UNTIL NOVEMBER 5th
1949 Born in Nagasaki
1973 First Exhibition (Takeshita Gallery, Nagasaki)
1977 Selected in Nikiten
1979 Selected in Nikiten. Selected in Saitana Exhibition
1980-1988 He moves to Granada
1984 Selected for the Alonso Cano Prize
1987 Second Exhibition (Caja Rural Gallery, Granada)
1988 He participates in the Exhibition organised by the Japanese Embassy: “Japanese painters living in Spain”
1989 Third Exhibition (Gumi no le Gallery, Nagasaki)
First prize in the contest of the exhibition for Nagasaki’s Centenary
1990 Fourth Exhibition (Gumi no Ie Gallery, Nagasaki)
Selected in the Art Exhibition East Japan
Mayor’s Award in Nagasaki’s Exhibition
1992 He returns to Granada
Colegio de Abogados
Caja Rural Gallery
He participates in the Andalusian Watercolourists Association
Granada, the city in the course of the time
Behind the tones, colours and steady lines of Nobuo Ueda’s paintings, a city beats whose beauty escapes ritual conventions with which painters have reflected, since the romantic travellers in the 19th century, the universally known figure of the Alhambra. The Renaissance, baroque or modernist Granada, or the alleys that narrow in upward perspective to the Albayzín, defend too its dignity of human work that deserves to be represented with the warm and touching nuances of Nobuo Ueda’s painting. There is another Granada, that unfolds itself in time, and it is now not only the eternal city that we can watch from the Carvajales or San Nicolás Mirador, when the spirit becomes free and seems to fly to some moment of History that stayed there, on the red hill forever.
On the walls of the Cathedral or the Royal Chapel, on the facade of the Church of San Juan de Dios, in the balconies and attics of Colon building in Gran Via, we can see the Granada of the last five centuries (the age of the Royal Chapel precisely in 2017), that surprises and amazes us, leading us to ages in which architecture was also expression of the delicacy and sensitivity of other arts, chiselling shapes against blue sky and constructing the space that human beings need to raise and dream. All this is present in the art of Nobuo Ueda, with a thoroughness and detail that seem impossible to achieve, gathering up the elements that define these masterpieces in which the city reflects itself in the course of time.
Painting has always expressed, in a way as concise as effective, the great human achievements, as well as the horrors of wars and the spirit of events and stages of development of civilizations. Nobuo Ueda’s art, following this trail, condenses the spirit of architecture, perhaps in a better way than architecture itself. Through it we can see a city of reverie that moves our memory to each one of the visions that the painter offers us in works in which stones, sculptures, arches or columns seem to be directly carved on paper through watercolour. Recreating Granada, its buildings and streets, through Nobuo Ueda’s paintings, is to remember it so, as if it were, more than shape or colour, a feeling.
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