family. The second is that most of the outdoor sculptures in Kagoshima after World War II depict men of towering achievement in the past, who had connection with Kagoshima.

著者

針貝 綾

出版者

Japanese Society for the Science of Design

雑誌

日本デザイン学会研究発表大会概要集

巻号頁・発行日

pp.22, 2005 (Released:2005-07-20)

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本論は、アーデルベルト・ニーマイヤー(Adelbert Niemeyer, 1967-1932)がニュンフェンブルク磁器マニュファクチュア(Die Porzellan-Manufaktur Nymphenburg)に提供した820番という食器セットをめぐる問題について検討するものである。820番の装飾模様の中でも、金彩による装飾模様752番は820番のセットに最もマッチしており、ベストセラーになると同時に意匠保護期間が終了した1909年以降、次々に作品のコピーが出回ることになった。ニーマイヤーのセットが成功した要因は、そのモダンなデザインと共にニュンフェンブルク磁器マニュファクチュアがこの頃展覧会を通して新たな販売ルートを開拓したことが挙げられる。有限会社ドイツ手工芸美術工房が販売に関わった他、デューラーブントもニーマイヤーのコーヒーセットを掲載した商品カタログを売り出した。ウィーン工房も関心を示したニーマイヤーの清新なデザイン感覚はウィーン・ゼツェッションにも共鳴するものであり、シンプルなフォルムは容易にコピーできるため多くのコピーが出回るなどの問題が絶えなかったが、ニュンフェンブルク磁器マニュファクチュアにモダン・デザインを持ち込み、普及させた所にニーマイヤーの功績があったと考えられる。

著者

針貝 綾

巻号頁・発行日

2013

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筑波大学博士 (芸術学) 学位論文・平成25年1月31日授与 (乙第2626号)

著者

針貝 綾

巻号頁・発行日

2013

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筑波大学博士 (芸術学) 学位論文・平成25年1月31日授与 (乙第2626号)

著者

針貝 綾

出版者

鹿児島県立短期大学

雑誌

鹿児島県立短期大学紀要. 自然科学篇 (ISSN:02861208)

巻号頁・発行日

vol.52, pp.29-42, 2001-12-25

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This research aims to investigate the significance of a stage in German design history by reconstructing the history of the Darmstadt Artists' Colony. This paper provides an overview of the first period of the Colony's existance from 1898 to 1906,with special reference to an article of "Darmstaedter Kuenstlerkolonie" written by Renate Ulmer. Traditional crafts had prospered in Hessen, and it was expected that their design and quality would be enhanced in the 19th century. Against such a background, Grand Duke Ernst Ludwig of Hessen was inspired by the Arts and Crafts movement in England, which led him to make a plan to establish an artists' colony at Darmstadt. Consequently he invited its first members to join the colony : the painter Hans Christiansen, the medalist Rudolf Bosselt, the interior designer Patriz Huber, the graphic designer Paul Buerck, the sculptor Ludwig Habich, the multi-designer Peter Behrens and the Viennese architect Josef Maria Olbrich. They began to co-operate to enter for the Paris Exposition in 1900. Later, in 1901,they organized exhibition in the Artists' Colony where they showed the results they achieved during their stay in the Colony. In this exhibition, the Ernst Ludwig House, a series of public buildings and artists' dwellings on a hill-top site were also shown to public. The exhibition, which was the biggest in the history of the Artists' Colony in Darmstadt, shows a phase of the shift from Jugendstil to Art Deco. In the second period, the interior designer Daniel Greiner, the crafts designer Paul Haustein and the graphic designer Johann Vincenz Cissarz were invited to the Colony. In 1904 at the second exhibition of the Artists' Colony, which was much smaller than the first one in scale, a group-house for three families by Olbrich was on display, and the graphics and crafts were also exhibited and sold. It was of great significance that the workers' committee was established for the exhibition, connecting artists, industries and colleges in Hessen. In particular, the textiles and metalware designed by Olbrich and Haustein should be an important example of close co-operation between artists, industries and schools.

著者

針貝 綾

出版者

日本デザイン学会

雑誌

デザイン学研究. 研究発表大会概要集 (ISSN:09108173)

巻号頁・発行日

no.54, pp.50-51, 2007-06-20

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Bruno Paul's economical Type-furniture-program, which was produced by United Workshops for Art in Handicraft in Germany, included a number of furnishings for the living room, dining room, bedroom and study. The customer could choose the plywood's material, and its finish with varnish or lacquer. This research intends to compare sizes of Paul's Type-furniture. Middle-price-house 1906 and House for young couple 1907, confirming that many of these sizes agreed each other and that Paul elaborated his idea about economical furniture for new generation of middle classes since 1906.