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Journal articles on the topic 'Japonisme'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Emery, Elizabeth. "Hayashi Tadamasa in the United States (1887)." Journal of Japonisme 7, no. 1 (March 18, 2022): 18–49. http://dx.doi.org/10.1163/24054992-07010002.

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Abstract This article extends the conclusions of “A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)” (Journal of Japonisme, 6:1, 2021), an essay dedicated to the translation and analysis of a set of French letters documenting the friendship between Hayashi Tadamasa and Philippe Burty. The present article focuses on a second set of letters sent from Hayashi to Burty while on a trip to the United States in 1887 during which he sold fourteen French paintings for Burty. Hayashi’s descriptions of transatlantic voyages, the tastes and practices of American clients, and his personal reflections on travel, religion, and the tensions among French and American japonistes provide valuable insights into his character, the art market, and the social and aesthetic situation of Japonisme in 1887.

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2

Coman, Sonia. "Local, Cross-cultural, and Global: Japoniste Ceramics in Limoges." Journal of Japonisme 5, no. 1 (December 18, 2019): 47–70. http://dx.doi.org/10.1163/24054992-00051p02.

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Abstract Ever since its inception Japonisme presented a creative tension between local traditions and cross-cultural practices. Adding to this formative relationship was the simultaneous development of Japonisme across Europe, the United States, and Japan itself. This paper focuses on one place of intersection – Limoges – and one medium – ceramics – to identify the local (Limoges’s rich ceramic history), the cross-cultural (French and Japanese influences), and the global (similar practices in other regions). A constellation of producers and collectors inextricably connected Limoges, a centuries-old hub of French ceramics, with the increasingly global realm of japoniste ceramics. How did the Limoges tradition blend with a Paris-based Japonisme in Limoges-produced japoniste ceramics? And what was the international reception of these ceramics? Cross-regional and cross-temporal emulation was a driving force bridging Japonisme with the latest experiments in the arts, from early abstractionism to revisions of hierarchies of genre and medium.

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3

Emery, Elizabeth. "Madame Desoye, “First Woman Importer” of Japanese Art in Nineteenth-Century Paris." Journal of Japonisme 5, no. 1 (December 18, 2019): 1–46. http://dx.doi.org/10.1163/24054992-00051p01.

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Abstract The shop run by Madame Desoye at 220, rue de Rivoli in Paris is legendary in Japonisme studies thanks to the writings of Edmond de Goncourt and Philippe Burty, yet the identity of the woman hidden behind this married name, like the extent of her participation in Japoniste activities, has long remained a mystery. The present article draws upon new archival research to provide information about the life of Louise Mélina Desoye, née Chopin (1836-1909) and her important contributions to the first wave of French Japonisme.

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4

Nunokawa, Yumiko. "Influence of Japonisme on Art of M. K. Čiurlionis and His Contemporaries." International Journal of Area Studies 10, no. 1 (March 1, 2015): 85–118. http://dx.doi.org/10.1515/ijas-2015-0005.

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Abstract The aim of this paper is to show how Japonisme was introduced to Europe in the late 19th century and how it influenced artists in major cities. Japanese woodblock prints (ukiyo-e), especially those of Hokusai and Hiroshige, fascinated the Impressionists and other contemporaries such as Claude Monet (1840-1926), Vincent van Gogh (1853-1890), and James Abbott McNeill Whistler (1834-1903). Many of them adopted japonaiserie motifs in their paintings or sculptures, and it formed a major artistic trend called Japonisme. The Lithuanian composer and painter Mikalojus Konstantinas Čiurlionis (1875-1911) was also influenced by the trend of Japonisme, especially from the paintings of the Impressionists or through artists in Poland. In Poland and Russia, Japanese artworks were imported by artists who had studied abroad, or by wealthy bourgeoisie such as Feliks “Manggha” Jasieński (1861-1929), a Polish collector whose nickname was directly associated with Japonisme, and Sergey Kitaev (1864-1927), an ardent Russian collector of Japanese artworks. In this article, Japonisme in European art in general will be outlined, together with similar tendencies in Čiurlionis’ paintings, and then, examples of Japonisme-influenced paintings in Poland and Russia will be briefly shown. Finally, by focusing on Čiurlionis’ paintings, it will be shown how he adopted Japonisme in three stages. In the first stage japonaiserie motifs were only partially borrowed. In the second stage ukiyo-e’s motifs and pictorial schemes were applied to his paintings, and finally, in the third stage of borrowing, expressions of Japanese motifs in his most sublime style will be shown.

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5

Delank, Claudia. "The Painters of the Blaue Reiter and Japan." Journal of Japonisme 5, no. 1 (December 18, 2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.

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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.

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6

Weisberg, Gabriel P. "Le Japonisme (I)." Arts asiatiques 44, no. 1 (1989): 130–32. http://dx.doi.org/10.3406/arasi.1989.1269.

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7

Lacambre, G. "Le Japonisme (II)." Arts asiatiques 44, no. 1 (1989): 132–34. http://dx.doi.org/10.3406/arasi.1989.1270.

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8

Tanaka, Hidemichi. "Cezanne and "Japonisme"." Artibus et Historiae 22, no. 44 (2001): 201. http://dx.doi.org/10.2307/1483720.

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9

Weisberg, Gabriel P. "Reflecting on Japonisme." Journal of Japonisme 1, no. 1 (January 4, 2016): 3–16. http://dx.doi.org/10.1163/24054992-00011p02.

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10

Kagouridi, Kassiani. "Vienna-Paris-Corfu: Japonisme and Gregorios Manos (1851–1928)." Journal of Japonisme 5, no. 2 (September 7, 2020): 152–79. http://dx.doi.org/10.1163/24054992-00052p02.

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Abstract The present study defines the connection between Japonisme and the Greek diplomat and donor-collector Gregorios Manos (1851–1928). Manos collected Japanese pieces during the reign of Japonisme in Europe, was a pioneer of the study of Japanese art in Greece, and the first donor of Chinese and Japanese artifacts to the Greek State in 1919. The donation resulted in the foundation, in 1926, of the Sino-Japanese Museum (renamed in Museum of Asian Art in 1973) in Corfu. The present research is based on primary and secondary sources and seeks to present unpublished data as well as re-examine Manos’ connection to Japonisme. In addition, this micro-perspective research aims to reveal Manos’ studies, diplomatic carrier, collecting practices, and donating vision. At the same time, it hopes to enrich macro-perspective study by outlining the circumstances under which collectors founded museums of Asian art in peripheral places, such as Greece, during the first half of the twentieth century under and beyond the allure of Japonisme.

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11

Barrett, Marie-Therese, Klaus Berger, David Britt, Julia Meech, Gabriel P. Weisberg, and Harry Abrams. "Japonisme in the West." Monumenta Nipponica 48, no. 1 (1993): 101. http://dx.doi.org/10.2307/2385468.

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12

Hokenson, Jan. "Proust's "japonisme": Contrastive Aesthetics." Modern Language Studies 29, no. 1 (1999): 17. http://dx.doi.org/10.2307/3195357.

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13

Ducrey, Guy. "Le japonisme au théâtre." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 125–48. http://dx.doi.org/10.3406/cejdg.2011.1058.

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14

Bru, Ricard. "Marià Fortuny and Japanese Art." Journal of Japonisme 1, no. 2 (August 22, 2016): 155–85. http://dx.doi.org/10.1163/24054992-00012p01.

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Marià Fortuny, a painter in the forefront of the European avant-garde of the early 1870s, is also considered a key figure in the introduction of Japonisme in Spain and Italy. This study aims to offer a comprehensive analysis of Marià Fortuny’s links to Japanese art and the phenomenon of Japonisme. To this end, the article provides new information about Fortuny’s collection of Japanese art and considers the influence that these pieces had on the Catalan painter’s own work.

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15

Kōdera, Tsukasa, Tatsuya Saito, Megumi Soda, and Geneviève Aitken. "Introduction." Journal of Japonisme 2, no. 1 (January 18, 2017): 1–37. http://dx.doi.org/10.1163/24054992-00021p01.

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The exhibition of Japanese prints held at the École des Beaux-Arts in Paris in 1890 is a milestone in the history of Japonisme. Organized by S. Bing in collaboration with a number of Japonistes, the exhibition presented more than 1100 Japanese prints, illustrated books and kakemono. This article reconstructs this historic event in its diverse aspects: clarifying the preparation process, reconstructing the exhibition venue, identifying exhibits, and examining their lenders. All these factors will be placed in a historical context, revealing how meticulously Bing prepared the exhibition and subsequently promoted ukiyo-e prints in France. The impact of this exhibition on artists and critics, which is clearly visible in artists’ letters and contemporary reviews published in the press, is also briefly discussed.

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16

Houssais, Laurent. "Les Goncourt et le japonisme." Cahiers Edmond et Jules de Goncourt 1, no. 11 (2004): 59–78. http://dx.doi.org/10.3406/cejdg.2004.929.

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17

Skov, Lise. "Fashion Trends, Japonisme and Postmodernism." Theory, Culture & Society 13, no. 3 (August 1996): 129–51. http://dx.doi.org/10.1177/026327696013003007.

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18

Séguela, Matthieu. "Le Japonisme de Georges Clemenceau." Ebisu 27, no. 1 (2001): 7–44. http://dx.doi.org/10.3406/ebisu.2001.1122.

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19

Miyao, Daisuke. "Japonisme and the Birth of Cinema." Journal of Japonisme 1, no. 1 (January 4, 2016): 66–92. http://dx.doi.org/10.1163/24054992-00011p05.

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In this essay, I examine the connection between Japonisme and the films of the Lumière brothers. Lumière films have been considered to be “actuality films” or documentary. By focusing on Japonisme that is observed in these films, I locate them in a broader field of media interactions among such cultural products as painting and photography. One of my focuses is on the conflict and negotiation between the camera eye and the physicality of the human eyes and hands that can be witnessed in Lumière films. Moreover, considering the questions posed in Marxist, subaltern, and postcolonial theory about the relationship between center and periphery in formations of modernity, this essay attempts to reveal the process of conflict and negotiation encountered by France and Japan during the period of emerging cinema as a new global visual medium.

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20

Russell, Catherine. "Japonisme and the Birth of Cinema." Canadian Journal of Film Studies 31, no. 1 (April 1, 2022): 133–36. http://dx.doi.org/10.3138/cjfs-2021-0042.

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21

Dixon, Laurinda S. "Japan Meets Holland." Journal of Japonisme 6, no. 2 (August 26, 2021): 159–84. http://dx.doi.org/10.1163/24054992-06020002.

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Abstract George Hendrik Breitner (1857–1923) was a Dutch Realist artist, whose works chronicle urban life in Amsterdam. But his paintings of a young woman, collapsed on a divan and wrapped in a luxuriant kimono, secured his reputation as an exponent of European Japonisme. The so-called ‘Kimono Girls’, completed between 1893 and 1896, are compelling evocations of female leisure, subsumed within an exotic melange of vivid color and pattern. More importantly, they are an amalgamation of several cultural contexts that characterized the volatile nineteenth century. European Japonisme, the revival of Dutch painterly traditions, medical dogma, and the beginnings of organized feminism come together in these works, making them both compelling and subversive.

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22

Lachaud, Francois. "Bouddhisme et japonisme des Goncourt à Claudel." Comptes-rendus des séances de l année - Académie des inscriptions et belles-lettres 152, no. 2 (2008): 699–709. http://dx.doi.org/10.3406/crai.2008.92038.

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23

Suga, Y. "Modernism, Nationalism and Gender: Crafting 'Modern' Japonisme." Journal of Design History 21, no. 3 (September 1, 2008): 259–75. http://dx.doi.org/10.1093/jdh/epn026.

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24

Kang, Tae Woong. "Ukiyo-e and Japonisme in the 21st Century." Korean Journal of Japanese Dtudies 20 (February 15, 2019): 78–99. http://dx.doi.org/10.29154/ilbi.2019.20.078.

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25

Sandler, Mark H., and Klaus Berger. "Japonisme in Western Painting from Whistler to Matisse." Journal of Japanese Studies 20, no. 1 (1994): 219. http://dx.doi.org/10.2307/132802.

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26

Organ, Michael. "Tolkien’s Japonisme: Prints, Dragons, and a Great Wave." Tolkien Studies 10, no. 1 (2013): 105–22. http://dx.doi.org/10.1353/tks.2013.0021.

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27

Weisberg, Gabriel P. "Japonisme in western painting from Whistler to Matisse." History of European Ideas 18, no. 1 (January 1994): 150. http://dx.doi.org/10.1016/0191-6599(94)90183-x.

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28

Coman, Sonia. "Daisuke Miyao, Japonisme and the Birth of Cinema." Journal of Japonisme 6, no. 1 (January 22, 2021): 77–82. http://dx.doi.org/10.1163/24054992-06010003.

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29

Pavelchuk, Ivanna. "Iconography of intertwined branches in M. Buraček’s landscapes during 1917–1924: (regarding problems of adaptation of Young Polish Japonisme in the works of Ukrainian students of the Krakow Academy of Arts)." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 122–27. http://dx.doi.org/10.32461/2226-3209.2.2021.239983.

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The purpose of the article is to analyze M. Buraček’s winter landscapes from the collection of the Zaporizhzhia Art Museum: “Winter” (1917), “Apple Trees in Winter. Dziunkiv”(1922), “Branches in the Hoarfrost”(1924) and to substantiate the reflections associated with the Young Polish Japonisme mastered by the Ukrainian artist while studying at the Krakow Academy of Arts. Methodology. In order to solve the problem set in the publication, the following methods were used: comparative – in connection with clarifying the analogies between the landscapes of M. Buraček of 1917–1924 and the plots of Polish artists of the 1900s; hermeneutic - to understand the connection between the traditions of ukiyo-e Japanese woodblock prints and particularities of the Polish improvisations of early XX century. The scientific novelty of the publication consists in the fact that the works of M. Buraček proposed for consideration are analyzed for the first time in the context of the problem of assimilation of Young Polish Japonisme among Ukrainian students of the Krakow Academy of Arts. Conclusions. It was found that the landscape plots of kachō-ga, inspired by the Polish artistic background, had been adapted in the works of M. Buraček during the period: 1917–1924. The then strivings of the below Krakiw pioneers from Young Poland’s artistic environment contributed to the renewal of M. Buraček’s thematic repertoire: W. Weiss, J. Voinarski, K. Gomolaks, T. Richter, F. Ruszczyc, T. F. Simon, J. Stanislawski, W. Tadeusz, J. Tchaikovsky. The study of the landscape repertoire of M. Buraček during 1917–1924, which had been formed during his studies at the Krakow Academy of Arts, results in confirming the Krakiw Japonisme reflections traced in his works attributable to the first quarter of XX century.

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30

Shin, Sangchel. "Japonisme et réception de la céramique coréenne en France." ASSOCIATION CULTURELLE FRANC0-COREENNE 35, no. 2 (November 2017): 161–88. http://dx.doi.org/10.18022/acfco.2017.35.2.006.

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31

Beckson, Karl, and Linda Gertner Zatlin. "Beardsley, Japonisme, and the Perversion of the Victorian Ideal." South Atlantic Review 64, no. 2 (1999): 166. http://dx.doi.org/10.2307/3201990.

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32

Tornier, Etienne. "Territoires du Japonisme, edited by Patricia Plaud-Dilhuit, 2014." Journal of Japonisme 1, no. 1 (January 4, 2016): 144–49. http://dx.doi.org/10.1163/24054992-00011p09.

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33

Johnson, Annika K. "An Aesthetic Experience: Japonisme in the North” Framing Japanomania." Journal of Japonisme 1, no. 2 (August 22, 2016): 211–26. http://dx.doi.org/10.1163/24054992-00012p04.

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Review of the exhibition Japanomania in the Nordic Countries, 1875-1918 which opened at the Helsinki Ateneum Museum February 18, 2016. The exhibition examined over 400 works in all media that revealed how the mania for all things Japanese shaped Nordic aesthetics at the turn of the century. The exhibition goes on to Oslo and Copenhagen through 2017, and it has a catalogue published in five separate language editions with the English version being distributed by Yale University Press.

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34

George, David R. "Galdós and Japonisme: The Floating World of León Roch." Anales Galdosianos 52, no. 1 (2017): 11–32. http://dx.doi.org/10.1353/ang.2017.0000.

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35

Brennan, Marcia, and Linda Gertner Zatlin. "Beardsley, Japonisme, and the Perversion of the Victorian Ideal." Albion: A Quarterly Journal Concerned with British Studies 31, no. 1 (1999): 145. http://dx.doi.org/10.2307/4052863.

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36

Bernier, Bernard. "Révisionnisme, japonisme, culturalisme : comment expliquer le succès économique japonais ?" Anthropologie et Sociétés 14, no. 3 (September 10, 2003): 21–43. http://dx.doi.org/10.7202/015141ar.

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Résumé Révisionnisme, japonisme. culturalisme : comment expliquer le succès économique japonais ? Cet article porte sur l'explication du succès économique du Japon après la Seconde Guerre mondiale et sur l'interprétation des frictions commerciales récentes entre le Japon et les États-Unis. Il est divisé en trois parties. La première porte sur l'explication donnée par des auteurs, que l'on a appelés les révisionnistes, du succès japonais depuis 1945. Cette explication se fonde sur une conception de la société japonaise comme différente des sociétés occidentales, en particulier dans ses arrangements institutionnels et dans sa politique industrielle. La seconde comprend un examen des postulats theoriques sous-jacents à l'explication révisionniste. La troisième présente les bases d'une interprétation différente du succès japonais, interprétation plus complexe qui tient compte, en plus de la politique industrielle et des arrangements institutionnels, de la culture, des relations internationales et de la conjoncture historique.

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37

Wells, K. L. H. "The “Merely Imitative Mood”: British Japonisme and Imperial Mimesis." Nineteenth Century Studies 27, no. 1 (January 1, 2013): 143–66. http://dx.doi.org/10.5325/ninecentstud.27.2013.0143.

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38

Takesue, Akiko. "The Reception of Netsuke in the West since Japonisme." Journal of Japonisme 7, no. 1 (March 18, 2022): 50–87. http://dx.doi.org/10.1163/24054992-07010003.

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Abstract This essay was developed while translating the article by Matsuo Tomoko, Senior Curator at the Chiba City Museum of Art which was originally published in 2001 (see Appendix). While Matsuo’s article focuses on the historiography of netsuke in Japan, this essay discusses the historical reception of this form of art in the West from the mid-nineteenth century to the turn of the twenty-first century. It is hoped that the essay and the translation together provide a critical perception on netsuke, which has rarely been discussed within the narrative of Japanese art history.

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39

Yamamoto, Naoki. "Japonisme and the Birth of Cinema by Daisuke Miyao." Journal of Japanese Studies 48, no. 1 (2022): 230–34. http://dx.doi.org/10.1353/jjs.2022.0025.

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40

Ten Doeschate-Chu, Petra. "Revelation and Validation." Journal of Japonisme 1, no. 2 (August 22, 2016): 186–203. http://dx.doi.org/10.1163/24054992-00012p02.

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This article is about Matisse’s interest in Japanese and Chinese art, two artistic traditions that had a significant impact on his artistic thinking at the beginning and the end of his career, respectively. It analyzes the importance of Far-Eastern art and theory for Matisse’s modernism against the backdrop of the transformation (and ultimate decline) of Japonisme in the early twentieth century and the attendant revival of interest in Chinese art.

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41

Kober, Marc. "Pourquoi l'orientalisme d'Edward W. Said n'est-il pas un japonisme ?" Sociétés & Représentations 37, no. 1 (2014): 91. http://dx.doi.org/10.3917/sr.037.0091.

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42

Hwang Sung Hee. "A Study on the Consumption of Nordic Design as Japonisme." Cross-Cultural Studies 45, no. ll (December 2016): 433–78. http://dx.doi.org/10.21049/ccs.2016.45..433.

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43

Chang, Ting. "Le japonisme, la chinoiserie et la France d'Edmond de Goncourt." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 55–68. http://dx.doi.org/10.3406/cejdg.2011.1053.

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44

Tornier, Etienne. "True or False: Japonisme and the Historiography of Modern Design." Journal of Japonisme 2, no. 2 (July 20, 2017): 117–32. http://dx.doi.org/10.1163/24054992-00022p01.

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While most of the artistic trends of the late nineteenth century were indebted to the arts of Japan, their influence on western decorative arts – unlike painting – has only been acknowledged in the last quarter of the twentieth century. Early design historians, such as Nikolaus Pevsner (1936), hardly mentioned Japan in their works, although they recognized the importance of Christopher Dresser and the Arts & Crafts movement. Though this absence has been most commonly attributed to this authors’ involvement in contemporary design, this paper argues that their studies relied on many of their predecessors’ biased view on the artistic phenomenon. By drawing a distinction between a “good” vs. “bad” interpretation of Japanese art, their writings participated in the formation of a certain history of modern design.

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45

Silverman, Willa Z. "“The Most Passionate of All”." Journal of Japonisme 3, no. 1 (December 4, 2018): 1–51. http://dx.doi.org/10.1163/24054992-00031p01.

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Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.

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46

Warner, Pamela J. "La politique identitaire du japonisme : Edmond de Goncourt et Hayashi Tadamasa." Cahiers Edmond et Jules de Goncourt 1, no. 18 (2011): 83–101. http://dx.doi.org/10.3406/cejdg.2011.1055.

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47

Rodman, Tara. "A Modernist Audience: The Kawakami Troupe, Matsuki Bunkio, and Boston Japonisme." Theatre Journal 65, no. 4 (2013): 489–505. http://dx.doi.org/10.1353/tj.2013.0116.

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48

Kikuchi, Yuko. "Russel Wright and Japan: Bridging Japonisme and Good Design through Craft." Journal of Modern Craft 1, no. 3 (November 2008): 357–82. http://dx.doi.org/10.2752/174967808x379434.

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49

BARTLETT, ROSAMUND. "Japonisme and Japanophobia: The Russo-Japanese War in Russian Cultural Consciousness." Russian Review 67, no. 1 (January 10, 2008): 8–33. http://dx.doi.org/10.1111/j.1467-9434.2007.00471.x.

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50

Rado, Mei Mei. "The Hybrid Orient: Japonisme and Nationalism of the Takashimaya Mandarin Robes." Fashion Theory 19, no. 5 (August 18, 2015): 583–616. http://dx.doi.org/10.1080/1362704x.2015.1071071.

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