79:
Allied troops took over numerous
Japanese cities, Tōmatsu interacted with Americans firsthand and found that his preconceptions of them were not entirely salient. At the time Tōmatsu's contempt for the violence and crimes committed by these soldiers was complicated by individual acts of kindness he received from them – he simultaneously loved and hated their presence. These interactions, which he later described as among the most formative memories of his childhood, initiated his long-standing fixation on and feelings of ambivalence towards the subject of American soldiers.
288:, he spoke on the greater attention paid in this second book towards the impact of the atomic bomb on the Catholic community in Nagasaki, which greatly differed from the hibakusha in Hiroshima. His interest in Nagasaki's Catholic history was one component in his investigation of Nagasaki's development into a 20th-century city. Tōmatsu would move to Nagasaki in 1988.
2123:
Rubinfien, 20. Note: The dispute was instigated by the essay “New Trends in
Photographic Expression” by Tsutomu Watanabe in the September 1960 issue, who praised the innovation of Tōmatsu and the new school of photographers. Natori wrote his critique of Tōmatsu in “Birth of a New Photography” for the
78:
in 1930. As an adolescent during World War II, he was mobilized to support Japan's war effort. Like many
Japanese students his age, he was sent to work at a steel factory and underwent incessant conditioning intended to instill fear and hatred towards the British and Americans. Once the war ended and
48:
was a
Japanese photographer. He is known primarily for his images that depict the impact of World War II on Japan and the subsequent occupation of U.S. forces. As one of the leading postwar photographers, Tōmatsu is attributed with influencing the younger generations of photographers including those
186:
wrote that Tōmatsu had betrayed his foundations as a photojournalist by neglecting the responsibility to present reality in a truthful and legible manner. He rejected the claim that he was ever a photojournalist, and admonished journalistic thinking as an impediment to photography. Both essays were
1105:
Nihon no Bi. Tokyo: Shūeisha, 1979. Text in
Japanese. A large-format (37 cm high) book of color photographs of Okinawa. A supplementary colophon gives publication details in English (including the only mention of the English title), but all the explanations and other texts are in Japanese
182:. In contrast to his earlier style which resembled traditional photojournalism, Tōmatsu was beginning to develop a highly expressionistic form of image taking that emphasized the photographer's own subjectivity. In response to this emergence, a dispute arose when Iwanami Shashin Bunko founder
820:, Museum of Modern Art, New York, March–May 1974 Denver Art Museum; Saint Louis Art Museum; Minneapolis Institute of the Arts; Winnipeg Art Gallery; Kranner Art Museum; University of Illinois at Urbana-Champaign; San Francisco Museum of Modern Art; Seattle Art Museum; Portland Art Museum
259:), after the conference determined that visual images were necessary to show international audiences the effects of the atomic bomb. The following year, Tōmatsu was guided around Nagasaki, having the opportunity to speak with and photograph victims of the atomic bomb, also known as
459:
revealed a considerable shift away from the subject of military bases that he pursued throughout 1960s. He credited a diminishing interest in the
American armed forces, in addition to the allure of Okinawa's brilliantly colored landscapes, for his adoption of color photography.
265:. Like many Japanese people at the time, Tōmatsu had only cursory knowledge about the devastation. He found that the shock of the hibakusha's appearance initially made photographing them extremely difficult. Tōmatsu's images of Nagasaki and its hibakusha were joined with
161:
Tōmatsu's artistic output and renown grew significantly during the 1960s, exemplified by his prolific engagements with many prominent
Japanese photography magazines. He began the decade by publishing his images of U.S. bases in the magazines
511:
was the first survey of contemporary
Japanese photographers undertaken outside of Japan. It traveled to eight other locations in the United States including the Denver Art Museum, San Francisco Museum of Art, and Portland Art Museum.
450:
where he organized a study group called “Miyako
University” aimed at mentoring young Miyako residents. Combined with his images taken in Southeast Asia, Tōmatsu's photographs of Okinawa from the 1970s were shown in his prizewinning
620:
In the last decade of his career, Tōmatsu embarked on a new and comprehensive series of retrospectives, dividing his oeuvre into five "mandalas" of place. Each mandala was named after the area it was exhibited: Nagasaki
Mandala
714:, (1984) Fotogalerie im Forum Stadpark, Austria; Traklhaus, Salzburg; Museum Moderner Kunst, Vienna; Körnerpark Galerie, Berlin; Fotoforum, Bremen; Stadtische Galerie, Erlangen, Germany; Museet for Fotokunst, Odense, Denmark.
826:, Museum of Modern Art, Oxford, 1985. Travelled to Serpentine Gallery, London; University of Iowa Museum of Art; Japan House Gallery, New York; Museum of Contemporary Art, Los Angeles; Baltimore Museum of Art.
1673:
Tokyo: Tokyo Metropolitan Museum of Photography, 1995. Exhibition catalogue; captions and text in both Japanese and English. Twenty-three pages are devoted to photographs by Tōmatsu (other works are by
2567:
In his preface, Tomatsu writes about the connection between sakura and national identity/nationalism, which he perceives as being connected to militarism in Japan, thus invoking a sense/smell of death.
435:
in which he stated "it would not be strange to call the State of Japan in the United States of America. That's how far America has penetrated inside Japan, how deeply it has plumbed our daily lives."
577:
as part of his recovery. While in Chiba, he roamed the beaches near his home and photographed the debris that washed up onto on the black sand shores; the resulting photo series was titled
2600:
126:; he was featured in the exhibit twice more when it was held again in 1958 and 1959. After his third showing, Tōmatsu established the short-lived photography collective VIVO with fellow
1736:
Tokyo: Tokyo Metropolitan Museum of Photography, 1991. Exhibition catalogue, text in Japanese and English. Pp. 78–88 show photographs from the series "11:02 Nagasaki".
423:
which served as an explicit critique of the American air force. On the cover, an anti-base slogan verbalizing his disdain with the overwhelming U.S. presence in Okinawa reads:
276:
The subject of a recovering Nagasaki and its hibakusha were revisited at various points in Tōmatsu's career. He returned to Nagasaki on numerous occasions and released the book
543:
shown at thirty venues over three years. He was also included in notable international group exhibitions regarding Japanese art: in 1985, he was one of the main artists in
488:'s committee to create a national museum of photography. The efforts of this group led to the establishment of photography departments at major national museums, such as
1516:
Aichi Prefectural Museum of Art and Chunichi Shimbun, 2006. Exhibition held June–July 2006. Photographs 1950–59, and also a small number of later works, of
2833:
1810:
438:
Tōmatsu visited Okinawa three more times before finally moving to Naha in 1972. While in Okinawa, he travelled to various remote islands including
281:
2124:
October 1960 issue. Tōmatsu’s response “A Young Photographer’s Statement: I Refute Mr. Natori” was featured in the subsequent November 1960 issue.
244:
431:(The bases are not in Okinawa; Okinawa is in the bases). This sentiment was foreshadowed in Tōmatsu's earlier writings, like his 1964 essay for
468:
In 1974, Tōmatsu returned to Tokyo where he set up Workshop Photo School, an alternative two-year-long workshop (1974–76), with Eikoh Hosoe,
153:
Towards the end of the 1950s, Tōmatsu began photographing Japanese towns with major American bases, a project that would span over 10 years.
2510:
347:
held in Osaka. Essays, both textual and visual, were contributed by Provoke members and other prominent Japanese photographers including
107:
Shashin Bunko, through an introduction made by Aichi University professor Mataroku Kumaza. Tōmatsu contributed photographs to the issues
1081:
Sonorama Shashin Sensho 12. Tokyo: Asahi Sonorama, 1978. Text in English and Japanese. A reworking of the material published earlier in
2788:
2537:"INTERFACE — Or, What Japan's Great Post-War Photographers Kept Looking For. An Inquiry into the Artistic Practice of Shomei Tomatsu"
798:
761:
638:
391:
1121:). Tokyo: Asahi Shinbunsha, 1984. One in a series of books of which each is devoted to the entire career of a single photographer.
300:
encountered unexpectedly poor sales, Tomatsu founded his own publishing company Shaken in 1967. Through Shaken, Tōmatsu published
1845:
2823:
1520:. This large book has captions in Japanese and English, some other texts in both languages, and some material in Japanese only.
366:
Tōmatsu's early efforts to promote photography in his home country, such as the launch of VIVO or his work as a professor at
493:
1869:
747:
630:
480:. Tomatsu's dedication to nurturing the photography community in Japan was also evidenced in his role as a juror for the
1894:
2223:
2015:
785:
677:
653:
560:
2782:
2767:
2743:
2381:
2300:
2271:
2251:
1789:
1781:
1763:
1755:
1622:
1579:
1495:
1459:
1353:
1338:
1316:
1286:
1264:
1250:
1236:
1210:
1180:
1158:
1132:
936:, Pottery town: Seto). Iwanami Shashin Bunko 165. Tokyo: Iwanami Shoten, 1955. The photographs are reproduced within
691:(2011). He succumbed to pneumonia on 14 December 2012 (although this was not publicly announced until January 2013).
2838:
2828:
754:
733:
634:
622:
331:
Each of the three issues was edited by a different artist: the first, second, and third edited by Yoshio Sawano,
304:(1967), a collection of images from ten series that was initially meant to be split into three individual books;
1976:
394:
to construct a history of Japanese photography for the first time. It was co-organized with Takuma Nakahira and
2469:
2432:
17:
1792:(paper). Contains twelve photographs by Tōmatsu of "American bases and their surroundings: 1960s–1970s".
886:
497:
485:
2266:日本写真史年表, page 27. Within 日本写真史概説. Supplementary volume to the series 日本の写真家. Tokyo: Iwanami Shoten, 1999.
593:(1990). Tomatsu notes how his surgery shifted his interest in the question of survival and mortality, with
556:
1582:. Tōmatsu is one of eleven photographers whose works appear in this large book (the others are Ken Domon,
143:
2818:
2348:
507:(1974) at MoMA New York, alongside workshop members Hosoe, Moriyama, Fukase, and 11 other photographers.
1655:
Kiyosato Museum of Photographic Arts exhibition catalogue, 1995. Parallel texts in Japanese and English.
1374:
Gallery Nii, 2007. Color photographs of Taiwan, Guam, Saipan, and other islands in the southern Pacific.
777:
669:
609:
1824:
687:
In 2010 Tōmatsu moved to Okinawa permanently, where he held the final exhibition during his lifetime,
91:. While still in university, his photographs were shown frequently in monthly amateur competitions by
273:
In the same year, Tōmatsu was named Photographer of the Year by the Japan Photo Critics Association.
1538:
Tokyo: Tokyo Metropolitan Museum of Photography, 1997. Exhibition held October–December 2007.
2577:
1319:. A compact overview of Tōmatsu's career, within a series about the Japanese photographic pantheon.
838:
773:
665:
399:
2601:"Picasso o Giacommeti, entre las propuestas de Fundación Mapfre en Madrid y Barcelona para 2018"
880:
781:
673:
489:
371:
343:
addressed concerns over a growing fascist tendency in Japan and expressed criticisms about the
2701:
455:(1975). Although he had come to Okinawa in order to witness its return to Japanese territory,
789:
681:
1683:
388:
A Century of Photography: A Historical Exhibition of Photographic Expression by the Japanese
320:
performer Hijikata Ankoku, and large scale student protests against the Vietnam War held by
2813:
2808:
992:, Assalamu Alaykum). Tokyo: Shaken, 1968. Photographs of Afghanistan, taken in August 1963.
573:
Due to existing heart problems, Tōmatsu received heart bypass surgery in 1986 and moved to
2319:
Critique d'art. Actualité internationale de la littérature critique sur l'art contemporain
8:
2485:
447:
367:
1380:. Tokyo: Mirai-sha, 2010. The 9th book in the Okinawa Photograph Series (沖縄写真家シリーズ 第９巻).
2288:
2284:
2083:
1958:
1707:
657:
50:
1769:
1743:
1715:
332:
183:
2778:
2763:
2739:
2465:
2428:
2377:
2330:
2314:
2296:
2267:
2247:
2219:
2011:
1785:
1777:
1759:
1751:
1695:
1618:
1587:
1575:
1491:
1455:
1349:
1334:
1312:
1282:
1260:
1246:
1232:
1206:
1176:
1154:
1128:
740:
626:
548:
415:
Tōmatsu first went to Okinawa to photograph the American bases under the auspices of
220:
1634:
1447:
Tokyo: Tokyo Metropolitan Museum of Photography, 1999. Text in Japanese and English.
1427:
Tokyo: Tokyo Metropolitan Museum of Modern Art, 1996. Text in Japanese and English.'
115:(1954). He stayed at Iwanami for two years before leaving to pursue freelance work.
58:
2536:
2322:
1703:
1607:
1599:
1517:
574:
473:
336:
224:
88:
1603:
374:(1966–1973), led to his role as an exhibition organizer for the influential show,
139:
2626:
1739:
1711:
1699:
1626:
469:
439:
348:
170:
54:
2139:
664:. The exhibition toured three countries and five venues from 2004 through 2006:
316:(1969), a mix of scenes from Shinjuku's energetic nightlife, intimate scenes of
269:'s photographs of Hiroshima to create Tōmatsu's first critically acclaimed book
2374:
For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979
2326:
1691:
1687:
1583:
1476:). Gallery Nii, 2005. Colorful photographs around US military bases in Okinawa.
915:
104:
2677:
2244:
For a New World to Come: Experiments in Japanese Art and Photography 1968-1979
2802:
2605:
2334:
1679:
1591:
661:
612:, making it the museum's first solo exhibition for a living Japanese artist.
135:
2753:
801:, Barcelona, June–September 2018. The first Tomatsu retrospective in Spain.
164:
2736:
Black Sun: The Eyes of Four: Roots and Innovation in Japanese Photography.
1615:
Black Sun: The Eyes of Four: Roots and Innovation in Japanese Photography.
832:(1994), Yokohama Museum of Art, Guggenheim Museum; San Francisco Museum of
395:
327:
With his publishing company, Tōmatsu also conceived the cultural magazine
2653:
1630:
1595:
867:
1976: Science and Culture's Art Encouragement Award Minister of Education
539:
In the early 1980s, Tomatsu had his first international solo exhibition,
352:
344:
309:
147:
131:
96:
2087:
1962:
2423:
Szarkowski, John and Shoji Yamagishi, John and Shoji Yamagishi (1974).
2071:
1946:
1253:. Photographs taken 1987–9 of plastic goods washed up by the sea.
601:
demonstrating his increasingly allusive approach towards these themes.
321:
1414:. Tokyo: Akio Nagasawa Publishing, 2020. Text in Japanese and English.
2398:"About The Japan Professional Photographers Society | 公益社団法人 日本写真家協会"
2397:
1825:"Shomei Tomatsu obituary | Art and design | guardian.co.uk"
1675:
947:
266:
261:
100:
2422:
1895:"Japanese photography legend Shomei Tomatsu dies | 1854 Photography"
1127:
Graz: Edition Camera Austria; Vertrieb, Forum Stadtpark Graz, 1984.
443:
240:
1671:
The Half Life of Awareness: Photographs of Hiroshima and Nagasaki.
897:
87:
Tōmatsu embraced photography while an economics student at
2792:
1214:
1184:
854:
1961: Photographer of the Year, Japan Photo Critics Association
75:
914:, Floods and the Japanese). Iwanami Shashin Bunko 124. Tokyo:
1386:
Berlin: Only Photography, 2012. Text in Japanese and English.
1034:). Tokyo: Chūōkōronsha, 1971. Tokyo: Gurabia Seikōsha, 1971.
317:
376:
Shashin hyakunen: Nihonjin ni yoru shashin hyōgen no rekishi
918:, 1954. Joint work. The photographs are reproduced within
1333:, Shōmei Tōmatsu 1951–60). Tokyo: Sakuhinsha, 2000.
527:(1978) featured his Afghanistan series printed earlier in
296:
After Tōmatsu's publisher Shashin Dōjinsha folded and <
503:
Tōmatsu took part in his first major international show,
851:
1958: Newcomer's Award, Japan Photo Critics Association
358:
46:, January 16, 1930 – December 14, 2012)
2376:. Houston: Museum Fine Arts Houston. pp. 58–59.
1776:
New York: International Center of Photography, 1979.
1046:(新編 太陽の鉛筆, Pencil of the Sun). Tokyo: Mainichi, 1975.
523:(1979) were composed of his images from Okinawa; and
1572:
Japan, a Self-Portrait: Photographs 1945–1964.
814:, Konishiroku Photo Gallery, Tokyo 1957, 1958, 1959.
706:
What Now!?: Japan through the Eyes of Shōmei Tōmatsu
496:, as well as the first photography museum in Japan,
1846:"Shomei Tomatsu Remembered | photography | Phaidon"
964:, "11:02" Nagasaki). Tokyo: Shashin Dōjinsha, 1966.
689:
Tomatsu Shomei and Okinawa - Love Letter to the Sun
390:). The exhibition was part of an initiative by the
2748:Hoaglund, Linda. "Interview with Tomatsu Shomei."
1552:Tomatsu Shomei and Okinawa. Love Letter to the Sun
1480:Nagasaki mandara: Tōmatsu Shōmei no me 1961–
946:Tokyo: Japan Council against A- and H-Bombs. With
1514:Aichi Mandala: The Early works of Shomei Tomatsu.
1392:. Super Labo, 2013. Text in Japanese and English.
1060:, Scarlet Dappled Flower). Tokyo: Sanseidō, 1976.
2800:
2568:"昔つまり私が子供のころ、桜は軍国日本の国粋主義とドッキングして、甘い死の薫りを漂わせていた。"
2508:
2427:. Greenwich, Connecticut: Museum of Modern Art.
1822:
1766:(paper). Contains twenty photographs by Tōmatsu.
1734:Innovation in Japanese Photography in the 1960s.
1544:(写真家・東松照明 全仕事). Nagoya: Nagoya Art Museum, 2011.
534:
419:in 1969. The images he captured formed the book
239:In 1960, Tōmatsu was commissioned to photograph
118:In 1957, Tōmatsu participated in the exhibition
2462:Japanese Art After 1945: Scream Against the Sky
2213:
830:Japanese Art After 1945: Scream Against the Sky
553:Japanese Art After 1945: Scream Against the Sky
551:; in 1994, he was featured in the seminal show
245:Japan Council against Atomic and Hydrogen Bombs
219:, he printed multiple collaborations made with
41:
2723:
2579:
1726:
1722:Nihon shashin no tenkan: 1960 nendai no hyōgen
1663:
1645:
1528:
1506:
1484:
1470:
1437:
1364:
1327:
1305:
1291:
1275:
1225:
1195:
1169:
1143:
1115:
1092:
1068:
1054:
1028:
1014:
1000:
986:
972:
958:
930:
908:
898:Books by Tōmatsu and compilations of his works
870:1995: Purple Ribbon Medal, Japanese government
425:
380:
249:
35:
2791:": interactive feature for the exhibition at
1554:). Okinawa: Okinawa Prefectural Museum, 2011.
515:By 1980, Tōmatsu published three more books:
2464:. Harry N. Abrams / Yokohama Museum of Art.
841:, Chicago, IL, September 2013 – January 2014
776:, New York (September 2004 – January 2005),
284:and in the revised introduction to his book
1548:Tōmatsu Shōmei to okinawa taiyō no raburetā
1536:Tokyo Mandala: The World of Shomei Tomatsu.
892:
644:Tōmatsu also had a separate retrospective,
308:(1968), images taken from his 1963 trip in
2834:Recipients of the Medal with Purple Ribbon
2295:. New Haven: Yale University Press, 2003.
2042:Vol. 29, Iss. 4, (Oct 1, 1982): 451.
1502:Aichi mandara: Tōmatsu Shōmei no gen-fūkei
876:1999: Japan Art Grand Prix, Shincho Awards
615:
604:In 1992, the series was shown together in
476:; the school published the photo magazine
2216:Japanese Photobooks of the 1960s and ´70s
2214:Vartanian, Ivan; Kaneko, Ryuichi (2009).
2008:Shomei Tomatsu: Chewing Gum and Chocolate
2005:
1947:"Occupation: The American bases in Japan"
1466:Camp karafuru na! Amarinimo karafuru na!!
1433:Nihon rettō kuronikuru: Tōmatsu no 50-nen
1259:Visions of Japan. Kyoto: Kōrinsha, 1998.
1231:). Photo Musée. Tokyo: Shinchōsha, 1995.
1221:Nagasaki "11:02" 1945-nen 8-gatsu 9-nichi
885:2005: Distinguished Contributions Award,
581:. Around the same time, he developed his
130:exhibitors; these other members included
2777:New Haven: Yale University Press, 2003.
2754:https://doi.org/10.1215/10679847-5-3-834
2565:. Osaka: Brain Center. pp. Preface.
2511:"Shomei Tomatsu (June 5 - September 16)"
2371:
2241:
1977:"Daido Moriyama - Shomei Tomatsu: Tokyo"
1490:). Nagasaki: Nagasaki Shinbunsha, 2005.
1418:
873:1997: St. James Modern Masterpiece Award
762:Tokyo Metropolitan Museum of Photography
648:, for the international museum circuit.
639:Tokyo Metropolitan Museum of Photography
392:Japan Professional Photographers Society
2560:
1944:
1653:Works by 25 Photographers in their 20s.
944:Hiroshima–Nagasaki Document 1961.
694:
472:, Masahisa Fukase, Daidō Moriyama, and
402:department store in Ikebukuro in June.
95:magazine and received recognition from
82:
14:
2801:
2648:
2646:
2531:
2529:
2459:
2312:
2069:
1750:New York: Museum of Modern Art, 1974.
1564:
1125:Shomei Tomatsu, Japan 1952–1981.
103:. After graduating in 1954, he joined
2728:
2455:
2453:
2418:
2416:
2414:
2349:"日本美術オーラル・ヒストリー・アーカイヴ/東松照明オーラル・ヒストリー"
2237:
2235:
2209:
2207:
2170:
2168:
2134:
2132:
2130:
2119:
2117:
2107:
2105:
2103:
2101:
2099:
2097:
2065:
2063:
2061:
2059:
2057:
2001:
1999:
1997:
1570:Hiraki, Osamu, and Keiichi Takeuchi.
1384:Shomei Tomatsu Photographs 1951-2000.
1301:Nihon no Shashinka 30: Tōmatsu Shōmei
1217:. Texts in both Japanese and English.
1006:, Oh! Shinjuku). Tokyo: Shaken, 1969.
724:Traces: Fifty Years of Tōmatsu's Work
482:Southern Japan Photography Exhibition
463:
2775:The History of Japanese Photography.
2486:"Shomei Tomatsu, Untitled 1987-1989"
2072:"Shomei Tomatsu: Occupation Okinawa"
1981:Maison Européenne de la Photographie
1445:Traces: 50 years of Tomatsu's works.
805:
799:Fundación Mapfre Casa Garriga Nogués
566:
494:National Museum of Modern Art, Tokyo
271:Hiroshima, Nagasaki, Document, 1961.
211:, he edited a monthly series titled
2760:Shomei Tomatsu: Skin of the Nation.
2643:
2526:
2293:The History of Japanese Photography
1816:
1452:Shomei Tomatsu: Skin of the Nation.
1348:Phaidon 55. London: Phaidon, 2001.
784:, Washington, D.C. (May – August),
748:Kyoto National Museum of Modern Art
729:Mandala Retrospectives (2000-2007)
699:
631:Kyoto National Museum of Modern Art
24:
2450:
2411:
2232:
2204:
2165:
2127:
2114:
2094:
2054:
1994:
1462:. Exhibition first held at SFMOMA.
786:San Francisco Museum of Modern Art
770:Shomei Tomatsu: Skin of the Nation
720:, Metropolitan Museum of Art, 1992
678:San Francisco Museum of Modern Art
654:San Francisco Museum of Modern Art
646:Shomei Tomatsu: Skin of the Nation
561:San Francisco Museum of Modern Art
25:
2850:
2627:"New Japanese Photography | MoMA"
1870:"Photographer Tomatsu dead at 82"
1586:, Tadahiko Hayashi, Eikoh Hosoe,
1560:. Toyama: Tonami Art Museum 2012.
726:, Tokyo Metropolitan Museum, 1999
589:(1983) then released as the book
2246:. Houston: Museum of Fine Arts.
1823:Sean O'Hagan (14 January 2013).
1139:Haien: Tōmatsu Shōmei sakuhinshū
712:Shōmei Tōmatsu: Japan, 1952-1981
660:and the photographer and writer
2694:
2670:
2619:
2593:
2571:
2554:
2502:
2478:
2441:
2390:
2365:
2341:
2306:
2277:
2260:
2195:
2186:
2177:
2156:
2045:
2033:
2024:
1969:
861:, Photographic Society of Japan
755:Aichi Prefectural Museum of Art
734:Nagasaki Prefectural Art Museum
635:Aichi Prefectural Museum of Art
623:Nagasaki Prefectural Art Museum
585:series which first featured in
555:at the Yokohama Museum of Art,
541:Shomei Tomatsu: Japan 1952-1981
199:, Tōmatsu worked for magazines
2762:Yale University Press, 2004.
1938:
1929:
1920:
1911:
1887:
1862:
1838:
1803:
1406:Pencil of the Sun: New Edition
1175:). Osaka: Brain Center, 1990.
1109:Shōwa shashin: Zenshigoto 15:
1040:Tokyo: Shashinhyōronsha, 1972.
978:, Japan). Tokyo: Shaken, 1967.
280:in 1966. In an interview with
122:where he displayed his series
13:
1:
2824:20th-century Japanese artists
2678:"日本芸術大賞受賞作・候補作一覧1-33回｜文学賞の世界"
2400:(in Japanese). 11 August 2014
2313:Froger, Lilian (2020-05-27).
1796:
1454:Yale University Press, 2004.
887:Photographic Society of Japan
535:Late career (1980s and 1990s)
498:Tokyo Photographic Art Museum
486:Photographic Society of Japan
49:associated with the magazine
2773:Tucker, Anne Wilkes, et al.
1809:5 edition of Exploring Art,
1323:Tōmatsu Shōmei 1951–60
780:, Ottawa (January – April),
637:, 2006); and Tokyo Mandala (
549:Museum of Modern Art, Oxford
227:in 1965 and his own series,
64:
7:
2724:Sources and further reading
2372:Nakamori, Yasufumi (2015).
2242:Nakamori, Yasufumi (2016).
1641:25-nin no 20-dai no shashin
1398:. New York: Aperture, 2013.
1205:Osaka: Brain Center, 1990.
824:Black Sun: The Eyes of Four
545:Black Sun: The Eyes of Four
446:; he spent seven months on
234:
42:
10:
2855:
2738:New York: Aperture, 1986.
2460:Munroe, Alexandra (1996).
2327:10.4000/critiquedart.46525
2070:Martin, Lesley A. (2012).
1617:New York: Aperture, 1986.
1558:Tomatsu Shomei Photographs
1542:Tomatsu Shomei Photographs
1161:. Edited by Toshiharu Ito.
792:(September–November 2006).
778:National Gallery of Canada
670:National Gallery of Canada
625:, 2000); Okinawa Mandala (
610:Metropolitan Museum of Art
484:and his membership in the
410:
2580:
2509:Fundación MAPFRE (2018).
1748:New Japanese Photography.
1727:
1664:
1646:
1574:Paris: Flammarion, 2004.
1529:
1507:
1485:
1471:
1438:
1396:Chewing Gum and Chocolate
1365:
1328:
1311:). Tokyo: Iwanami, 1999.
1306:
1292:
1289:. Text by Ryūta Imafuku (
1281:). Tokyo: Iwanami, 1998.
1276:
1226:
1196:
1170:
1144:
1116:
1101:Sparkling Winds: Okinawa)
1093:
1069:
1055:
1029:
1015:
1001:
987:
973:
959:
931:
909:
845:
426:
381:
291:
250:
36:
2631:The Museum of Modern Art
2581:写真家の東松照明さん死去 長崎・沖縄などテーマに
2561:Tomatsu, Shomei (1990).
2425:New Japanese Photography
1945:Tomatsu, Shomei (1984).
1425:Interface: Shomei Tomatu
1402:Shinhen taiyō no empitsu
1191:Sakura sakura sakura 120
1135:. In German and English.
893:Books of Tōmatsu's works
864:1976: Mainichi Art Award
839:Art Institute of Chicago
818:New Japanese Photography
666:Japan Society (New York)
633:, 2003); Aichi Mandala (
629:, 2002); Kyoto Mandala (
509:New Japanese Photography
505:New Japanese Photography
421:Okinawa, Okinawa Okinawa
405:
360:A Century of Photography
156:
113:Pottery Town, Seto Aichi
69:
2839:Aichi University alumni
2758:Rubinfien, Leo, et al.
2006:Rubinfien, Leo (2014).
1774:Japan: A Self-Portrait.
1450:Rubinfien, Leo, et al.
1408:). Kyoto: AKAAKA, 2015.
1245:Kyoto: Kōrinsha, 1997.
1213:. Color photographs of
1183:. Color photographs of
1165:Sakura sakura sakura 66
1153:). Tokyo: Parco, 1987.
1020:). Tokyo: Shaken, 1969.
1010:Okinawa Okinawa Okinawa
954:"11 ji 02 fun" Nagasaki
926:Yakimono no machi: Seto
857:1975: Annual Award for
616:Final years (2000–2012)
427:沖縄に基地があるのではなく基地の中に沖縄がある
370:Art Academy (1965) and
124:Barde Children’s School
109:Floods and the Japanese
2829:Japanese photographers
2654:"公益社団法人 日本写真協会:過去の受賞者"
2353:www.oralarthistory.org
2218:. New York: Aperture.
2040:Japan Quarterly; Tokyo
2010:. New York: Aperture.
1625:. The other three are
1472:Campカラフルな!あまりにもカラフルな!!
881:Chunichi Culture Award
782:Corcoran Museum of Art
674:Corcoran Museum of Art
517:Scarlet Dappled Flower
490:Yokohama Museum of Art
372:Tokyo Zokei University
286:<11:02> Nagasaki
278:<11:02> Nagasaki
2702:"中日文化賞 受賞者一覧：中日新聞Web"
1419:Exhibition catalogues
790:Fotomuseum Winterthur
788:(February–May 2006),
682:Fotomuseum Winterthur
652:was organized by the
27:Japanese photographer
1899:www.1854.photography
1550:(東松照明と沖縄 太陽へのラブレター,
695:Selected exhibitions
591:Sakura Sakura Sakura
382:写真100年 日本人による写真表現の歴史
83:Early career (1950s)
74:Tōmatsu was born in
2287:, "Chronology." In
1565:Other contributions
708:, 1981. (30 venues)
547:first shown at the
2819:People from Nagoya
2789:Skin of the Nation
2729:General references
2289:Anne Wilkes Tucker
1917:Hoaglund, 847-848.
1827:. London: Guardian
1708:Yoshito Matsushige
1684:Kikujirō Fukushima
1227:長崎〈11:02〉1945年8月9日
904:Suigai to nihonjin
732:Nagasaki Mandala (
658:Sandra S. Phillips
650:Skin of the Nation
464:Return to mainland
298:11:02> Nagasaki
2541:fujifilmsquare.jp
2490:www.metmuseum.org
2140:"Tomatsu, Shomei"
1728:日本写真の転換：1960時代の表現
1696:Shunkichi Kikuchi
1588:Yasuhiro Ishimoto
1486:長崎曼荼羅：東松照明の眼1961〜
1271:Toki no shimajima
1243:Visions of Japan.
1050:Akemodoro no hana
859:Pencil of the Sun
806:Group exhibitions
741:Urasoe Art Museum
739:Okinawa Mandala (
718:Sakura + Plastics
656:, and curated by
627:Urasoe Art Museum
606:Sakura + Plastics
568:Sakura + Plastics
557:Guggenheim Museum
457:Pencil of the Sun
453:Pencil of the Sun
229:The Sea Around Us
221:Yasuhiro Ishimoto
191:. In addition to
16:(Redirected from
2846:
2752:, vol. 5, 1997.
2717:
2716:
2714:
2713:
2698:
2692:
2691:
2689:
2688:
2674:
2668:
2667:
2665:
2664:
2650:
2641:
2640:
2638:
2637:
2623:
2617:
2616:
2614:
2613:
2597:
2591:
2584:
2583:
2582:
2575:
2569:
2566:
2558:
2552:
2551:
2549:
2548:
2533:
2524:
2523:
2521:
2520:
2515:
2506:
2500:
2499:
2497:
2496:
2482:
2476:
2475:
2457:
2448:
2445:
2439:
2438:
2420:
2409:
2408:
2406:
2405:
2394:
2388:
2387:
2369:
2363:
2362:
2360:
2359:
2345:
2339:
2338:
2315:"Shomei Tomatsu"
2310:
2304:
2283:Ayako Ishii and
2281:
2275:
2264:
2258:
2257:
2239:
2230:
2229:
2211:
2202:
2199:
2193:
2190:
2184:
2181:
2175:
2172:
2163:
2160:
2154:
2153:
2151:
2150:
2136:
2125:
2121:
2112:
2109:
2092:
2091:
2067:
2052:
2049:
2043:
2037:
2031:
2028:
2022:
2021:
2003:
1992:
1991:
1989:
1988:
1973:
1967:
1966:
1942:
1936:
1933:
1927:
1924:
1918:
1915:
1909:
1908:
1906:
1905:
1891:
1885:
1884:
1882:
1881:
1866:
1860:
1859:
1857:
1856:
1842:
1836:
1835:
1833:
1832:
1820:
1814:
1811:Margaret Lazzari
1807:
1770:Yamagishi, Shoji
1740:Szarkowski, John
1731:
1730:
1729:
1704:Eiichi Matsumoto
1668:
1667:
1666:
1650:
1649:
1648:
1608:Takeyoshi Tanuma
1600:Shigeichi Nagano
1533:
1532:
1531:
1511:
1510:
1509:
1489:
1488:
1487:
1475:
1474:
1473:
1442:
1441:
1440:
1439:日本列島クロンクル：東末の50年
1369:
1368:
1367:
1332:
1331:
1330:
1310:
1309:
1308:
1296:
1295:
1294:
1280:
1279:
1278:
1230:
1229:
1228:
1200:
1199:
1198:
1174:
1173:
1172:
1148:
1147:
1146:
1120:
1119:
1118:
1097:
1096:
1095:
1083:Sarāmu areikomu.
1073:
1072:
1071:
1059:
1058:
1057:
1044:Taiyō no empitsu
1033:
1032:
1031:
1019:
1018:
1017:
1016:Okinawa沖縄Okinawa
1005:
1004:
1003:
991:
990:
989:
977:
976:
975:
963:
962:
961:
960:＜11時02分＞Nagasaki
935:
934:
933:
913:
912:
911:
700:Solo exhibitions
529:Assalamu Alaykum
521:The Shining Wind
474:Noriaki Yokosuka
430:
429:
428:
398:and held at the
385:
384:
383:
337:Tsunehisa Kimura
306:Assalamu Alaykum
254:
253:
252:
225:Shigeichi Nagano
89:Aichi University
47:
45:
39:
38:
21:
2854:
2853:
2849:
2848:
2847:
2845:
2844:
2843:
2799:
2798:
2734:Holborn, Mark.
2731:
2726:
2721:
2720:
2711:
2709:
2700:
2699:
2695:
2686:
2684:
2682:prizesworld.com
2676:
2675:
2671:
2662:
2660:
2652:
2651:
2644:
2635:
2633:
2625:
2624:
2620:
2611:
2609:
2599:
2598:
2594:
2590:7 January 2013.
2578:
2576:
2572:
2559:
2555:
2546:
2544:
2535:
2534:
2527:
2518:
2516:
2513:
2507:
2503:
2494:
2492:
2484:
2483:
2479:
2472:
2458:
2451:
2447:Holborn, 33-48.
2446:
2442:
2435:
2421:
2412:
2403:
2401:
2396:
2395:
2391:
2384:
2370:
2366:
2357:
2355:
2347:
2346:
2342:
2311:
2307:
2282:
2278:
2265:
2261:
2254:
2240:
2233:
2226:
2212:
2205:
2200:
2196:
2191:
2187:
2182:
2178:
2173:
2166:
2161:
2157:
2148:
2146:
2138:
2137:
2128:
2122:
2115:
2111:Rubinfien, 212.
2110:
2095:
2068:
2055:
2050:
2046:
2038:
2034:
2029:
2025:
2018:
2004:
1995:
1986:
1984:
1975:
1974:
1970:
1943:
1939:
1934:
1930:
1925:
1921:
1916:
1912:
1903:
1901:
1893:
1892:
1888:
1879:
1877:
1874:The Japan Times
1868:
1867:
1863:
1854:
1852:
1850:www.phaidon.com
1844:
1843:
1839:
1830:
1828:
1821:
1817:
1808:
1804:
1799:
1744:Shoji Yamagishi
1725:
1716:Yōsuke Yamahata
1712:Hiromi Tsuchida
1700:Mitsugi Kishida
1662:
1644:
1627:Masahisa Fukase
1613:Holborn, Mark.
1567:
1527:
1505:
1483:
1469:
1436:
1421:
1363:
1346:Shomei Tomatsu.
1326:
1304:
1290:
1274:
1257:Tomatsu Shomei.
1224:
1194:
1168:
1151:Ruinous Gardens
1142:
1114:
1091:
1067:
1053:
1027:
1013:
999:
985:
982:Sarāmu areikomu
971:
957:
929:
907:
900:
895:
848:
808:
796:Shomei Tomatsu,
760:Tokyo Mandala (
753:Aichi Mandala (
746:Kyoto Mandala (
702:
697:
618:
571:
537:
470:Nobuyoshi Araki
466:
424:
413:
408:
379:
364:
349:Masahisa Fukase
345:1970 World Fair
333:Masatoshi Naitō
294:
248:
237:
217:Camera Mainichi
205:Camera Mainichi
184:Yonosuke Natori
174:and his series
171:Camera Mainichi
159:
85:
72:
67:
55:Takuma Nakahira
33:
28:
23:
22:
15:
12:
11:
5:
2852:
2842:
2841:
2836:
2831:
2826:
2821:
2816:
2811:
2797:
2796:
2785:
2771:
2756:
2746:
2730:
2727:
2725:
2722:
2719:
2718:
2693:
2669:
2642:
2618:
2592:
2588:Asahi Shinbun,
2570:
2553:
2525:
2501:
2477:
2470:
2449:
2440:
2433:
2410:
2389:
2382:
2364:
2340:
2305:
2276:
2259:
2252:
2231:
2225:978-1597110945
2224:
2203:
2201:Hoaglund, 846.
2194:
2192:Hoaglund, 845.
2185:
2176:
2174:Hoaglund, 843.
2164:
2162:Hoaglund, 840.
2155:
2126:
2113:
2093:
2082:(208): 66–73.
2053:
2051:Rubinfien, 18.
2044:
2032:
2030:Rubinfien, 15.
2023:
2017:978-1597112505
2016:
1993:
1968:
1937:
1935:Hoaglund, 850.
1928:
1926:Hoaglund, 848.
1919:
1910:
1886:
1861:
1837:
1815:
1813:Dona Schlesier
1801:
1800:
1798:
1795:
1794:
1793:
1767:
1737:
1719:
1692:Kenji Ishiguro
1688:Shigeo Hayashi
1659:Kaku: Hangenki
1656:
1638:
1635:Daidō Moriyama
1611:
1584:Hiroshi Hamaya
1566:
1563:
1562:
1561:
1555:
1545:
1539:
1521:
1508:愛知曼陀羅：東松照明の原風景
1499:
1477:
1463:
1448:
1430:
1420:
1417:
1416:
1415:
1409:
1399:
1393:
1387:
1381:
1375:
1357:
1344:Jeffrey, Ian.
1342:
1320:
1298:
1268:
1254:
1240:
1218:
1188:
1162:
1136:
1122:
1111:Tōmatsu Shōmei
1107:
1085:
1077:Kingdom of Mud
1061:
1047:
1041:
1035:
1021:
1007:
993:
979:
965:
951:
941:
923:
916:Iwanami Shoten
899:
896:
894:
891:
890:
889:
883:
877:
874:
871:
868:
865:
862:
855:
852:
847:
844:
843:
842:
833:
827:
821:
815:
807:
804:
803:
802:
793:
767:
766:
765:
758:
751:
744:
737:
727:
721:
715:
709:
701:
698:
696:
693:
617:
614:
570:
565:
536:
533:
525:Kingdom of Mud
465:
462:
433:Camera Manichi
412:
409:
407:
404:
363:
357:
339:respectively.
293:
290:
282:Linda Hoaglund
236:
233:
158:
155:
84:
81:
71:
68:
66:
63:
59:Daido Moriyama
43:Tōmatsu Shōmei
31:Shōmei Tōmatsu
26:
18:Shomei Tomatsu
9:
6:
4:
3:
2:
2851:
2840:
2837:
2835:
2832:
2830:
2827:
2825:
2822:
2820:
2817:
2815:
2812:
2810:
2807:
2806:
2804:
2794:
2790:
2786:
2784:
2783:0-300-09925-8
2780:
2776:
2772:
2769:
2768:0-300-10604-1
2765:
2761:
2757:
2755:
2751:
2747:
2745:
2744:0-89381-185-8
2741:
2737:
2733:
2732:
2708:(in Japanese)
2707:
2703:
2697:
2683:
2679:
2673:
2659:
2658:www.psj.or.jp
2655:
2649:
2647:
2632:
2628:
2622:
2608:
2607:
2606:La Vanguardia
2602:
2596:
2589:
2585:
2574:
2564:
2557:
2543:(in Japanese)
2542:
2538:
2532:
2530:
2512:
2505:
2491:
2487:
2481:
2473:
2467:
2463:
2456:
2454:
2444:
2436:
2430:
2426:
2419:
2417:
2415:
2399:
2393:
2385:
2383:9780300207828
2379:
2375:
2368:
2354:
2350:
2344:
2336:
2332:
2328:
2324:
2321:(in French).
2320:
2316:
2309:
2302:
2301:0-300-09925-8
2298:
2294:
2290:
2286:
2285:Kōtarō Iizawa
2280:
2273:
2272:4-00-008381-3
2269:
2263:
2255:
2253:9780300207828
2249:
2245:
2238:
2236:
2227:
2221:
2217:
2210:
2208:
2198:
2189:
2180:
2171:
2169:
2159:
2145:
2141:
2135:
2133:
2131:
2120:
2118:
2108:
2106:
2104:
2102:
2100:
2098:
2089:
2085:
2081:
2077:
2073:
2066:
2064:
2062:
2060:
2058:
2048:
2041:
2036:
2027:
2019:
2013:
2009:
2002:
2000:
1998:
1982:
1978:
1972:
1964:
1960:
1956:
1952:
1948:
1941:
1932:
1923:
1914:
1900:
1896:
1890:
1875:
1871:
1865:
1851:
1847:
1841:
1826:
1819:
1812:
1806:
1802:
1791:
1790:0-933642-02-4
1787:
1783:
1782:0-933642-01-6
1779:
1775:
1771:
1768:
1765:
1764:0-87070-503-2
1761:
1757:
1756:0-87070-503-2
1753:
1749:
1745:
1741:
1738:
1735:
1723:
1720:
1717:
1713:
1709:
1705:
1701:
1697:
1693:
1689:
1685:
1681:
1680:Toshio Fukada
1677:
1672:
1660:
1657:
1654:
1642:
1639:
1636:
1632:
1628:
1624:
1623:0-89381-185-8
1620:
1616:
1612:
1609:
1605:
1604:Ikkō Narahara
1601:
1597:
1593:
1592:Kikuji Kawada
1589:
1585:
1581:
1580:2-08-030463-1
1577:
1573:
1569:
1568:
1559:
1556:
1553:
1549:
1546:
1543:
1540:
1537:
1525:
1524:Tōkyō mandara
1522:
1519:
1515:
1503:
1500:
1497:
1496:4-931493-68-8
1493:
1481:
1478:
1467:
1464:
1461:
1460:0-300-10604-1
1457:
1453:
1449:
1446:
1434:
1431:
1429:
1426:
1423:
1422:
1413:
1410:
1407:
1403:
1400:
1397:
1394:
1391:
1388:
1385:
1382:
1379:
1376:
1373:
1361:
1358:
1355:
1354:0-7148-4019-X
1351:
1347:
1343:
1340:
1339:4-87893-350-X
1336:
1324:
1321:
1318:
1317:4-00-008370-8
1314:
1302:
1299:
1288:
1287:4-00-008072-5
1284:
1272:
1269:
1266:
1265:4-7713-2806-4
1262:
1258:
1255:
1252:
1251:4-7713-2831-5
1248:
1244:
1241:
1238:
1237:4-10-602411-X
1234:
1222:
1219:
1216:
1212:
1211:4-8339-0512-4
1208:
1204:
1192:
1189:
1186:
1182:
1181:4-8339-0513-2
1178:
1166:
1163:
1160:
1159:4-89194-150-2
1156:
1152:
1140:
1137:
1134:
1133:3-900508-04-6
1130:
1126:
1123:
1112:
1108:
1104:
1100:
1089:
1086:
1084:
1080:
1076:
1065:
1064:Doro no Ōkoku
1062:
1051:
1048:
1045:
1042:
1039:
1036:
1025:
1022:
1011:
1008:
997:
994:
983:
980:
969:
966:
955:
952:
949:
945:
942:
939:
938:Aichi Mandala
927:
924:
921:
920:Aichi Mandala
917:
905:
902:
901:
888:
884:
882:
878:
875:
872:
869:
866:
863:
860:
856:
853:
850:
849:
840:
837:
834:
831:
828:
825:
822:
819:
816:
813:
810:
809:
800:
797:
794:
791:
787:
783:
779:
775:
774:Japan Society
772:(2004–2006),
771:
768:
763:
759:
756:
752:
749:
745:
742:
738:
735:
731:
730:
728:
725:
722:
719:
716:
713:
710:
707:
704:
703:
692:
690:
685:
683:
679:
675:
671:
667:
663:
662:Leo Rubinfien
659:
655:
651:
647:
642:
640:
636:
632:
628:
624:
613:
611:
607:
602:
600:
596:
592:
588:
584:
580:
576:
569:
564:
562:
558:
554:
550:
546:
542:
532:
530:
526:
522:
518:
513:
510:
506:
501:
499:
495:
491:
487:
483:
479:
475:
471:
461:
458:
454:
449:
445:
441:
436:
434:
422:
418:
403:
401:
397:
393:
389:
377:
373:
369:
361:
356:
354:
350:
346:
342:
338:
334:
330:
325:
323:
319:
315:
311:
307:
303:
299:
289:
287:
283:
279:
274:
272:
268:
264:
263:
258:
246:
242:
232:
230:
226:
222:
218:
214:
210:
206:
202:
198:
194:
190:
187:published in
185:
181:
177:
173:
172:
167:
166:
154:
151:
149:
145:
141:
140:Ikkō Narahara
137:
136:Kikuji Kawada
133:
129:
125:
121:
116:
114:
110:
106:
102:
98:
94:
90:
80:
77:
62:
60:
56:
52:
44:
32:
19:
2774:
2759:
2749:
2735:
2710:. Retrieved
2705:
2696:
2685:. Retrieved
2681:
2672:
2661:. Retrieved
2657:
2634:. Retrieved
2630:
2621:
2610:. Retrieved
2604:
2595:
2587:
2573:
2562:
2556:
2545:. Retrieved
2540:
2517:. Retrieved
2504:
2493:. Retrieved
2489:
2480:
2461:
2443:
2424:
2402:. Retrieved
2392:
2373:
2367:
2356:. Retrieved
2352:
2343:
2318:
2308:
2292:
2279:
2262:
2243:
2215:
2197:
2188:
2183:Holborn, 42.
2179:
2158:
2147:. Retrieved
2143:
2079:
2075:
2047:
2039:
2035:
2026:
2007:
1985:. Retrieved
1980:
1971:
1954:
1950:
1940:
1931:
1922:
1913:
1902:. Retrieved
1898:
1889:
1878:. Retrieved
1876:. 2013-01-09
1873:
1864:
1853:. Retrieved
1849:
1840:
1829:. Retrieved
1818:
1805:
1773:
1747:
1733:
1721:
1670:
1658:
1652:
1640:
1614:
1571:
1557:
1551:
1547:
1541:
1535:
1523:
1513:
1501:
1479:
1465:
1451:
1444:
1432:
1428:
1424:
1411:
1405:
1401:
1395:
1389:
1383:
1378:camp OKINAWA
1377:
1371:
1359:
1345:
1322:
1300:
1270:
1256:
1242:
1220:
1202:
1197:さくら・桜・サクラ120
1190:
1164:
1150:
1138:
1124:
1110:
1102:
1098:
1087:
1082:
1078:
1074:
1063:
1049:
1043:
1038:I Am a King.
1037:
1023:
1009:
995:
981:
967:
953:
943:
937:
925:
919:
903:
858:
836:Island Life,
835:
829:
823:
817:
811:
795:
769:
723:
717:
711:
705:
688:
686:
649:
645:
643:
619:
605:
603:
598:
594:
590:
587:Asahi Camera
586:
582:
578:
572:
567:
552:
544:
540:
538:
528:
524:
520:
516:
514:
508:
504:
502:
481:
477:
467:
456:
452:
437:
432:
420:
417:Asahi Camera
416:
414:
387:
375:
365:
359:
340:
328:
326:
314:Oh! Shinjuku
313:
305:
301:
297:
295:
285:
277:
275:
270:
260:
256:
238:
228:
216:
215:(1964); for
212:
209:Gendai no me
208:
204:
201:Gendai no me
200:
196:
193:Asahi Camera
192:
189:Asahi Camera
188:
179:
175:
169:
165:Asahi Camera
163:
160:
152:
127:
123:
119:
117:
112:
108:
92:
86:
73:
30:
29:
2814:2012 deaths
2809:1930 births
2563:さくら・桜・サクラ66
2303:. Page 328.
1983:(in French)
1631:Eikoh Hosoe
1596:Ihei Kimura
1412:Mr. Freedom
1404:(新編 太陽の鉛筆,
1329:東松照明1951-60
1171:さくら・桜・サクラ66
1088:Hikaru kaze
996:Ō! Shinjuku
812:Eyes of Ten
519:(1976) and
353:Kazuo Kitai
310:Afghanistan
148:Akira Tanno
132:Eikoh Hosoe
128:Eyes of Ten
120:Eyes of Ten
111:(1954) and
97:Ihei Kimura
2803:Categories
2712:2021-02-16
2687:2021-02-16
2663:2021-01-30
2636:2021-01-31
2612:2018-06-06
2547:2021-02-01
2519:2021-01-31
2495:2021-02-01
2471:0810925931
2434:0870705032
2404:2021-01-31
2358:2021-01-31
2291:, et al.,
2149:2021-01-30
1987:2021-01-30
1957:(97): 66.
1904:2021-01-30
1880:2021-01-30
1855:2021-01-30
1831:2013-01-15
1797:References
1647:25人の20代の写真
1303:(日本の写真家30：
1145:廃園：東松照明作品集
1113:(昭和写真・全仕事：
988:サラーム・アレイコム
448:Miyakojima
362:exhibition
322:Zengakuren
255:, abbrev.
251:原水爆禁止日本協議会
144:Akira Satō
2750:positions
2335:1246-8258
1676:Ken Domon
948:Ken Domon
396:Kōji Taki
267:Ken Domon
262:hibakusha
257:Gensuikyō
231:in 1966.
213:I am King
197:Photo Art
180:Photo Art
101:Ken Domon
65:Biography
2088:24474981
2076:Aperture
1963:24471452
1951:Aperture
1784:(hard),
1758:(hard),
1530:Tokyo曼陀羅
932:焼き物の町：瀬戸
641:, 2007)
595:Plastics
579:Plastics
492:and the
478:Workshop
444:Hateruma
440:Iriomote
241:Nagasaki
235:Nagasaki
2706:中日新聞Web
1372:Nan-to.
1203:Sakura.
1024:Sengoha
940:(2006).
922:(2006).
764:, 2007)
757:, 2006)
750:, 2003)
743:, 2002)
736:, 2000)
608:at the
411:Okinawa
243:by the
105:Iwanami
51:Provoke
2793:SFMOMA
2781:
2766:
2742:
2468:
2431:
2380:
2333:
2299:
2270:
2250:
2222:
2144:SFMOMA
2086:
2014:
1961:
1788:
1780:
1772:, ed.
1762:
1754:
1742:, and
1633:, and
1621:
1578:
1494:
1458:
1352:
1337:
1315:
1285:
1263:
1249:
1235:
1215:sakura
1209:
1185:sakura
1179:
1157:
1131:
1094:光る風：沖縄
1056:朱もどろの華
968:Nippon
910:水害と日本人
879:2003:
846:Awards
680:, and
599:Sakura
583:Sakura
335:, and
312:; and
302:Nippon
292:Shaken
207:. For
146:, and
93:Camera
76:Nagoya
2514:(PDF)
2084:JSTOR
1959:JSTOR
1665:核：半減期
1518:Aichi
1360:Nantō
1106:only.
1002:おお!新宿
575:Chiba
406:1970s
400:Seibu
318:Butoh
157:1960s
70:Youth
37:東松 照明
2779:ISBN
2764:ISBN
2740:ISBN
2466:ISBN
2429:ISBN
2378:ISBN
2331:ISSN
2297:ISBN
2268:ISBN
2248:ISBN
2220:ISBN
2012:ISBN
1786:ISBN
1778:ISBN
1760:ISBN
1752:ISBN
1732:) /
1714:and
1669:) /
1651:) /
1619:ISBN
1576:ISBN
1534:) /
1512:) /
1492:ISBN
1456:ISBN
1443:) /
1390:Make
1370:) /
1350:ISBN
1335:ISBN
1313:ISBN
1307:東松照明
1293:今福竜太
1283:ISBN
1277:時の島々
1261:ISBN
1247:ISBN
1233:ISBN
1207:ISBN
1201:) /
1177:ISBN
1155:ISBN
1129:ISBN
1117:東松照明
1070:泥の王国
597:and
559:and
442:and
368:Tama
351:and
329:KEN.
223:and
203:and
195:and
176:Home
168:and
99:and
57:and
2323:doi
2080:208
1030:戦後派
341:KEN
178:in
61:).
2805::
2704:.
2680:.
2656:.
2645:^
2629:.
2603:.
2586:,
2539:.
2528:^
2488:.
2452:^
2413:^
2351:.
2329:.
2317:.
2234:^
2206:^
2167:^
2142:.
2129:^
2116:^
2096:^
2078:.
2074:.
2056:^
1996:^
1979:.
1955:97
1953:.
1949:.
1897:.
1872:.
1848:.
1746:.
1718:).
1710:,
1706:,
1702:,
1698:,
1694:,
1690:,
1686:,
1682:,
1678:,
1629:,
1610:).
1606:,
1602:,
1598:,
1594:,
1590:,
1366:南島
1297:).
1149:,
1079:).
974:日本
684:.
676:,
672:,
668:;
563:.
531:.
500:.
386:,
355:.
324:.
150:.
142:,
138:,
134:,
40:,
2795:.
2787:"
2770:.
2715:.
2690:.
2666:.
2639:.
2615:.
2550:.
2522:.
2498:.
2474:.
2437:.
2407:.
2386:.
2361:.
2337:.
2325::
2274:.
2256:.
2228:.
2152:.
2090:.
2020:.
1990:.
1965:.
1907:.
1883:.
1858:.
1834:.
1724:(
1661:(
1643:(
1637:.
1526:(
1504:(
1498:.
1482:(
1468:(
1435:(
1362:(
1356:.
1341:.
1325:(
1273:(
1267:.
1239:.
1223:(
1193:(
1187:.
1167:(
1141:(
1103:.
1099:,
1090:(
1075:,
1066:(
1052:(
1026:(
1012:(
998:(
984:(
970:(
956:(
950:.
928:(
906:(
621:(
378:(
247:(
53:(
34:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.