Tetsuo Harada

At 74 years old, Tetsuo Harada physical status not available right now. We will update Tetsuo Harada's height, weight, eye color, hair color, build, and measurements.

Tetsuo Harada (born 25 August 1949, Niitsu, Niigata, Japan) is a Japanese-French artist based in France, best known for his monumental direct carving sculptures of granite and marble.

He gained acclaim in the 1990s with his "Earth Weaving" theme, binding nations in fraternity with granite rings.

He explored a multitude of materials (wood, metal, bronze, resin, glass, glass), but the main themes of pacifism, Nature (earth), sexuality, and fertility remained strong (some favor his shinto influences).

His sculptures can be seen in private collections, museums, and streets around the world as monumental public works or ephemeral Land-art installations.

His work is often traced to Isamu Nomurchi, Constantin Brâncu?i, Barbara Hepworth, Henry Moore, or the general biomorphic aesthetic movement. He studied at Tamabi University[1] in Tokyo with Professor Tatehata, Beaux-Arts de Paris with Jean Cardot fr:Jean Cardot.

In his vast studio in Fresnay l'Eveque, near Chartres, the Beauce area, Francophone Paris, he now lives and works mainly in Paris, and carves granite.

He made large skeletons, drawings, and paintings as a finished work of art work or study for future sculptures. He continued to be promoted by his wife Annie Harada and his second son Cesar Minoru Harada, who is now a student at the Royal College of Art, in late years.

Narito Harada, his first son, is a respected environmental lawyer who works for Greenpeace, a nonviolent charity.

Tetsuo Harada teaches fine art and urban planning at the National Superior Architecture School of Versailles (ENSAV), which focuses on educational cooperation and cultural bridges between Asian Universities and European Universities.

Education, Influences

Studies

Tetsuo Harada's work is often compared to the one of Constantin Brâncuşi, Isamu Nomine, Barabara Epworth, Henry Moore.

Teaching. Tetsuo HARADA grew up to "Niitsu Koko" in high school, and he learned drawing with his instructor Nitta Sensei. He graduated from Tokyo Fine Arts University, where he obtained academic training in sculpture (art history, drawing, modeling, pattern, pottery, casting, curving wood, marble...) In 1969, he attended a symposium on wood sculpture near Tazawako Lake, Akita, Japan, which was led by sculptors Watanabe and Koyanagi. "The bird" was a 250-cm tall wood sculpture. Mazuda, Hochijo, Saka, Tsubo are among other participants. He presents "The bird" a low relief in ceramic at the Salon of Kodo Bijutsu Kyoka (150 x 120 cm). He presented "The bird" in ceramic and "The birds" low relief in plaster in a group show in Niitsu. He carves a monumental sculpture in white granite called "Silence and the Sea" in 1970 (150 x 90 x 70). He studied Fine Arts at the Tama Fine Art University of Tokyo in 1971. "Mother and Child" in granite 60 x 60, "Matches" cast metal, "Composition" in green granite, "Reality" in wood, and "Matches" cast metal 90 x 90 x 90, "Reality" in wood, "Matches" in granite, sculptor Tsuboi. He is the winner of the "Kodo Bijutsu Kyokai" third edition with "Work 71" 180 x 102 x 100 in black granite (Takahashi collection in Sado Island). He taught Fine Arts in the Technical High School in Takada, near Niigata, in 1972. He studied Japanese gardens, tea ceremony, and as a member of a jazz band. They displayed "Balance" in metal, "Union" in iron, "Mate" in copper, "Body" in wood, "Unity" in wood, "Declaration For Look" in wood, with Tsubo. He presented "Composition" in black granite at Kodo Bijutsu Kyoka's third appearance. At the Oshima gallery, Joetsu, Niigata, Japan, he had personal exhibitions. He would like to study in Europe by selling artwork.

He travelled around Europe in 1973. In France, he visited Paris, Chartres, Switzerland, Germany, and Germany. Tani Wang, Hihara, Kiomizu, Mickael Esbin, met Japanese artists sculptors Taniguchi, Hihara, and Germany. He trained at "Ecole Nationale Superieur des Beaux Arts de Paris" and did direct carving at atelier Colamarigny and Jean Cardot. So after a while, he decided to live in Paris and rent a flat near Place Clichy. It was a real challenge for him to make his living as an artist. He threw his return plane ticket into the Seine river to give him a chance to hang up. He created his sculpture "Prophetie" in cast cement in a Meudon studio, which he displayed at the Salon de la Jeune Sculpture in the Champs Elysees gardens from 1973 to 1974.

Life in Japan

Teaching is the art of teaching. Tetsuo HARADA studied at "Niitsu Koko" in high school; he learned drawing with his mentor Nitta Sensei. He graduated from Tokyo Fine Arts University, where he received academic training in sculpture (art history, drawing, designing, model, clay, casting, granite, marble...) In 1969, he attended a symposium on wood sculpture near Tazawako Lake, Akita, Japan, arranged by sculptors Watanabe and Koyanagi. "The bird," a 250-cm tall wood sculpture by the artist, was created. Mazuda, Hochiiho, Saka, Tsubo are among those participating. He opens "The hen" a low relief in ceramic at the Salon of Kodo Bijutsu Kyoka in Tokyo. (150 x 120 cm). He exhibited "The bird" in ceramic and "The birds" low relief in plaster in a group exhibition in Niitsu. He carves a monumental sculpture of white granite "Silence and the sea" in 1970 (150 x 90). He graduated as a professor of Fine Arts at the Tama Fine Art University of Tokyo in 1971. He exhibited with sculpturer Tsuboi in granite 60 x 60, "Mother and Child" in wood, "Matches" cast metal, "Composition" in granite, "Parallel Thoughts" in wood, and "Composition" in green granite at the Nirenoki Gallery in Tokyo, "Matel Thoughts" in polyester and cast metal 90 x 90. He is the winner of the third prize of the "Kodo Bijutsu Kyokai" with "Work 71" 180 x 170 x 100 in black granite (Takahashi collection in Sado Island). He taught Fine Arts at the Technical High School in Takada, near Niigata, in 1972. He studied Japanese gardens, tea ceremony, and as a member of a jazz band. They displayed "Lotus" in metal, "Balance" in iron, "Union" in iron, "Peace" low-relief in aluminum, "declaration For Look" in wood, with Tsubo. He opened "Composition" in black granite at the salon Kodo Bijutsu Kyoka's third appearance. At the Oshima gallery, Joetsu, Niigata, Japan, he had personal exhibitions. He would like to study in Europe by selling artworks.

He travelled around Europe in 1973. He toured Paris, Chartres, France, Switzerland, Germany, and Germany. Jacques Leopold has lived in Carriere, Japan, and sculptors Tanihiro, Kiomizu, Mickael Esbin lived life with them. He studied at "Ecole Nationale Superieur des Beaux Arts de Paris," a direct carving at atelier Colamarigny and Jean Cardot. So, after a long time, he decided to live in Paris and rent a flat near Place Clichy. It was a real challenge for him to attempt to make his living as an artist. He threw his return plane ticket into the Seine river to give him a chance to hold up. He made his sculpture "Prophetie" in cast cement in a Meudon studio, which he displayed at the Salon de la Jeune Sculpture in the Champs Elysees gardens during 1973-74.

Early Formal Experimentions

Mineral Garden In Japan, he carves a landscape sculpture named "Hôtel des Impôts" of Saint Brieuc, Brittany's southeast region. A ring tied to the Earth, with 47 tons of pink granite, totems of 5 meters, 80 m2 pavement in pink granite, pyramid, and steps. The Ministry of Finance and Finance, in partnership with architect Caron in Nantes, has been coordinating.

Environment art in HARADA: an art of union and family bond. To attempt or perceive architecture or sculpture simply by shapes would not lead to a clear understanding of the meaning and feeling they conveyed, on the one hand, it would not be wrong to assume that the empty space has a meaning, but also in its occupancy, which was derived from it.

Fountain The sculpture I wanted to make something welcoming, a place where the children will play, and an art work for adults that would easily engage in their environment. I mixed grey granite from the Tarn and some pink "de la clarte" which blends the sculpture with its surroundings by referring to a typical architectural style of Sainte Memehould, France: diagonal lines of brick and limestone. The Ministry of Education and the City of Sainte Ménéhould have collaborated to organise the project. The lead carving in grey granite is encrusted with pink granite. Pebbles of 800 cm x 600 cm. Totems H300 cm.

Theatral sculptureFor this sculpture, I used raw materials. I wanted to experiment with the architecture of the site, create a harmony with the surroundings, and make the sculpture follow the roof's inclination. To welcome people of exchange and contact, it is a dry fountain, a meeting place. This artwork also fits into the Earth Weaving model. In 1989, I carved Fountain for the French High School "Highschool Basse-Goulaine" in Loire-Atlantique, France, which was managed by the Ministry of Education, with architect Pélerin in Nantes. H300, 250, 210, 210, a 0.5-square-inch dry basin 750 cm in pink granite for students.

Prophecy I call my sculpture "prophecy" in the sense of chance because I participated in the 26th Salon de la Jeune Sculpture in Champs Elysées, France, where I first met Annie Viot in 1977, where we married in Japan. "Prophecy" is a cast concrete, H250 cm I worked in Michel Herzele's atelier in Meudon as well as at Beaux Arts in Paris direct carving Jean Cardot's atelier.

shape, space, and relationship AHAHASPITALITY, As well as the Tazawako granite, one will eventually have to mention all the people who met him or followed him in his teaching or in the building of his atelier in Frenay-l'Evêque. His people have experienced the quality of his welcome, his humble and insatisfaction with this other art of relationship, hospitality, which is a pillar of his art, is much more than a'simple' style, which he obviously fully embraces. The spectator is encouraged to participate as it is the case with monumental sculptures: this time, he is the host and the actor of a private encounter.

Though it refers to the senses and occasionally to sensuality in its most carnal sense, Harada's work goes beyond the primal sense of creation, implying that they came from the imagination of creation in a literal sense: union, fold, interweaving, mating, and birth. In the intervening space, a creation on the edges, the lips, appears. [Hubert Lempereur] Both males and females coexist on earth, with complementarity being a basic human characteristic. Sexuality is embedded in life, there is no vocation of mine. I do things as I feel them and the audience is free to find it shocking or pleasant and natural. There is nothing to do with obsession in my work. Sexuality is a universal topic that cannot be made to fit in a narrow cultural niche. It is neither primitive nor modern, nor oriental, nor oriental. I just hope that my mail gets to people quickly.

"the Earth Weaving" for Tetsuo Harada's main artwork in 1995: "the Earth Weaving" for the Tazawako dam. On the dam, an environmental sculpture in granite has been integrated. The first realization of the Japanese ecological scheme was ordered by the Japanese Ministry of Equipment as the first manifestation of the Japanese ecological program. On October 19, the country's 19th century was commemorated. Four varieties of red and pink granite are used in the sculpture. Its waves, roots, ties, rocks, and sun, and the dam, the peak of Tazawako and the Komagatake volcano are in harmony. Law relief consists of 120 meters in length, 16 meters high, and 500 polished pieces produced in Madras, India and Brittany, France, and are transported by sea and truck to the Akita peak at 1200 meters of altitude. There is also a freestanding landscape sculpture. "Friendship bench" on the right side of the dam; circle 6 m, platform 25 meters2, in sandstone blockage. A blue granite sculpture called "River" on the left, floor 36 m2. "Le Tricot du Parc Culturel," a black granite facade, has been painted on the entrance.

Harada's art, whether it be in the form of large environment sculptures or smaller works, draws on the public and invites it to participate in more personal encounters. Harada designs, shapes, curves, models, and molds small dimension works, removing from public spaces and into the warmth of his studio. These artworks depict unceasing returns, reflection, dissatisfaction, and analysis, as well as establishing the foundations of an aesthetic intrigue. Harada also needed the anonymity of his studio to create large public sculptures and installations during a quiet period after a large public service or a lecture at the university.

The study was drawn, clay modeling, plaster casting, and a schematic drawing. Template and direct carving

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