In 1875, Edoardo Chiossone, a native of Genoa who had been invited to Japan, introduced advanced copperplate engraving techniques—virtually unknown in Japan at the time—which revolutionized the printing of Japanese banknotes. His guidance in printing technology greatly accelerated Japan’s modernization.
On the other hand, Japanese art of the Edo period, epitomized by ukiyo-e, deeply influenced European Impressionists such as Vincent van Gogh, and continues to shape graphic design and animation worldwide today.
Moreover, the many outstanding ukiyo-e and other artworks that Chiossone collected in Japan at the end of the 19th century still astonish visitors here at the Chiossone Museum of Oriental Art in Genoa.
Such mutual exchanges of technology and culture have continued throughout history, playing an essential role in the development of civilization. At the same time, while these exchanges have enriched societies and cultures, it is also essential for us to recognize, confront, and share the atrocities humanity has committed in the past, as well as the destructive acts that threaten the future of our planet. These painful historical facts must be shared as collective memory, serving both as lessons for the future and as a perpetual warning to humanity. Ensuring that such events are never repeated is our responsibility, and conveying these facts to people around the world constitutes a vital and enduring call for the future of humankind.
From the past to the present, wars have brought deep suffering across the globe. Yet Hiroshima and Nagasaki remain the only two cities where atomic bombs were actually used. The first bomb was dropped on Hiroshima at 8:15 a.m. on August 6, 1945, followed by another on Nagasaki on August 9. Of Hiroshima’s population of about 350,000, approximately 140,000 people had lost their lives by the end of the year. In Nagasaki, with a population of 240,000, some 70,000 perished by the end of 1945.
In the years that followed, countless survivors continued to suffer from cancers and long-term health effects caused by radiation exposure.
In Japan, the tragedy and horror of nuclear war have been conveyed not only through books and documentary films, but also through media accessible to children, such as manga and animation, ensuring that the memory of these events is passed down across generations and never forgotten.
The Hiroshima Appeals poster series began in 1983 with a single work created by Yusaku Kamekura, the first president of the Japan Graphic Designers Association (JAGDA) and one of Japan’s most prominent graphic designers. Kamekura was widely known for designing the official posters for the 1964 Tokyo Olympics, and he was himself part of the generation that experienced war firsthand.
As a Japanese designer from the only country to have suffered atomic bombings, Kamekura believed that the message of anti-war and anti-nuclear sentiment should not be expressed through ideological or aggressive visuals. Instead, he sought to communicate these messages through the inherent beauty and power of graphic design.
His vision lives on through JAGDA, which continues to produce the Hiroshima Appeals posters each year—not for any client or commercial purpose, but purely as a plea for peace. Each year, a graphic designer who has made a significant contribution to the field is selected to create a new poster. Although the project was suspended from 1991 to 2004 due to social and economic circumstances, it later resumed, and by 2025 a total of 29 posters will have been created.
When the first Hiroshima Appeals poster was exhibited in France in 1985, Kamekura made the following statement:
“I believe peace is something solemn—it is something to be spoken of and contemplated with dignity. Despite being an issue so close to home, there is no other problem as difficult. Peace is the highest ideal of humanity, and it is something we must achieve at all costs. Surely this is something that every human being understands and desires. That is why I feel a strong urgency to end the wars being waged somewhere on this earth even now.”
— Yusaku Kamekura (Speech at the 11th Congress of the International Council of Graphic Design Associations, Nice, 1985)
Reflecting on his own poster, Kamekura remarked that the surreal image of many butterflies falling while aflame—evoking the pathos of aesthetic beauty consumed by fire—creates a deeper fear than a literal, realistic depiction. He deliberately avoided simply portraying the horror of the atomic bomb or resorting to formulaic expressions of peace and anti-war sentiment. Instead, he pursued a new perspective—one in which aesthetic dignity and a heartfelt prayer for peace are all woven into the image. He believed that such a poster was exactly what the citizens of Hiroshima were seeking.
Japanese graphic design has developed under the influence of traditional Japanese art, particularly ukiyo-e. It is characterized by bold compositions and the effective use of empty space, offering a freedom unconstrained by the conventions of realism. This uniquely Japanese approach, with its originality and a skillful sense of depth within a flat plane, leaves a lasting impression on viewers. Furthermore, Japanese graphic design often conveys meaning not directly, but through metaphor and suggestion, producing deeper significance and richer expression. This method can be seen as reflecting traditional Japanese modes of thought and cultural values.
Many of the posters in the Hiroshima Appeals exhibition are vivid, aesthetically striking, and at times even playful, so at first glance they may appear unrelated to the grave theme of the atomic bomb. In fact, these posters were created by some of Japan’s leading designers and can be regarded as a culmination of postwar Japanese graphic design. Visitors are encouraged to look closely: the faintly rendered mushroom cloud behind a graceful dove, scorched clocks and burnt dresses embedded within refined compositions, and poignant messages hidden among the graphics of many charming dogs. Through such visual symbols and metaphors, the message of peace is conveyed quietly, yet powerfully, within each poster.
Today, even in regions close to Europe, wars continue, and the possibility of nuclear weapons being used cannot be entirely dismissed. The year 2025 marks the 80th anniversary of the atomic bombings of Hiroshima and Nagasaki.
Through this exhibition, which presents both the Hiroshima Appeals posters and documentary posters depicting the people and scenes of Hiroshima after the atomic bombings, we aim to convey to audiences in Italy—and beyond—the grave consequences of nuclear weapons: destruction, death, environmental devastation, and long-term health impacts.
As Kamekura once said:
“A poster for peace must contain a touch of poetry and a trace of drama. Without these two elements, expression lacks depth, becoming shallow and flat, unable to knock on the doors of people’s hearts. By penetrating deeply, it can awaken the conscience of the soul. For this, designers must burn with an unquenchable passion for peace. Only then can a poster truly move people’s hearts.”
We, too, believe that it is precisely this kind of graphic design—imbued with aesthetic dignity and a sincere message of peace and resistance to war—that represents the cultural strength of Japan on the world stage. And we are convinced that the Hiroshima Appeals posters speak across borders, religions, and races, reaching the hearts of all who genuinely long for peace.
