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・ Vincenzo Patrick Guglielmelli
・ Vincenzo Pellegrini
・ Vincenzo Pellegrino
・ Vincenzo Pepe
・ Vincenzo Perruchon
・ Vincenzo Peruggia
・ Vincenzo Pesce
・ Vincenzo Petagna
・ Vincenzo Petrocelli
・ Vincenzo Picardi
・ Vincenzo Pietropaolo
・ Vincenzo Pinton
・ Vincenzo Pipino
・ Vincenzo Puccio
・ Vincenzo Pucitta
Vincenzo Ragusa
・ Vincenzo Re
・ Vincenzo Rennella
・ Vincenzo Reschiglian
・ Vincenzo Riccati
・ Vincenzo Righini
・ Vincenzo Riolo
・ Vincenzo Rocchi
・ Vincenzo Romano
・ Vincenzo Rossello
・ Vincenzo Ruffo
・ Vincenzo Ruggiero
・ Vincenzo Russo
・ Vincenzo Sabella
・ Vincenzo Salemme


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Vincenzo Ragusa : ウィキペディア英語版
Vincenzo Ragusa

Vincenzo Ragusa (8 July 1841 – 13 March 1927) was an Italian sculptor who lived in Meiji period Japan from 1876–1882. He introduced European techniques in bronze casting, and new methods of modeling in wood, clay, plaster and wire armatures which exerted a significant role in the development of the modern Japanese sculptural arts.
==Background==
In 1876, the Technical Fine Arts School (''Kobu Bijutsu Gakko'', later part of the University of Technology and later the Tokyo Institute of Technology), an art school of painting and sculpture, was founded in Tokyo under the supervision of the Ministry of Industry. This was the first governmental art school founded in Japan. Special emphasis was placed on sculptural art, as the number of applicants was far less than that for painting. With the waning popularity of Buddhism in the early Meiji period, traditional sculptural art had fallen into disfavor, and was surviving in minor arts such as architectural ornament, noh-masks, dolls, ''netsuke'', and ivory-work.
Upon recommendation of the Italian Minister to Tokyo, Conte Alessandro Fe, the Meiji government contracted three Italian artists as foreign advisors: Vincenzo Ragusa (1841–1927) for sculpture, Antonio Fontanesi (1818–1882) for drawing and Giovanni Cappelletti (died 1885) for the preparatory course. These individuals greatly influenced the development of modern Japanese art and architecture through the next several decades. The acceptance of teachers in art from Italy alone was part of an unofficial government policy that also involved taking military advice from France, industrial advice from Great Britain, agricultural advice from the United States, and legal/medical advice from Germany.

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