PAINTINGS ON CANVAS
This page features Yamada's paintings on canvas (stretched on wooden bars) only. (For other format of paintings, please visit their dedicated pages.) Yamada's paintings can be divided into two groups: one is a type of "Post Super Realism" Paintings (aka "Post Photo Realism" paintings), which he calls "Visual Anthropology", inspired by his own documentary photographs and onsite field research. Another is a unique phantasy paintings based on his imaginations and spiritual visions inspired by the Alchemy and cross cultural mythologies.
This page features Yamada's paintings on canvas (stretched on wooden bars) only. (For other format of paintings, please visit their dedicated pages.) Yamada's paintings can be divided into two groups: one is a type of "Post Super Realism" Paintings (aka "Post Photo Realism" paintings), which he calls "Visual Anthropology", inspired by his own documentary photographs and onsite field research. Another is a unique phantasy paintings based on his imaginations and spiritual visions inspired by the Alchemy and cross cultural mythologies.
The True Artist doesn't "Create" Artworks.
The True Artist "Give Birth" to Artworks.
- Takeshi Yamada
The True Artist "Give Birth" to Artworks.
- Takeshi Yamada
CONTENTS
Alchemy IV: Museum of World Wonders (1983-Present)
Alchemy III: Predictions & Things to Come (2000-2002)
Art of Wampum (2002-2004)
Medical Journal Of The Artist (2000-2001)
Art of Business (1999)
City of Love (1994)
Visual Anthropology (1983-2000)
Fantastic Cities
Louisville, Kentucky: Street Scenes & Blue Horses (1997-1998)
Milwaukee: Phantom City (1994-1995)
Chicago: Visual Anthropology (1985-2000)
Chicago Architecture: Iron Phoenix
Chicago: Grand Illusions
Chicago Chronicle: From the Great Fire to the Great Flood
Memories of New Orleans & Jazz Musicians (1993)
New Orleans Jazz Musicians (1992-93)
New Orleans Street Scenes (1990-1993)
Chicago: Citizen Kings (1987-1988)
Amsterdam, The Netherlands: Night Scenes (1990-1991)
New York City: Heaven and Hell (1985-1987)
New Orleans Mardi Gras: Divine Comedy (1983-1990)
New Orleans: French Quarter Night Scenes (1983-1985)
Alchemy II (1983-1985, USA)
Alchemy I (1976-1983, Japan)
Fantastic Landscapes (1976-1981, Japan)
Alchemy IV: Museum of World Wonders (1983-Present)
Alchemy III: Predictions & Things to Come (2000-2002)
Art of Wampum (2002-2004)
Medical Journal Of The Artist (2000-2001)
Art of Business (1999)
City of Love (1994)
Visual Anthropology (1983-2000)
Fantastic Cities
Louisville, Kentucky: Street Scenes & Blue Horses (1997-1998)
Milwaukee: Phantom City (1994-1995)
Chicago: Visual Anthropology (1985-2000)
Chicago Architecture: Iron Phoenix
Chicago: Grand Illusions
Chicago Chronicle: From the Great Fire to the Great Flood
Memories of New Orleans & Jazz Musicians (1993)
New Orleans Jazz Musicians (1992-93)
New Orleans Street Scenes (1990-1993)
Chicago: Citizen Kings (1987-1988)
Amsterdam, The Netherlands: Night Scenes (1990-1991)
New York City: Heaven and Hell (1985-1987)
New Orleans Mardi Gras: Divine Comedy (1983-1990)
New Orleans: French Quarter Night Scenes (1983-1985)
Alchemy II (1983-1985, USA)
Alchemy I (1976-1983, Japan)
Fantastic Landscapes (1976-1981, Japan)
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Alchemy IV: Museum of World Wonders (1983-Present)
Just as he did in Japan, in addition to the traditional paintings on the canvases, Yamada also created a large number of "non-traditional" and "rogue" paintings and the giant size murals on teh wall and theater props. Some of Yamada's giant banner paintings were displayed at the sideshows/freak shows tents at the midways of fair grounds in the United States and Mexico for decades. Yamada also created two 11x15 feet backdrop paintings for his big rogue taxidermy monsters for creating the AMC cable television's Reality TV show IMMORTALIZED.
For details, visit their pages by click these links below.
ROGUE TAXIDERMY PAINTINGS (USA: 1983-Present: Japan: 1960s-1983)
SIDESHOW PAINTINGS (USA: 1983-Present, Japan 1960s-1983)
AMUSEMENT PARKS & THEATER PAINTINGS (USA: 1984 & 1985, Japan: 1978-1983)
Here are links to Yamada's miniature paintings.
MINIATURE PAINTINGS (Japan: 1960s-1983. USA: 1983-Present)
PAINTED HORSESHOE CRABS (2002-2003)
WAMPUM PAINTINGS (2006-2007)
BONFIRE SEA GLASS ART (PAINTED GLASSES 2020-2021)
CERAMIC ART (1983 - 1998)
Alchemy IV: Museum of World Wonders (1983-Present)
Just as he did in Japan, in addition to the traditional paintings on the canvases, Yamada also created a large number of "non-traditional" and "rogue" paintings and the giant size murals on teh wall and theater props. Some of Yamada's giant banner paintings were displayed at the sideshows/freak shows tents at the midways of fair grounds in the United States and Mexico for decades. Yamada also created two 11x15 feet backdrop paintings for his big rogue taxidermy monsters for creating the AMC cable television's Reality TV show IMMORTALIZED.
For details, visit their pages by click these links below.
ROGUE TAXIDERMY PAINTINGS (USA: 1983-Present: Japan: 1960s-1983)
SIDESHOW PAINTINGS (USA: 1983-Present, Japan 1960s-1983)
AMUSEMENT PARKS & THEATER PAINTINGS (USA: 1984 & 1985, Japan: 1978-1983)
Here are links to Yamada's miniature paintings.
MINIATURE PAINTINGS (Japan: 1960s-1983. USA: 1983-Present)
PAINTED HORSESHOE CRABS (2002-2003)
WAMPUM PAINTINGS (2006-2007)
BONFIRE SEA GLASS ART (PAINTED GLASSES 2020-2021)
CERAMIC ART (1983 - 1998)
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Alchemy III: Predictions & Things to Come (2000-2002. 2004)
Takeshi Yamada moved to Brooklyn, New York from Chicago, Illinois in the summer of 2000. He started seeing vivid dreams and visions about future events again. He started painting them in 2000. Yamada predicted September 11, 2001 terrorists' attack on the World Trade Center's twin tower in New York City, the US President's declaration of the War against terrorists, his encounter to the two headed baby & freakshows/sideshows, his move to Coney Island, etc. These artworks are displayed at American Museum of Natural History, Brooklyn Borough Hall, Salt Marsh Nature Center, Arsenal Gallery (NY Park & Recreation Department), Clintonhill Art Gallery, Pier Gallery, Coney Island Hospital Art Space, Sideshow by the Seashore (sideshow company), etc. in New York City.
Alchemy III: Predictions & Things to Come (2000-2002. 2004)
Takeshi Yamada moved to Brooklyn, New York from Chicago, Illinois in the summer of 2000. He started seeing vivid dreams and visions about future events again. He started painting them in 2000. Yamada predicted September 11, 2001 terrorists' attack on the World Trade Center's twin tower in New York City, the US President's declaration of the War against terrorists, his encounter to the two headed baby & freakshows/sideshows, his move to Coney Island, etc. These artworks are displayed at American Museum of Natural History, Brooklyn Borough Hall, Salt Marsh Nature Center, Arsenal Gallery (NY Park & Recreation Department), Clintonhill Art Gallery, Pier Gallery, Coney Island Hospital Art Space, Sideshow by the Seashore (sideshow company), etc. in New York City.
Reference: Exhibitions & Media Coverage of Yamada's Alchemy: Predictions paintings
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Art of Wampum (2002-2005)
Takeshi Yamada bought a house in Coney Island area of Brooklyn, New York City in 2002. In that summer, Yamada accidentally found the clams with the gorgeous purple rings inside at the beach. They are Northern Quahog (Marcenaria marcenaria). This lead him to learn the ancient art of Wampum. He started creating his own wampum jewelries shortly. In addition to creating a variety of wampum jewelry artworks (wearable art), Yamada also single-handedly originated a series of unique paintings and drawings inspired by the patterns of his hand-crafted wampums, by using his "Divine Visions" ("God's Eye").
These truly original wampum artworks reflect his Japanese heritage and his passion for Japanese mythology and legends. Specifically, Yamada reinterpreted and simulated the portrait of the Otohime of Ryūgū (竜宮の乙姫. Mermaid Princess / Sea Goddess of the Sea Dragon God's Palace) and her underwater kingdom as described in the famous Japanese legend of Urashima Tarō (浦島 太郎). The landscape paintings of the Dragon God's Palace (竜宮城) at the bottom of the sea were also created by him as shown below. These wampums and artworks by Yamada added completely new pages to the art and culture of wampum with 4,000 year history.
NOTE: Yamada also created a series of miniature acrylic paintings (up to 12 inch diameter wood panel). See the page of WAMPUM ART.
Art of Wampum (2002-2005)
Takeshi Yamada bought a house in Coney Island area of Brooklyn, New York City in 2002. In that summer, Yamada accidentally found the clams with the gorgeous purple rings inside at the beach. They are Northern Quahog (Marcenaria marcenaria). This lead him to learn the ancient art of Wampum. He started creating his own wampum jewelries shortly. In addition to creating a variety of wampum jewelry artworks (wearable art), Yamada also single-handedly originated a series of unique paintings and drawings inspired by the patterns of his hand-crafted wampums, by using his "Divine Visions" ("God's Eye").
These truly original wampum artworks reflect his Japanese heritage and his passion for Japanese mythology and legends. Specifically, Yamada reinterpreted and simulated the portrait of the Otohime of Ryūgū (竜宮の乙姫. Mermaid Princess / Sea Goddess of the Sea Dragon God's Palace) and her underwater kingdom as described in the famous Japanese legend of Urashima Tarō (浦島 太郎). The landscape paintings of the Dragon God's Palace (竜宮城) at the bottom of the sea were also created by him as shown below. These wampums and artworks by Yamada added completely new pages to the art and culture of wampum with 4,000 year history.
NOTE: Yamada also created a series of miniature acrylic paintings (up to 12 inch diameter wood panel). See the page of WAMPUM ART.
The Kingdom of the Dragon God's Palace, Takeshi Yamada, 24x32 inch, acrylic painting on canvas, 2005. Wampum artwork, wampum painting, USA
In Progress of "The Kingdom of the Dragon God's Palace", Takeshi Yamada, 24x32 inch, acrylic painting on canva. (Photograph: November 25, 2005. ) Shown in the right is his similar painting, which was created on the round wooden plate. Wampum art, Wampum painting, USA
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Medical Journal Of The Artist (2000-2001)
Yamada exhibited over 100 artworks entitled "Medical journal of the Artist" at the International Museum of Surgical Science in Chicago, Illinois during February 17 and April 17, 2001. This art exhibition was made of the 2 canvas Paintings (each 24x32 inch, canvas), 100+ illustrations/drawings, installations, sculptures, art performance ("Blue Blood"), and 400 page limited edition book.
Medical Journal Of The Artist (2000-2001)
Yamada exhibited over 100 artworks entitled "Medical journal of the Artist" at the International Museum of Surgical Science in Chicago, Illinois during February 17 and April 17, 2001. This art exhibition was made of the 2 canvas Paintings (each 24x32 inch, canvas), 100+ illustrations/drawings, installations, sculptures, art performance ("Blue Blood"), and 400 page limited edition book.
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Portrait of Takeshi Yamada as a Medical Doctor in the 19the century with the Two goddesses, acrylic painting on canvas, 32x24 inch, 2001
(left) announcement card
(right) The art gallery at the International Museum of Surgical Science in Chicago, Illinois. Yamada with the museum's art gallery director and Yamada's Japanese friend at the reception party on February 17, 2001. Yamada's illustrations were shown in the background walls.
(right) The art gallery at the International Museum of Surgical Science in Chicago, Illinois. Yamada with the museum's art gallery director and Yamada's Japanese friend at the reception party on February 17, 2001. Yamada's illustrations were shown in the background walls.
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Art of Business (1999)
Takeshi Yamada stopped creating the series of his Visual Anthropology Painting in 1999. These are Yamada's last group of paintings juist before he moved to New York City from Chicago in 1999.
Art of Business (1999)
Takeshi Yamada stopped creating the series of his Visual Anthropology Painting in 1999. These are Yamada's last group of paintings juist before he moved to New York City from Chicago in 1999.
Reference: Art Exhibiition of "Art Of Business".
May 12, 2007. Yamada unveiled his series of artworks entitled "Art Of Business" at a group art show in Brooklyn, NYC.
(left: With the Brooklyn Borough President Marty Markowitz at the opening reception)
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City of Love (1994)
The theme of Chicago as the City of Love was explored in this series by Yamada, just before he left Chicago to New York City.
City of Love (1994)
The theme of Chicago as the City of Love was explored in this series by Yamada, just before he left Chicago to New York City.
Reference: Related painting
"Young God Of Love (Venus) of Chicago" was displayedd for sale at the national traveling group art exhibition, "Sextablos: Works on Metals". This particular painting was featured in teh full color in a magazine in the Europe, too. Yamada displayed 8 paintings rendered on the specified 8x10 inch zink metal plates. The show was held at the Hyde Park Art Center in Chicago, IL (1999, catalogue), Red Bud Gallery in Houston, TX (2000), Augen Gallery in Portland, OR (2001).
"Young God Of Love (Venus) of Chicago" was displayedd for sale at the national traveling group art exhibition, "Sextablos: Works on Metals". This particular painting was featured in teh full color in a magazine in the Europe, too. Yamada displayed 8 paintings rendered on the specified 8x10 inch zink metal plates. The show was held at the Hyde Park Art Center in Chicago, IL (1999, catalogue), Red Bud Gallery in Houston, TX (2000), Augen Gallery in Portland, OR (2001).
Reference: Art Exhibition
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Visual Anthropology (1983-2000)
Takeshi Yamada masterfully renders our city life with almost photograph-like details in his hand-painted oil and acrylic paintings on canvas. Yamada captured the wondering spirits and ghosts in major cities such as Baltimore, MD; Chicago, IL; Milwaukee, WIS; New York, NY; Louisville, Kentucky; New Orleans, LA, and Amsterdam in The Netherlands. Yamada's series of paintings of New Orleans Mardi Gras granted him solo exhibitions at Louisiana State Museum and Lauren Rogers Museum of Art, and a major group exhibition at the Meguroku Museum of Art (Tokyo, Japan). It should be noted here that Yamada also created a large numbers of etching, aquatint, mezzotint, and silkscreen prints during the time.
LINK: Takeshi Yamada's Paintings
Visual Anthropology (1983-2000)
Takeshi Yamada masterfully renders our city life with almost photograph-like details in his hand-painted oil and acrylic paintings on canvas. Yamada captured the wondering spirits and ghosts in major cities such as Baltimore, MD; Chicago, IL; Milwaukee, WIS; New York, NY; Louisville, Kentucky; New Orleans, LA, and Amsterdam in The Netherlands. Yamada's series of paintings of New Orleans Mardi Gras granted him solo exhibitions at Louisiana State Museum and Lauren Rogers Museum of Art, and a major group exhibition at the Meguroku Museum of Art (Tokyo, Japan). It should be noted here that Yamada also created a large numbers of etching, aquatint, mezzotint, and silkscreen prints during the time.
LINK: Takeshi Yamada's Paintings
Fantastic Cities
Reference:
(!) Yamada's "Michigan Theater, Under Water" as well as other smaller artworks were displayed for sale at the Van Der Plas Gallery at the Pier by the Wall street area of Manhattan, NYC. (2005-2006)
(2) Yamada's "Wedded Rock" and "Michigan Theater, Under Water" were displayed by the group art show at the Coney Island Hospital's Art Gallery space.
(!) Yamada's "Michigan Theater, Under Water" as well as other smaller artworks were displayed for sale at the Van Der Plas Gallery at the Pier by the Wall street area of Manhattan, NYC. (2005-2006)
(2) Yamada's "Wedded Rock" and "Michigan Theater, Under Water" were displayed by the group art show at the Coney Island Hospital's Art Gallery space.
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Louisville, Kentucky: Street Scenes & Blue Horses (1997 - 1998)
During February 24 and 4 April 4, 1998, Yamada exhibited several dozens of paintings on canvas and miniature paintings at his solo art exhibition at the Brownsboro Gallery in Louisville, Kentucky. On the occasion, Yamada created a series of street scene paintings. He also created the series of miniature paintingstworks, that he called Mythic Blue Horses.
Louisville, Kentucky: Street Scenes & Blue Horses (1997 - 1998)
During February 24 and 4 April 4, 1998, Yamada exhibited several dozens of paintings on canvas and miniature paintings at his solo art exhibition at the Brownsboro Gallery in Louisville, Kentucky. On the occasion, Yamada created a series of street scene paintings. He also created the series of miniature paintingstworks, that he called Mythic Blue Horses.
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Milwaukee: Phantom City (1994-1995)
When he lived in Chicago, Illinois, Yamada visited Milwaukee, Wisconsin frtequently for attending his solo & group art exhibiitions and taking photographs for producing paintings of the Milwaukee street scene paintings. In total he created about 20 paintings. These artworks were displayed for sale at the Peltz Gallery, Pfister Hotel, and Milwaukee Art Museum in Milwaukee. Yamada added more playful fantasy elements for some of these artworks here.
Milwaukee: Phantom City (1994-1995)
When he lived in Chicago, Illinois, Yamada visited Milwaukee, Wisconsin frtequently for attending his solo & group art exhibiitions and taking photographs for producing paintings of the Milwaukee street scene paintings. In total he created about 20 paintings. These artworks were displayed for sale at the Peltz Gallery, Pfister Hotel, and Milwaukee Art Museum in Milwaukee. Yamada added more playful fantasy elements for some of these artworks here.
Exhibitions & Media Coverage of Yamada's Milwaukee Paintings
January 30 - February 24, 1996. Yamada unveiled a series of paintings representing the mysterious visions of the cities full of symbolisms at his solo art exhibition "Magnificent Visions" at the Artemisia Gallery in Chicago, Illinois. Street scene paintings of Chicago, Milwaukee, and New Orleans.
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Chicago: Visual Anthropology (1985 - 2000)
Chicago Architecture: Iron Phoenix
Chicago: Grand Illusions
Chicago Chronicle: From the Great Fire to the Great Flood
These are series of over 100 artworks (paintings on canvas and miniature paintings), which Yamada created when he lived in Chicago during 1985 and 2000. These were exhibited at his many solo and group shows nationally. His artworks and colorful personality were regularly featured in numbers of magazines, newspapers, and TV news/shows there.
Chicago: Visual Anthropology (1985 - 2000)
Chicago Architecture: Iron Phoenix
Chicago: Grand Illusions
Chicago Chronicle: From the Great Fire to the Great Flood
These are series of over 100 artworks (paintings on canvas and miniature paintings), which Yamada created when he lived in Chicago during 1985 and 2000. These were exhibited at his many solo and group shows nationally. His artworks and colorful personality were regularly featured in numbers of magazines, newspapers, and TV news/shows there.
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Memories of New Orleans & Jazz Musicians (1993)
These small size paintings with the great details on the canvas boards were originally intended for producing the eye-catching posters for his new fine art exhibitions of the New Orleans Jazz series paintings.
Memories of New Orleans & Jazz Musicians (1993)
These small size paintings with the great details on the canvas boards were originally intended for producing the eye-catching posters for his new fine art exhibitions of the New Orleans Jazz series paintings.
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New Orleans Jazz Musicians (1991 - 93)
Yamada's Mardi Gras paintings were exhibited at the Louisiana State museum (solo show), Lauren rogers Museum of Art (solo show), and Meguroku Museum of Art in Tokyo in Tokyo (group show). After that, Yamada kept visiting New Orleans regularly, and created more paintings of the New Orleans street scenes and jazz.
New Orleans Jazz Musicians (1991 - 93)
Yamada's Mardi Gras paintings were exhibited at the Louisiana State museum (solo show), Lauren rogers Museum of Art (solo show), and Meguroku Museum of Art in Tokyo in Tokyo (group show). After that, Yamada kept visiting New Orleans regularly, and created more paintings of the New Orleans street scenes and jazz.
Reference: Art Exhibition
New Orleans Street Scenes (1990-1993)
Yamada's Mardi Gras paintings were exhibited at the Louisiana State museum (solo show), Lauren rogers Museum of Art (solo show), and Meguroku Museum of Art in Tokyo in Tokyo (group show). After that, Yamada resumed paintings of the New Orleans street scenes and jazz.
Yamada's Mardi Gras paintings were exhibited at the Louisiana State museum (solo show), Lauren rogers Museum of Art (solo show), and Meguroku Museum of Art in Tokyo in Tokyo (group show). After that, Yamada resumed paintings of the New Orleans street scenes and jazz.
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Amsterdam, The Netherlands: Night Scenes: Eternity (1990-1991)
When he lived in Chicago, IL, Yamada visited and stayed in Amsterdam for over two weeks for his onsite research and photographing the scenes. These 11 Amsterdam street scene paintings were exhibited at his solo (1992) and group art exhibition at the Gallery Charlott Daneel in Amsterdam (1990-1995), and a major art fair in Barcelona, Spain (1991).
Amsterdam, The Netherlands: Night Scenes: Eternity (1990-1991)
When he lived in Chicago, IL, Yamada visited and stayed in Amsterdam for over two weeks for his onsite research and photographing the scenes. These 11 Amsterdam street scene paintings were exhibited at his solo (1992) and group art exhibition at the Gallery Charlott Daneel in Amsterdam (1990-1995), and a major art fair in Barcelona, Spain (1991).
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Chicago: Citizen Kings (1987-1988)
This is the first series of 10 paintings, which Yamada created immediately after he moved to Chicago from Ann Arbor after obtaining this MFA degree from the University of Michigan School of Art. Chicago is the Sister City of his hometown Osaka, Japan. He called these "Post Super Realism", and he became one of the most media-covered and recognized artists, represented by a major gallery with over 25 years of experience in Chicago. He had a solo and group art exhibitions regularly in Chicago.
Chicago: Citizen Kings (1987-1988)
This is the first series of 10 paintings, which Yamada created immediately after he moved to Chicago from Ann Arbor after obtaining this MFA degree from the University of Michigan School of Art. Chicago is the Sister City of his hometown Osaka, Japan. He called these "Post Super Realism", and he became one of the most media-covered and recognized artists, represented by a major gallery with over 25 years of experience in Chicago. He had a solo and group art exhibitions regularly in Chicago.
Reference: "Buckingham Memorial fountain (Day), and "Beach" were displayed at the group art exhibition at the Coney Island Hospital Art Gallery space in Brooklyn, NYC.
Exhibitions & Media Coverage, Book Publications of Yamada's Chicago Paintings
REFERENCE:
ARTICLE: Chicago Tribune newspaper: Frozen Moments:
ARTICLE: Chicago Tribune newspaper: Frozen Moments:
Exhibitions & Media Coverage, Book Publications of Yamada's Amsterdam Paintings
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New York City: Heaven and Hell (1985-1987)
When he lived in Baltimore, Maryland, Yamada visited Manhattan, NY (mainly Times Square and 42nd Street area) for photographing scenes there for creating these large 10 oil paintings during 1985 and 1987. He also created intricate ten 16x24 inch capper plate etching (combined with aquatint, drypoint, mezzotint techniques) prints at the printmaking studio at the University of Michigan, School of Art in Ann Arbor, Michigan. Later, he also created smaller size (24x32 inch) acrylic paintings of "Hats" and "Movie Theaters".
New York City: Heaven and Hell (1985-1987)
When he lived in Baltimore, Maryland, Yamada visited Manhattan, NY (mainly Times Square and 42nd Street area) for photographing scenes there for creating these large 10 oil paintings during 1985 and 1987. He also created intricate ten 16x24 inch capper plate etching (combined with aquatint, drypoint, mezzotint techniques) prints at the printmaking studio at the University of Michigan, School of Art in Ann Arbor, Michigan. Later, he also created smaller size (24x32 inch) acrylic paintings of "Hats" and "Movie Theaters".
Exhibitions & Media Coverage, Book Publications of Yamada's New York City Paintings
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New Orleans Mardi Gras: Divine Comedy
(1983-1990: 48 paintings) Parades, Mardi Gras Indians, Artists, Meeting of the Courts
Yamada states New Orleans Mardi Gras is the most spectacular "divine" festival in the United States. He lived half of the year for several years in New Orleans for his specific historical researches, interviewing vital people, photographying subjects for creating these history-making 48 Mardi Gras paintings. He was granted solo art exhibitions at Lousiana State Museum in New Orleans, LA (1990), and Lauren Rogers Museum of Art in Laurel, MS (1993). His selected Mardi Gras paintings were also shown at the prestige Meguroku Museum of Art in Tokyo, Japan (1990). Other institutions exhibited Yamada's Mardi Gras paintings included the Posselt-Baker Gallery in New Orleans, Louisiana (1990); Bryant Galleries in New Orleans, Louisiana & Jackson Mississippi (1990-1995); Yamada Art Center in Chicago, Illinois (1990 - 2000); Holiday Inn Express in Elmhurst, Illinois (1998); Larson Art Gallery of the University of Minnesota in St. Paul, Minnesota (2000); Salem State College in Salem, Massachusetts (2000): Eastern Oregon University in La Grande, Oregon (1998); Pier Gallery in Brooklyn, New York (2004 &2006), Coney Island Hospital Art Gallery in Brooklyn, NY (2012), etc.
New Orleans Mardi Gras: Divine Comedy
(1983-1990: 48 paintings) Parades, Mardi Gras Indians, Artists, Meeting of the Courts
Yamada states New Orleans Mardi Gras is the most spectacular "divine" festival in the United States. He lived half of the year for several years in New Orleans for his specific historical researches, interviewing vital people, photographying subjects for creating these history-making 48 Mardi Gras paintings. He was granted solo art exhibitions at Lousiana State Museum in New Orleans, LA (1990), and Lauren Rogers Museum of Art in Laurel, MS (1993). His selected Mardi Gras paintings were also shown at the prestige Meguroku Museum of Art in Tokyo, Japan (1990). Other institutions exhibited Yamada's Mardi Gras paintings included the Posselt-Baker Gallery in New Orleans, Louisiana (1990); Bryant Galleries in New Orleans, Louisiana & Jackson Mississippi (1990-1995); Yamada Art Center in Chicago, Illinois (1990 - 2000); Holiday Inn Express in Elmhurst, Illinois (1998); Larson Art Gallery of the University of Minnesota in St. Paul, Minnesota (2000); Salem State College in Salem, Massachusetts (2000): Eastern Oregon University in La Grande, Oregon (1998); Pier Gallery in Brooklyn, New York (2004 &2006), Coney Island Hospital Art Gallery in Brooklyn, NY (2012), etc.
Exhibitions & Media Coverage of Yamada's Mardi Gras Paintings
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New Orleans: French Quarter Night Scenes (1983-1985) 11 paintings
Yamada states New Orleans is the most European city-like city in the United States for Yamada. This series of oil paintings on canvas reflect his unique view of the city, full of angels, ghosts, spirits, phantoms, apparitions, devils and gods. In the later years, smaller paintings (24x32 inch) were also created by him.
New Orleans: French Quarter Night Scenes (1983-1985) 11 paintings
Yamada states New Orleans is the most European city-like city in the United States for Yamada. This series of oil paintings on canvas reflect his unique view of the city, full of angels, ghosts, spirits, phantoms, apparitions, devils and gods. In the later years, smaller paintings (24x32 inch) were also created by him.
Exhibitions & Media Coverage of Yamada's New Orleans Street Scene Paintings
Reference: Yamada's Art and Creative Life:
Yamada continued his series of artworks of "Alchemy" for the first few years as the main style, when he moved to America in 1983. It was his most inpassioned art forms then.
Nevertheless, Professor Michael Economus of the Contemporary Realism painting class at MICA deeply inspired Yamada teh new direction. Economus taught Yamada the art of super realism painting. Yamada experimented with his Canon cameras and created the unique photographic images with the blur motions of the people against the sharply-focued images of the city streets. Yamada's series of New orleans street scene paintings were big success, and he sold most of them at his first solo art exhibition at the Posselt-Baker Gallery in teh French Quarter in New Orleans in 1985 and 1987.
Immediately after obtaining the MFA defree from the University of Michigan School of Art & Design, Yamada moved to Chicago, Illinois, which was closer than New York City. Yamada shared a large lost space with other American Buddhist artist roommate for the first few years. (It was only 15 minutes walking distance from the Chicag's biggest art gallery district "River North" or "SUHU"). Yamada frequently visited a variety of fine art galleries, and especially his affiliated major commercial fine art gallery, Neville-sargent Gallery there. His last and the biggest apartment in Chicago's West side Gallery District was about 900 square feet ($400 inclouding all utilities), trhanks to the very understanding graphic designer landlord.
Yamada continued his series of artworks of "Alchemy" for the first few years as the main style, when he moved to America in 1983. It was his most inpassioned art forms then.
Nevertheless, Professor Michael Economus of the Contemporary Realism painting class at MICA deeply inspired Yamada teh new direction. Economus taught Yamada the art of super realism painting. Yamada experimented with his Canon cameras and created the unique photographic images with the blur motions of the people against the sharply-focued images of the city streets. Yamada's series of New orleans street scene paintings were big success, and he sold most of them at his first solo art exhibition at the Posselt-Baker Gallery in teh French Quarter in New Orleans in 1985 and 1987.
Immediately after obtaining the MFA defree from the University of Michigan School of Art & Design, Yamada moved to Chicago, Illinois, which was closer than New York City. Yamada shared a large lost space with other American Buddhist artist roommate for the first few years. (It was only 15 minutes walking distance from the Chicag's biggest art gallery district "River North" or "SUHU"). Yamada frequently visited a variety of fine art galleries, and especially his affiliated major commercial fine art gallery, Neville-sargent Gallery there. His last and the biggest apartment in Chicago's West side Gallery District was about 900 square feet ($400 inclouding all utilities), trhanks to the very understanding graphic designer landlord.
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Alchemy II (1983-1985, USA)
Yamada's early oil paintings on canvas in the United States reflect his passion in fusing old subject matters in Japan and new environment in the United States. The old interior design of his old apartment (near his undergraduate school, Maryland Institute College of Art) and the view from the window deeply inspired him. Reinvestigation of the Buddhism teaching and how it has been accepted by people in the United States also inspired him to create Asian theme paintings such as Mandala and Phoenix.
Alchemy II (1983-1985, USA)
Yamada's early oil paintings on canvas in the United States reflect his passion in fusing old subject matters in Japan and new environment in the United States. The old interior design of his old apartment (near his undergraduate school, Maryland Institute College of Art) and the view from the window deeply inspired him. Reinvestigation of the Buddhism teaching and how it has been accepted by people in the United States also inspired him to create Asian theme paintings such as Mandala and Phoenix.
Reference: Art Exhibitions:
Reference: Completely Different Art Education in America:
Yamada moved to America as an only foreign exchange student, who was granted for the year 1983 from Osaka Art University in Japan. Yamada took the summer course at the California College of Arts & Crafts (California College of the Arts) in Oakland California. It was OK but he was shocked to see the art professor actually stayed in the classroom and taught art classes, unlike those defected ones in Japan. Yamada was most impressed by the artist-like art professors at the Maryland Institute College of Art (MICA) in Baltimore, Maryland, where he took a variety of classes during 1983 and 1985, and obtained Bachelar of Fine art Degree.
After that, Yamada was accepted as a Full Tuition scholarship elite student at the University of Michigan School of Art & Design. Unfortunately, Yamada was very unhappy about its defected low quality curriculum there. One of the painting class professors, as he openly said, he did not paint for over a year! Yamada also hated seeing the political animosity among the art professors: His fellow graduate school art student left the school due to the harrassment by the art professor, and even his assigned art professor of the realism art left this school before he obtained Master of Fine Art Degree in 1987. These are the real and sad examples of how politics destroyed artists.
Yamada was the only individual, who obtained the Master degree of any kinds in his family and the extended families (all in Japan). Yamada always thought the academic degree papers are worthless for artists. The reason why Yamada studied art at these 6 major art schools in Japan and America was possibly receiving the personal inspirations by the succcessful and socially recognized great artist instructors. Yamada was deeply inspired by the Professor Albert Sangiamo (Drawing Class) and Professor Michael Economus (Contemporary Realism painting class), especially. Some of the working and wage-earning highly skilled fellow art students also inspired Yamada. Yamada says his life at the MICA was the most happy and shinning moment as an art student in his life.
Yamada moved to America as an only foreign exchange student, who was granted for the year 1983 from Osaka Art University in Japan. Yamada took the summer course at the California College of Arts & Crafts (California College of the Arts) in Oakland California. It was OK but he was shocked to see the art professor actually stayed in the classroom and taught art classes, unlike those defected ones in Japan. Yamada was most impressed by the artist-like art professors at the Maryland Institute College of Art (MICA) in Baltimore, Maryland, where he took a variety of classes during 1983 and 1985, and obtained Bachelar of Fine art Degree.
After that, Yamada was accepted as a Full Tuition scholarship elite student at the University of Michigan School of Art & Design. Unfortunately, Yamada was very unhappy about its defected low quality curriculum there. One of the painting class professors, as he openly said, he did not paint for over a year! Yamada also hated seeing the political animosity among the art professors: His fellow graduate school art student left the school due to the harrassment by the art professor, and even his assigned art professor of the realism art left this school before he obtained Master of Fine Art Degree in 1987. These are the real and sad examples of how politics destroyed artists.
Yamada was the only individual, who obtained the Master degree of any kinds in his family and the extended families (all in Japan). Yamada always thought the academic degree papers are worthless for artists. The reason why Yamada studied art at these 6 major art schools in Japan and America was possibly receiving the personal inspirations by the succcessful and socially recognized great artist instructors. Yamada was deeply inspired by the Professor Albert Sangiamo (Drawing Class) and Professor Michael Economus (Contemporary Realism painting class), especially. Some of the working and wage-earning highly skilled fellow art students also inspired Yamada. Yamada says his life at the MICA was the most happy and shinning moment as an art student in his life.
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Alchemy I (1976 -1983, Japan)
Yamada personally and independently started creating his unique oil paintings in his bedroom at his home in Osaka in japan at the age 16. His first painting was entitled "SELF PORTRAIT; CEREMONEY OF THE SEA; ONE IS ALL AND ALL IS ONE". Yamada's early oil paintings on canvas reflect his investigations and passion for the Renaissance artists' craftsmanship, classic/neo-classic art, alchemy, science, technoiogy, mathematics, medical science, DNA, genetic engineering, nuclear weapons, strange-looking animals and plants, beetles, gemstones, cybanetics, artificial intelligent, automata, Japanese karakuri, oddities, ghosts, archeology, weapons, space exploration, ancient civilizations, anthropology, hermaphrodite, divinity of human soul, and mysticism of Eastern & Western religions.
Alchemy I (1976 -1983, Japan)
Yamada personally and independently started creating his unique oil paintings in his bedroom at his home in Osaka in japan at the age 16. His first painting was entitled "SELF PORTRAIT; CEREMONEY OF THE SEA; ONE IS ALL AND ALL IS ONE". Yamada's early oil paintings on canvas reflect his investigations and passion for the Renaissance artists' craftsmanship, classic/neo-classic art, alchemy, science, technoiogy, mathematics, medical science, DNA, genetic engineering, nuclear weapons, strange-looking animals and plants, beetles, gemstones, cybanetics, artificial intelligent, automata, Japanese karakuri, oddities, ghosts, archeology, weapons, space exploration, ancient civilizations, anthropology, hermaphrodite, divinity of human soul, and mysticism of Eastern & Western religions.
Selfportrait: Ceremony of the Sea: One is All; All is One. oil on canvas, 29x24 inch, 1976. Takeshi Yamada, This is the first oil painting, which Takeshi Yamada created in his small bedroom when he was only 16 years old in Osaka, Japan.
Reference: Art Exhibitions in Japan:
(1)"Self-portrait: Celemoney of the Sea: One is All & All is One" (1976) was displayed at the "Shiten" (city-wide juried painting exhibition) in Higashio Osaka City in Osaka, Japan in 1977. He won the Fifth Prize.
(2) "Homage to Leonardo da Vinci" (1978) was displayed at the "Shiten" (city-wide juried painting exhibition) in Higashio Osaka City in Japan in 1979. He won the Second Prize.
(3) Goddess of Alchemy (1981) was displayed at the Gugenten (Annual Juried Art Exhibition) at the Osaka Museum of Art in Osaka in 1980.
(4) "God of River" (1982) was displayed at the “Junior Exhibition” at the Osaka University of Arts in Osaka, Japan in 1983.
Reference: Disgusting Art Education in Japan:
Yamada's artworks were very out of norm in Japan. So, naturally, the art education in Japan was completely worthless to him. Here are details. In Japan, Yamada studied art at the Arterie Libera (cram school), Nakanoshima Art Institute (cram school), and Osaka Umiversity of Arts. Yamada stated their calicurams were all completely worthless and waste of time. Yamada even called the lazy dyfected painting class professor of the Osaka Art University face-to-face, "salary thief", because he even did not show up in the classroom for the most of the semester. "Is this what I was enslaved for the "Entrance Exam War" for his entire life? Yamada was outraged. (Later, Yamada learned this was and still is the most common disgusting behaviors of the art school painting class preofessors.) Yamada focued his effort to become the best art student in his university to be accepted by the art universities in America. In 1983, Yamada was the only foreign exchange art student from the many applicants, who was granted by the Osaka Art Universty. After completing his 2 years of the international exchange student's program, Yamada refused to come back to Japan for finishing his Bachelar of Fine Art Degree (BFA), naturally. Yamada stayed in America and completed not only BFA degree (1985) but also Master of Fine Art (MFA) Degree (1987) shortly.
(1)"Self-portrait: Celemoney of the Sea: One is All & All is One" (1976) was displayed at the "Shiten" (city-wide juried painting exhibition) in Higashio Osaka City in Osaka, Japan in 1977. He won the Fifth Prize.
(2) "Homage to Leonardo da Vinci" (1978) was displayed at the "Shiten" (city-wide juried painting exhibition) in Higashio Osaka City in Japan in 1979. He won the Second Prize.
(3) Goddess of Alchemy (1981) was displayed at the Gugenten (Annual Juried Art Exhibition) at the Osaka Museum of Art in Osaka in 1980.
(4) "God of River" (1982) was displayed at the “Junior Exhibition” at the Osaka University of Arts in Osaka, Japan in 1983.
Reference: Disgusting Art Education in Japan:
Yamada's artworks were very out of norm in Japan. So, naturally, the art education in Japan was completely worthless to him. Here are details. In Japan, Yamada studied art at the Arterie Libera (cram school), Nakanoshima Art Institute (cram school), and Osaka Umiversity of Arts. Yamada stated their calicurams were all completely worthless and waste of time. Yamada even called the lazy dyfected painting class professor of the Osaka Art University face-to-face, "salary thief", because he even did not show up in the classroom for the most of the semester. "Is this what I was enslaved for the "Entrance Exam War" for his entire life? Yamada was outraged. (Later, Yamada learned this was and still is the most common disgusting behaviors of the art school painting class preofessors.) Yamada focued his effort to become the best art student in his university to be accepted by the art universities in America. In 1983, Yamada was the only foreign exchange art student from the many applicants, who was granted by the Osaka Art Universty. After completing his 2 years of the international exchange student's program, Yamada refused to come back to Japan for finishing his Bachelar of Fine Art Degree (BFA), naturally. Yamada stayed in America and completed not only BFA degree (1985) but also Master of Fine Art (MFA) Degree (1987) shortly.
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Fantastic Landscapes (1976-1981, Japan)
During this early period, Yamada created a countless variety of imaginary landscapes and organic & mechanical abstruct shapes & forms. Later on, these peersonal abstract shapes and forms started fusing with the realistic forms around Yamada.
Fantastic Landscapes (1976-1981, Japan)
During this early period, Yamada created a countless variety of imaginary landscapes and organic & mechanical abstruct shapes & forms. Later on, these peersonal abstract shapes and forms started fusing with the realistic forms around Yamada.
Reference: Young Yamada's life and his artworks:
(1) At the age 11 (Six Grade), Yamada received the weekly oil painting lessons (still life, dolls, copying the postcards) by the local community college art instructor. Yamada was not impressed at all by his instructor's paintings, that were covered by the old sewage-like disgusting muddy colors and full of ugly textures. Yamada learned nothing from him and quit before long. (Even so, his mother sold his painting behind him and bought herself a new kimono.) For the purpose of this page, all of Yamada's oil paintings from this art lessons were omitted completely. Yamada started creating his own painting in his bedroom aroung the age 11, and started painting daily at the age 12. He carried around his idea drawing book, The Third Eye" everywhere.
(2) Yamada started abstruct paintings first. But it was not enough. Instinctively, young Yamada started creating a new series of artworks, that were deeply inspired by all the world's major religions of the past and present. They included the Greek mythology, Christinity, Judaism, Buddhism, Hinduism, Islam, Native Americans, and even the spiritural cosmology of some of the major Japanese manga such as Devilman by Go Nagai and Ryuu No Michi by Shoutaro Ishinomori. (In Japan, the biggest religion has been the Shinto, the Japan-born religion. The population of all the combined Western religions including the Christianity in Japan is barely 5%, then.)
(3) Creating artworks was the only divine blessing and salvation for young Yamada. Only creating artworks kept Yamada stay sane and not violently killing his violent, negative, domestic-violence-possessed so-called parents with his burning rage. Yamada hated every seconds being forced to affiliate with his completely dysfunctional evil so-calleled parents and his truly disgusting slave-like chained life in Japan for his cursed 23 years of life. Japan was the Living Hell for the children and young adults then. The sole purpose of life is passing the Entrance Exam of the elite High School & University. Thus, you must kill yourself when you fail. The entire nation was driven by this mental disorder, then. The generation of him and his fellow students were tormented with the unbearable pains and sufferings by the Jyuken Sensou (Entrance Exam War); they produced the highest suicide rate in the history of Japan. Yamada worked 3 jobs and survived. Yamada decided to become an artist and leave Japan at the age 16. Yamada happily moved to America in 1983 to truly start his life.
(1) At the age 11 (Six Grade), Yamada received the weekly oil painting lessons (still life, dolls, copying the postcards) by the local community college art instructor. Yamada was not impressed at all by his instructor's paintings, that were covered by the old sewage-like disgusting muddy colors and full of ugly textures. Yamada learned nothing from him and quit before long. (Even so, his mother sold his painting behind him and bought herself a new kimono.) For the purpose of this page, all of Yamada's oil paintings from this art lessons were omitted completely. Yamada started creating his own painting in his bedroom aroung the age 11, and started painting daily at the age 12. He carried around his idea drawing book, The Third Eye" everywhere.
(2) Yamada started abstruct paintings first. But it was not enough. Instinctively, young Yamada started creating a new series of artworks, that were deeply inspired by all the world's major religions of the past and present. They included the Greek mythology, Christinity, Judaism, Buddhism, Hinduism, Islam, Native Americans, and even the spiritural cosmology of some of the major Japanese manga such as Devilman by Go Nagai and Ryuu No Michi by Shoutaro Ishinomori. (In Japan, the biggest religion has been the Shinto, the Japan-born religion. The population of all the combined Western religions including the Christianity in Japan is barely 5%, then.)
(3) Creating artworks was the only divine blessing and salvation for young Yamada. Only creating artworks kept Yamada stay sane and not violently killing his violent, negative, domestic-violence-possessed so-called parents with his burning rage. Yamada hated every seconds being forced to affiliate with his completely dysfunctional evil so-calleled parents and his truly disgusting slave-like chained life in Japan for his cursed 23 years of life. Japan was the Living Hell for the children and young adults then. The sole purpose of life is passing the Entrance Exam of the elite High School & University. Thus, you must kill yourself when you fail. The entire nation was driven by this mental disorder, then. The generation of him and his fellow students were tormented with the unbearable pains and sufferings by the Jyuken Sensou (Entrance Exam War); they produced the highest suicide rate in the history of Japan. Yamada worked 3 jobs and survived. Yamada decided to become an artist and leave Japan at the age 16. Yamada happily moved to America in 1983 to truly start his life.
This is the official fine art website of the Japanese-American artist, rogue taxidermist, educator, and author, Takeshi Yamada (山田 武司). Images contained on this website may not be used or reproduced in any manner without the explicit permission of the artist. For information on obtaining the rights to use images on this site, contact Takeshi Yamada at takeshiyamadaart@gmail.com with “image licensing” as the subject line.
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