Individual Exhibitions
1955 Kotoˆno Kodomotachi(Children of Downtown Tokyo);
Nihonbashi Takashimaya Department Store, Tokyo,
Japan
1960 Chikuhoˆno Kodomotachi(Children of Chikuhoˆ Cold
Mines); Fuji Photo Salon, Tokyo, Japan
1968 Zoo to Shitui no Hibi-Hiroshima wa tsuzuiteiru(Days
of Hatred and Disapointment-Hiroshima); Ginza Nikon
Salon, Tokyo, Japan
1971 ButsuzoˆHenreki(Pilgrimages to Ancient Temples);
Shinjuku Nikon Salon, Tokyo, Japan
1972 Koji Junrei(Pilgrimages to Ancient Temples); Odakyuˆ
Department Store, Tokyo, Japan, and traveled to
Osaka, Nagoya, Okayama, and Sakata, Japan
1973 Bunraku; Wako, Tokyo, Japan
1974 Bunraku to Domon Ken; Odakyuˆ Department Store,
Tokyo, Japan, and traveled to Kobe, Kyoto, Osaka, and
Sakata, Japan
Koyou Henreki; Fuji Photo Salon, Tokyo, Japan
1975 Murou ji; Shinjuku OdakyuˆDepartment Store, Tokyo
traveled to Nigata, Nagano, Japan
1979 Gendai Choˆkoku Shashinten; Ginza Mitsukoshi Depart-
ment Store, Tokyo, Japan
1983 Domon Ken Zen Shashin; Seibu Department Store,
Tokyo, Japan
1987 Domon Ken no zenboˆ; Sogo Museum of Art, Yoko-
hama, Japan
1991 Domon Ken no Subete; Takashimaya Department Store,
Tokyo, Japan
1994 Domon Ken Shashin ten-Koji Junrei; Fukuoka Muni-
cipal Museum of Art, Fukuoka, Japan, and traveling
1995 Koji Junrei- Domon Ken ten; Iwaki Municipal Museum
of Art, and traveling
Domon Ken no Nihon; Tenmanya, Okayama, Japan
and traveling
2000 Domon Ken—Nihon no Choˆkoku; Daimaru Museum,
Kobe, Japan, and travelingGroup Exhibitions
1974 New Japanese Photography; Museum of Modern Art,
New York, New York
1979 Japanese Photography Today and Its Origin; Galleria
d’Arte Moderna, Bologna, Italy, and travelingSelected Works
RyuˆzaburoˆUmehara, 1940 (reproduced in Iizawa, Kotaroˆ ,
Domon Ken pl. 12)
Detail (left hand) of the Sitting Image of Buddha Shakamuni
in the Hall of Miroku, the Muroˆ-ji, 1942–1943
Blind Twins, 1957 from seriesHiroshimaFurther Reading
Iizawa Koˆ taro.Domon Ken. Tokyo: Iwanami shoten, 1998.
Ikeda Mao, Kishi Tetsuo, Naitoˆ Yutaka, Miki Jun, and
Watanabe Yoshiaki, eds. Domon Ken no Subete.
Tokyo: Kyodotsuˆshin sha, Domon Ken kinenkan, 1991.
Mainichi Shinbunsha, Domon Ken kinenkan, eds.Domon
Ken no tsutaetakatta Nihon. Tokyo: Mainichi shinbun
sha, 2000.
Putzer, Edward. ‘‘The Reality of Domon Ken.’’ Japan
Quarterly(July 1994): 308–322.
Szarkowski, John, and Shoji Yamagichi, eds.New Japanese
Photography. New York: Museum of Modern Art, 1974.
Yasushi, Mishima.Kimura Ihe to Domon Ken. Tokyo: Hei-
bonsha, 1995.FRANTIS
ˇ
EK DRTIKOL
Czech
When Frantisˇek Drtikol arrived in Munich in the
year 1901 to study photography, it was apparent
that the practice of photography in his native Bohe-
mia and its capital, Prague was inferior, technically
backward, and artistically insignificant. It was or-
iented toward conventional styles of portrait pho-
tography; innovation was a foreign word. Drtikol
became an innovator of Czech photography and
one of the most important pictorialist photographers.
Efforts, as for instance those of the British photogra-
phy circle The Linked Ring Brotherhood or the
Vienna Camera Club, to professionalize the practice
of photography and lift it to the level of fine art did
not find an echo in Prague.
Frantisˇek Drtikol was born in March, 1883 in
Prı ́bram (southwest of Prague) in Bohemia. After a
short training in one photographic studio in Prı ́bram,
he was admitted for a study at the just-openedLehr-
und Versuchsanstalt fu ̈r Photographiein Munich. He
left with honor after two years of study. Possible
employment as a photographer in Germany or in
Switzerland failed. Back in his hometown, in 1907
he created his own studio, which went bankrupt in- Drtikol moved to Prague and opened his own
DRTIKOL, FRANTISˇEK