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1
Gálvez, Sepúlveda Matilde Belén. "El problema de la sensación en la pintura de paisaje : del japonismo a Cézanne". Tesis, Universidad de Chile, 2014. http://www.repositorio.uchile.cl/handle/2250/129802.
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Esta investigación se situó en Europa a fines del siglo XIX, especialmente Francia y estuvo centrada en el fenómeno del japonismo y sus repercusiones en los ámbitos del arte, específicamente en la pintura de paisaje usando este periodo como anclaje para desde ahí establecer una lectura historiográfica de, por una parte, la tradición de la pintura de paisaje de China y Japón y por otra, la tradición de la pintura de paisaje de Europa. El acento de la investigación estuvo en el problema de la sensación, tema en boga en la época del impresionismo, en donde los antiguos estatutos de la mímesis se veían conflictuados y surgía a su vez la psicología de la percepción. El problema de la sensación concentraba las contradicciones de dicho paradigma ya que representaba un punto intermedio entre la realidad objetiva y la realidad personal y, pese a su ambigüedad, se volvía centro de representación. La hipótesis de este estudio era que usando la sensación como centro, se podía establecer un marco comparativo entre las pinturas de Oriente y Occidente y encontrar afinidades entre ambas tradiciones, así como también con la pintura moderna, representada a través de la figura de Paul Cézanne. El estudio comienza con una introducción a la pintura china haciendo referencia a los principales teorías artísticas que se pueden ver reflejadas en la pintura de paisajes haciendo hincapié en la tradición taoísta. En seguida se hace referencia a la pintura japonesa, pasando por sus principales corrientes relativas al paisaje, que son la tradición del Buda Amida, el Budismo Zen y las escuelas decorativas, para terminar con la xilografía japonesa que puede considerarse un tipo de paisaje japonés que combina aspectos tradicionales y modernos. El segundo capítulo se centra en las transformaciones ocurridas en el periodo del japonismo francés. En este caso se han estudiado los aportes técnicos, compositivos e iconográficos aportados en relación al paisaje y la influencia en artistas puntuales tales como Vincent Van Gogh y el grupo Simbolista. Este capítulo pone énfasis en que el arte Oriental no fue solamente un referente de moda que impulsó algunas temáticas, sino que hizo pensar críticamente el estatuto del arte como se había entendido hasta el momento. El tercer capítulo recorre la historia de la pintura de paisaje en Europa, partiendo por una breve reseña al concepto de mímesis ampliamente cuestionado hacia fines del siglo XIX, aunque más que superar el tema del parecido se establecen nuevos parámetros. El cuarto capítulo centra su atención en el estudio de la obra de Cézanne, como figura relevante que sirve como nexo entre la tradición europea y la pintura moderna, encontrando afinidades con los problemas planteados por Oriente. En esta parte se ha apoyado a la investigación con los escritos de Cézanne y con algunos autores posteriores tales como Merleau-Ponty y Giles Deleuze, quienes a propósito de la obra de Cézanne han hecho lecturas que tienen afinidad con los problemas planteados por Oriente. En este caso cobra relevancia, el tema de la contemplación, como una actividad que es perceptiva más que intelectual, la importancia del cuerpo y el surgimiento de conceptos tales como el ritmo vital y la perspectiva vivenciada. El estudio ha arrojado la necesidad de estudios relacionados con los aportes de Oriente al arte Occidental, así como la posibilidad de que las teorías artísticas de Oriente sirvan como marco teórico para comprender o analizar aspectos relativos al arte moderno.
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Ginés, Blasi Mònica. "El col·leccionisme entre Catalunya i la Xina (1876-1895)". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/130925.
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Són diversos els autors que han posat de manifest com l’interès per l’art de la Xina i del Japó es traça a Espanya des del s.XVI, estimulant la tendència decorativa chinoiserie, que derivà a mitjans del s.XIX en el gust per tot allò procedent del Japó, moda denominada japonisme. A la segona meitat del s.XIX el govern japonès va emprendre una forta modernització establint intenses relacions comercials amb països europeus, esperonant l’interès per l’art japonès en vàries ciutats-centre europees. En canvi, l’interès que durant el barroc i el rococó havia suscitat l’art procedent de l’Imperi xinès va decaure fortament com a conseqüència de l’hermetisme comercial de la política exterior xinesa. Aquest factor, sumat al poc interès dels espanyols pel col•leccionisme en general, explica que tradicionalment s’hagi considerat escassa la presència de col•leccions d’art xinès en el nostre país. Durant l’últim terç del s.XIX, tot i que la presència espanyola a la Xina era molt minsa, hi va haver personalitats del món cultural i polític de la Catalunya de l’últim terç del segle XIX, com Eduard Toda i Güell (Reus, 1855 - Poblet, 1941), Víctor Balaguer i Cirera (Barcelona, 1824 - Madrid, 1901), Francisco Abellá (n. i m. desconeguts) o Juan Mencarini (1860-1939?), que van estar abocades a la compra, la venda, la distribució i l’intercanvi d’obres d’art, moneda i altres objectes procedents de la Xina. Aquest és un aspecte poc conegut de la història del col•leccionisme català i de les relacions entre Espanya i la Xina que precisava d’un estudi en profunditat. Aquesta tesi doctoral consisteix en la investigació sobre l’intercanvi internacional d’obres d’art, moneda i altres objectes produïts a la Xina, i que varen ser distribuïts en col•leccions tant particulars com públiques a la Catalunya de l’últim terç del s.XIX.
Eduard Toda i Güell, vicecònsol d’Espanya a Macau, Hong Kong, Canton i Whampoa, i Xangai (1876-1882), és el col•leccionista de peces xineses més preeminent del s.XIX català. Toda formà una important col•lecció d’obres d’art, numismàtica i documents procedents de la Xina i que vengué a col•leccionistes particulars, entre ells l’eminent mecenes Eusebi Güell i Bacigalupi, i que donà a museus públics espanyols, com el Museo Arqueológico Nacional, o la Biblioteca-Museu Víctor Balaguer de Vilanova i la Geltrú. Altres personalitats del seu entorn estigueren també involucrades en aquest tipus d’activitats: Francisco Abellá, Víctor Balaguer, el bibliotecari Joan Oliva (Sant Pere de Ribes, 1858 - Vilanova i la Geltrú, 1911), Juan Mencarini, Oficial d’Administració de les Duanes Imperials xineses, Celestí Pujol i Camps, Josep Ferrer i Soler, o el diplomàtic Herny A. Ramsden.
Peces de les col•leccions d’Eduard Toda, Francisco Abellá i Juan Mencarini nodreixen avui el fons de l’Àsia oriental del Museu Balaguer de Vilanova i la Geltrú. Contemporàniament la premsa barcelonina de l’època reflectia com la demanda per objectes procedents de l’Imperi xinès creixia a Barcelona en relació a la moda pel japonisme, propiciant la proliferació de botigues especialitzades en la venda d’art de la Xina, del Japó, de la península coreana i d’Annam. La investigació per aquest projecte planteja quina magnitud va assolir el col•leccionisme d’art de la Xina a Catalunya i el seu lloc relatiu al desenvolupament del col•leccionisme d’art a la Catalunya de la fin de siècle.Traditionally, it has been considered that Chinese art collecting in 19th century Catalonia was scarce. The interest that was aroused for artworks made in China during Baroque and Rococo declined strongly as a consequence of the commercial hermeticism of China’s foreign policies. This factor, as well as there being so little interest for art collecting from Spaniards in general, explains why traditionally the presence of Chinese art collections has been considered rather meager in our country. During the last third of the 19th century, even though there was little Spanish presence in China, there were some personalities belonging to Catalonia’s 19th century cultural and political elite, such as Eduard Toda i Güell (b Reus, 1855; d Poblet, 1941), Víctor Balaguer i Cirera (b Barcelona, 1824; d Madrid, 1901), Juan Mencarini (1860-1939?) and Francisco Abellá (b and d unknown), who all made a great effort to buy, sell, distribute, exchange and exhibit artworks, coins and other objects produced in China. This is an aspect of the history of Catalan art collecting and of the history of international relations between Spain and China which required an intensive and systematic research. The collections of coins and artworks of China’s imperial past which were formed by Toda, Mencarini and Abellá are nowadays preserved in the public collections of the Museum and Library Víctor Balaguer in Vilanova i la Geltrú. Toda also sold his coin collection to the Museo Arqueológico Nacional in Madrid. Furthermore, other personalities from Catalonia’s cultural elite participated in the acquisition, distribution, exchange and exhibition of Chinese art, coins, and material culture between the last two decades of the 19th century, right up until the 1930’s. Barcelona’s magazines and newspapers of that time also reflected a growing demand for Chinese art in relation to Japonisme. The research for this project focuses on the extent to which Chinese art collecting reached in Catalonia, as well as the place it occupied in the development of art collecting in the last third of the 19th century.
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Iwamoto, Luciana. "A influência japonesa nas artes e na moda europeia da virada do século XX". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-27072016-143945/.
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Esta pesquisa tem como objetivo analisar o período compreendido entre a metade do século XIX e o começo do século XX a fim de identificar que aspectos e componentes da estética e valores culturais japoneses teriam sido eventualmente integrados aos movimentos artísticos europeus e ao design de moda. O interesse ocidental pelo Oriente sempre existiu, porém, foi intensificado após a abertura dos portos japoneses em 1854, depois de mais de dois séculos em reclusão. O encontro entre duas culturas tão distintas causou grande entusiasmo na Europa, com diversos autores que defendem que esta aproximação influenciou o rumo das artes, do design e de outros diversos campos, resultando em um movimento estético denominado Japonismo. Desse modo, esta pesquisa de natureza qualitativa, na modalidade histórica, gerada a partir de estudos bibliográficos e estudo de campo em museus e exposições, pretende expor exemplos e tecer reflexões sobre a importância do intercâmbio cultural entre o Japão e a Europa do final do século XIX e início do século XX, mais especificamente nos campos da arte e da modaThe aim of this research is to study the period between mid-19th century and beginning of 20th century to identify which aesthetic and cultural values aspects and components would eventually have been integrated to European fashion design and art movements. The occidental interest towards the orient have always existed, although, it was intensified after the opening of Japanese ports on 1854, after more than two centuries of seclusion. The encounter of such different cultures triggered enthusiasm in Europe, and several authors suggest that this gathering led the way of art, design and many several fields, resulting in an aesthetic movement called Japonism. Therefore, this qualitative research, on history, generated from bibliographical and field study in museums and exhibits, intends to bring into thought the importance of cultural exchange between Japan and Europe on the end of 19th Century and beginning of 20th century, specifically on art and fashion
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Suzuki, Junji. "Marcel Proust et le japonisme". Paris 4, 1996. http://www.theses.fr/1996PA040277.
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L'objectif de la présente thèse est, d'une part, de mettre en évidence les faits ponctuels qui témoignent des contacts entre Marcel Proust et diverses choses du japon mentionnées dans ses écrits, et d'autre part, de déceler la structure du japonisme dans A La Recherche du temps perdu. Le premier chapitre est consacré à l'étude du rapport entre Proust et quelques écrivains qui se sont intéressés à la culture japonaise. Dans le second, nous passons en revue les fréquentations qu'avait Proust de quelques amis qui montraient un penchant pour les japoneries. Dans le troisième, nous considérons quelques faits et objets qui relient Proust au Japon, comme certains objets d'art japonais ayant appartenu à la collection des Goncourt. La structure voilée du japonisme dans le roman de Proust est mise en lumière dans le quatrième chapitre : elle est constituée par six personnages principaux qui forment deux groupes contrastés. Et dans le dernier chapitre, nous traitons le problème des affinités esthétiques entre Proust et l'art japonaisThe aim of this thesis is, on the one hand, to examine facts which testify to contacts between Marcel Proust and diverse Japanese things that were mentioned in his writings, and on the other hand, to reveal the structure of japonism in remembrance of things past. We also analyze some aesthetic affinities between Proust and Japanese art. The first chapter is devoted to the study of relations between Proust and several writers who were interested in Japanese culture. In the second chapter, we examine Proust’s acquaintances with certain friends who had an inclination for Japanese things. In the third one, we consider several facts and things that connected our novelist with Japan, for example, some Japanese works of art owned by the Goncourt. The veiled structure of japonism in his novel becomes clear in the fourth chapter: the structure consists of six principal characters who form two contrasting groups. Finally, in the last chapter, we treat the problem of aesthetic affinities between Proust and Japanese art
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Rossell, Cigarrán Diana. "Antoni García Llansó, crític d’art, historiador i divulgador de la cultura japonesa (1854-1914)". Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/322818.
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El Modernisme català, tenia en el Japonisme una de les seves fonts més rellevants d’inspiració, no només estètica, sinó també conceptual. Aquesta influència va arribar a conjuminar amb la societat barcelonina de les acaballes del segle XIX, sobretot amb els intel·lectuals i artistes, tal i com havia fet ja amb la resta d’Europa. El discurs entre la indústria, sinònim de modernitat i progrés i les arts tradicionals, havia fet palès la necessitat de no fer distincions entre les arts majors i les mal anomenades, arts menors; prenent el model japonès com a gran referent. En aquest sentit, trobem en la figura intel·lectual d’Antoni García Llansó (1854-1914), crític d’art, historiador i divulgador de la cultura japonesa, l’exemple perfecte de les inquietuds de l’època finisecular barcelonina. Tot i que alguns autors s’havien referit a García Llansó com a divulgador de la cultura japonesa i crític d’art, mai s’havia fet una revisió de tots els seus articles i escrits, ni tampoc un estudi en profunditat de totes les seves aportacions a l’àmbit artístic. Per això, en el primer capítol de la tesi hem optat per fer un panorama biogràfic sobre Antoni García Llansó com a home i intel·lectual. En un segon bloc, estudiarem la seva faceta de crític d’art a través dels seus articles publicats a revistes tant rellevants com La Ilustración de la mujer, La Ilustración. Revista Semanal de Literatura, Artes y Ciencias; La Ilustración.Revista Hispano-Americana; La Vanguardia; La Ilustración Artística. Periódico Semanal de Literatura, Artes y Ciencias; entre moltes d’altres. Gràcies aquestes publicacions podrem analitzar el contingut, tendència i evolució de García Llansó com a crític d’art. En tercer lloc, estudiarem la seva contribució com a historiador de l’art, juntament amb noms tant rellevants com Francesc Miquel i Badia (1840-1899), amb qui col·labora en la redacció del volum vuitè d’ Historia general del arte (1897) de l’editorial Montaner i Simón. Aquesta obra enciclopèdica ha estat considerada com la primera referencial en l’estudi de l’art a casa nostra. En aquest sentit, García Llansó destacarà, sobretot, com a estudiós de l’art del ferro, especialment, destacarem les seves aportacions en el camp de les armes i armadures i la forja, i sobretot, els seus estudis de dues col·leccions en concret, la de Josep Estruch i Santiago Rusiñol. En un quart bloc, estudiarem la relació de García Llansó amb la cultura japonesa. Ens centrarem en els motius de la seva elecció per l’imperi japonès com a jurat de l’Exposició Universal de Barcelona de 1888. I plantejarem diverses hipòtesis. Sobretot, aquest capítol, anirà centrat a la seva faceta com a divulgador de la cultura japonesa gràcies a la seva obra Dai Nipon (El Gran Japón) de 1905. Una font documental impressionant gràcies a la que podem conèixer col·leccionistes i col·leccions d’art oriental (Japonès i Xinès), a Barcelona. Finalment, aportarem el buidatge de les publicacions d’Antoni García Llansó, amb un resultat de 13 obres, 1 conferència, 5 discursos i 293 articles, es troben ordenats de manera cronològica a fi de facilitar l’estudi temàtic i l’evolució de l’intel·lectual. Així mateix, s’ha complementat la present investigació amb dos apèndix documentals, un d’arxivístic on hi ha una selecció d’epistolari conservat sobretot, a la Biblioteca Museu Víctor Balaguer i un altre de gràfic, amb les imatges de les peces artístiques que tenia García Llansó i que ara es troben conservades gràcies als seus descendents.Catalan Modernism, had the Japonism one of the sources most importants for his inspiration, not only aesthethic but also conceptual. This influence had combinated with barcelona society in the end of XIX century, specially with intelectuals and artists, the same that happened in the rest of Europe. The disussion between the industry, synonimus of modernity and progress, and the traditionals arts had needed to not make any distintions between majors arts and the wrong named decorative arts; having the japanese art as a model to follow. In this sense, we can find the intellectual Antoni García Llansó (1854-1914), art critic, historian and japanese divulgator, representing a Barcelona nineteen centruy intellectual art knowledge. Even if some authors had mentioned the name of García Llansó as a japanese culture divulgator and art critic, it has needed to be made his first biography. That’s the reason why we want to show in the first part of this dissertation, a biographical view of the intelectual. In the second chapter, we are going to study his contribution like an art critic in various historical publications such as La Ilustración de la mujer, La Ilustración. Revista Semanal de Literatura, Artes y Ciencias; La Ilustración. Revista Hispano-Americana; La Vanguardia; La Ilustración Artística. Periódico Semanal de Literatura, Artes y Ciencias; among others. Thanks to this publicacions we can analyse the thoughs of García Llansó and his evolution like an art critic. In the third chapter we are going to study his contribution like an art historian with others intellectuals as Francesc Miquel i Badia (1840-1899), writing the eight volum of Historia General del arte (1897), published by Montaner i Simón. This encyclopedia is considerated the first one dedicated in the catalan art field. In this case, García Llansó contributed with his studies like the biggest specialist iron work studious, in weapons and armours and forge, specially in the collections of Josep Estruch and Santiago Rusiñol. In four position, we are going to study the relation of García Llansó with the Japanese culture, focusing in the reason or reasons, of his election by the japanese empire as a jury of Universal Exhibition in Barcelona 1888. Also, we are going to planning various hypothesis. This chapter it’s going to be mainly focus to study the García Llansó work Dai Nipon (El Gran Japón), 1905. This work was a very important documentary source thanks to we can know the oriental art collectors and collections (Japanese and Chinese) in Barcelona. At last, we made a research of his publications with the following result, 13 work, 1 conference, 5 speech and 293 articles, which are ordenated crhonologically, so we can study the preferences and the thinker evolution of García Llansó. Also we complement this disseration with two appendix. One is dedicated to show different documentation, as a collected letters that had been conservated in Biblioteca Museu Víctor Balaguer and antoher, it shows the graphic appendix with the artistic works García Llansó’s property, today preserved thanks his descendants.
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Spławski, Piotr. "Japonisme in Polish pictorial arts (1885-1939)". Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6205/.
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This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Fałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Feliks Manggha Jasieński. His pro-Japonisme agency is discussed at length. Considerable attention is given to the political incentive provided by the outbreak of the Russo-Japanese war in 1904, which rendered Japan as Poland’s ally against its Russian oppressor. The first two decades of the 20th century are regarded as the ‘Renaissance’ of Japonisme in Poland, and it is this part of the thesis that explores Japanese inspirations as manifested in the genres of portraiture, still life, landscape, representations of flora and fauna, erotic imagery, and caricature. Japonisme in graphic and applied graphic arts, including the poster, is also discussed. The existence of the taste for Japanese art in the West after 1918 is less readily acknowledged than that of the preceding decades. The third phase of Polish Japonisme (1919-1939) helps challenge the tacit conviction that Japanese art stopped functioning as an inspirational force around 1918. This part of the thesis examines the nationalisation of heretofore private resources of Japanese art in Cracow and Warsaw, and the inauguration of official cultural exchange between Poland and Japan. Polish Japonisme within École de Paris, both before 1918 and thereafter, inspired mainly by the painting of Foujita Tsuguharu, is an entirely new contribution to the field. Although Japanese inspirations frequently appeared in Polish painting of the interwar period, it was the graphic arts that became most receptive to the Japanese aesthetic at that time. The thesis includes a case study of Leon Wyczółkowski’s interbellum Japonisme, and interprets it as patriotic transpositions of the work of Hiroshige and the Japanese genre of meisho-e. Japonisme in Polish design and architecture is addressed only in the context of the creation of Polish national style in design (1901-1939). Art schools in Britain and America became important centres for Japonisme at the beginning of the 20th century. The thesis considers the case of Cracow Academy of Fine Arts, which due to radical changes introduced by its new director Julian Fałat, became an important centre for the dissemination of the taste for Japanese art in Poland.
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Cooper, Chelsea N. "THE INFLUENCE OF JAPONISME IN CLAUDE MONET’S IMPRESSION, SUNRISE". Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1587645241000178.
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Oh, Myung-Seon. "Der Blaue Reiter und der Japonismus". Diss., lmu, 2006. http://nbn-resolving.de/urn:nbn:de:bvb:19-103990.
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Walker, Nancy J. "The Fox in the Mirror| Bertha Lum and American Japonisme". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1570862.
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The introduction of Japanese art and culture to the Western world prompted a powerful response from an entire generation of artists, writers, and musicians, including a gifted American artist named Bertha Lum. Lum travelled to Japan in the early 1900s to train with Japanese masters in the design, cutting, and printing of woodblock prints. Lum was a passionate exponent of Japonisme, and a study of her work illuminates how this phenomenon manifested itself in American art and culture.
In cultural and artistic terms, Japonisme emerged as a selective interpretation of Asian culture, a conveniently constructed image that reinforced the ideals of many at the turn of the last century. For graphic artists like Lum, the example of Japanese art provided leverage against the weight of European classicism, championed the role of the decorative arts, exemplified exquisite handcraft, and epitomized an art of natural beauty and grace.
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Suzuki, Junji. "Le japonisme dans la vie et l'oeuvre de Marcel Proust /". Tokyo : Keio university press, 2003. http://catalogue.bnf.fr/ark:/12148/cb41239844k.
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Okada, Tomoko. "Le japonisme sur scène en France de 1870 à 1914". Paris 4, 2005. http://www.theses.fr/2005PA040248.
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Cette thèse traite des exemples de japonisme sur scène (opéra, ballet, pièce de théâtre) de la fin du XIXe siècle, domaine encore très peu exploité. Dans la première partie, après les deux premiers chapitres consacrés à la presse et au théâtre ainsi qu'à un constat historique sur l'exotisme, le japonisme est abordé de manière globale, dans la littérature, les arts et la musique, en rapport avec les œuvres scéniques et leurs auteurs traités dans la deuxième partie. Celle-ci est dédiée à des analyses spécifiques de chaque pièce, à l'aide de nombreux documents iconographiques de l'époque, sous trois aspects qui font pendant aux trois éléments de la première partie : le livret, le décor et le costume, et la musique. Outre des aspects encore méconnus des geishas ou des instruments de musique, l'étude, toujours basée sur les faits historiques, mettra en lumière des œuvres aujourd'hui totalement oubliées mais qui recueillirent toujours un grand succèsThis thesis deals with examples of japonism on the stage (opera, ballet, theatre) at the end of the XIXth century, a field which remains largely unexploited. In the first part, after the two first chapters devoted to the press and the theater and to an historical review of exoticism, japonism will be considered in a global perspective, in literature, the arts and music, in connection with the scenic works and their authors dealt with in the second part. This second part presents specific analyses of each work, using numerous iconographic documents of that time, under three aspects corresponding to the three elements of the first part : the libretto, the scenery and costume, and the music. Besides some still little-known aspects of the geishas or music instruments, the study, always based on historical facts, will highlight some works which are now completely forgotten but were always highly successful at the time
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Savornin, Sabine. "De la réception du haiga en France ou de la relation entre poésie et peinture, entre mot et image". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10024.
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Depuis la japonisme, soit la seconde moitié du XIXe siècle, les études et expositions sur l'art japonais n'ont cessé de se mulitplier. Toutefois, ce sont généralement les mêmes oeuvres et artistes nippons qui sont mis en avant : d'une part les ukiyo-e avec Hokusai, Hiroshige ou Utamaro pour la peinture, d'autre part les haiku avec essentiellement Basho pour la poésie. Aussi se posait cette question : pourquoi le haiga est-il peu connu en France alors que la forme poétique à laquelle il se rattache - le haikai - y est largement connue et appréciée ? Notre hypothèse de départ est la suivante : le haiga reste méconnu en Occident pour deux raisons, l'une ayant trait à l'objet que constitue le haiga, l'autre au contexte du japonisme, ces deux raisons ayant partie liée selon nous à des conceptions différentes de la relation mot et image, qu'il s'agisse de différences culturelles, des conséquences de progrès techniques dans la production et reproduction d'image ou intérêts idéologiques ou commerciaux. Cette recherche se découpe en trois parties : la partie I où nous remontons aux sources du haiga pour restituer les conditions de son apparition dans l'histoire culturelle japonaise ; la partie II consistant en l'analyse de haiga et commentaires de traduction pour cerner la singularité du haiga et aborder la réception du haiga en Europe ; la partie III comparant la culture japonaise et la culture française pour envisager, d'une part, la réception de l'art japonais dans le contexte historique de l'époque et, d'autre part, reconsidérer l'influence de l'art japonais sur la peinture et la poésie en France et ses conséquences sur leur évolution.
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Steadman, Amanda Joy. "Images of Japonisme: The Portrayal of Japan in Select Musical Works". Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1249250727.
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Steadman, Amanda. "Images of Japonisme the portrayal of Japan in select musical works /". Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1249250727.
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Tinch, Rebecca H. "Locating Modernity: Japonisme, Gender, and Enchantment at the 1893 World’s Fair". Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1336132958.
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Nakanishi, Mitsuya. "Saint-Saëns et le Japon : considérations sur le japonisme dans l’oeuvre du compositeur". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040038.
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Le sujet de la thèse s’intitule « Saint-Saëns et le Japon ». Ce compositeur français (1835-1921) a toute sa vie durant entretenu un intérêt soutenu pour le Japon. Il s’est rendu célèbre comme « orientaliste » avec des œuvres telles que Samson et Dalila, la Suite Algérienne et le cinquième Concerto pour piano, dit l’Egyptien. Toutefois, son engouement pour le Japon n’a pas encore fait l’objet d’une étude approfondie, car son corpus musical ne comporte qu’une œuvre y étant dédiée, un opéra-comique intitulé La Princesse Jaune (1872). En revanche, il a publié deux poèmes : « Le Japon » et « Le Fouji-Yama », tous deux datant de 1890, auxquels s’ajoute un conte inédit, « Le Miroir » (1912). Le mouvement artistique « japonisme » désigne l’influence des objets d’art japonais, comme l’ukiyo-e (forme d’estampe), sur des artistes occidentaux. Vincent Van Gogh et Edmond de Goncourt en sont les exemples les plus connus. Saint-Saëns possédait lui-même une collection significative d’objets d’art et de livres japonais. Cependant, son intérêt concernait surtout le domaine littéraire, puisque ses guides japonisants étaient ses amis écrivains : Louis Gallet, Judith Gautier et un Japonais qui s’appelait Motoyosi Saizau. Enfin, le compositeur était un fameux « voyageur ». Ses séjours à Londres lui donnèrent l’occasion de visiter des expositions consacrées au Japon. A la suite de sa visite en Indochine, il avait même prévu de s’y rendreThe subject of the thesis is entitled "Saint-Saëns and Japan." This French composer (1835-1921) has throughout his life maintained a continued interest in Japan. He became famous as "orientalist" with works such as Samson and Delilah, the Algerian Suite and the fifth Piano Concerto, said the Egyptian. However, his infatuation with Japan has not been an object of profound study because his musical corpus has only one work dedicated to Japan, a comic opera entitled La Princesse Jaune (1872). However, he published two poems: "Japon" and "Fouji-Yama", both from 1890, plus an unpublished tale, "Le Miroir" (1912). The artistic movement "Japonism" means the influence of Japanese art objects, such as ukiyo-e (as print), on Western artists. Vincent Van Gogh and Edmond de Goncourt are the best known examples. Saint-Saëns himself possessed a significant collection of art objects and Japanese books. However, his interest mainly concerned the literary field, as its “japonisant” guides were his writer friends: Louis Gallet, Judith and a Japanese named Motoyosi Saizau. Finally, the composer was a famous "traveler". His stays in London gave him the opportunity to visit the exhibitions in Japan. Following his visit to Indochina, he had even planned to get there
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Bawin, Julie. "Japonisme et collectionnisme en Belgique : le collectionneur Hans de Winiwarter (1875-1949)". Paris 1, 2004. http://www.theses.fr/2004PA010639.
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Créé ex nihilo, l'ensemble d'estampes et de livres illustrés japonais réuni par le collectionneur belge Hans de Winiwarter (1875-1949) illustre non seulement l'expérience d'une figure particulière du collectionnisme nippon, mais éclaire aussi d'un jour nouveau l'histoire du japonisme en Belgique. Objet de délectation artistique tout autant qu'objet d'érudition, sa collection répond à la fois au jugement esthétique et au critère scientifique qui ont successivement motivé les amateurs d'art japonais. Par l'examen des pratiques de conservation et d'acquisition de Hans de Winiwarter et par l'analyse approfondie de ses démarches et de ses ambitions de collectionneur, la thèse s'inscrit dans la lignée des études portant sur l'histoire des mentalités et du goût artistique à la fin du XIXe et dans la première moitié du XXe siècle.
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De, Gruchy John. "Orienting Arthur Waley, japonisme, orientalism, and the creation of Japanese literature in English". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ48626.pdf.
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Pasdelou, Sabine. "Du japonisme à l’asiatisme : une céramique de demi-luxe pour tous (France, 1861-1939)". Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100112.
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L'épanouissement économique des manufactures de céramiques françaises tout au long du XIXe siècle et au début du XXe siècle est propice à la revalorisation des valeurs industrielles au sein des arts décoratifs. Les industriels s’appliquent à fournir des produits de qualité à moindre coût, à toutes les classes, grâce aux améliorations techniques et à l'abaissement des coûts des techniques décoratives. À partir des années 1860, les productions japonisantes participant à ce phénomène se diffusent dans les intérieurs bourgeois et entrent dans un cadre plus général : celui des productions céramiques reproduites à grande échelle, mises en œuvre par des fabriques à Paris et en province tout au long de la période concernée, y compris durant l'entre deux-guerres. En privilégiant dans un même mouvement collectif tel style, telle forme et tel décor, les différents milieux fournissaient aux fabricants et aux créateurs de modèles une direction à suivre dans la production du japonisme en céramique. Les artistes industriels ont dès lors cherché à surmonter la fracture entre art d'élite et goût populaire. Ces nouveaux objets peu coûteux devaient correspondre à des critères esthétiques et pratiques très hétérogènes. La stratégie commerciale des manufactures de céramiques et des centres de distribution a de fait été façonnée en conséquence. Le bibelot en céramique, facilement manipulable, illustre par ailleurs les représentations d’un pays imaginé et appréhendé de manière collective grâce aux expositions, au cinéma, au théâtre et à la littérature. Ces images contribuent à l’émergence d’une culture populaire urbaine dont le caractère commercial est assumé ; en ce sens, cette céramique fait partie de l’univers du « kitsch » en tant que communication de masse utilisée par la classe moyenneThe economic growth of manufacturing earthenware and porcelain in the province triggered a flourishing industrial standard in the decorative arts. The Beautiful and Industry are the two new values inseparable, celebrated by the production of French ceramics until the end of the first half of the twentieth century. Manufacturers want to provide quality products at lower costs to all classes. Improvements in ceramic materials and technical casting, as well as lowering the cost of decorative techniques, have encouraged the opening up the hierarchy of decorative arts. These new technical processes took part in the improvement of living conditions of the bourgeoisie and smaller classes. Japanese style productions were large-scale diffused in bourgeois interiors since 1860’s. These works fall into a broader context: the large-scale pottery production, implemented by factories in Paris and the provinces throughout the period, including during the interwar period. Industrialization brings to market products that must seek the attention of all classes. These inexpensive items had to correspond to aesthetic and practical heterogeneous criterion. By focusing on the same style as collective motion, such as shape and decoration, the different environments provided producers a direction to follow in models making. Business strategy of manufacturing has been designed accordingly. The ceramics “curio”, easy to handle, illustrates the representations of an imagined and apprehended country in a collective way thanks to exhibitions, movies, plays and literature. These representations contribute to the emergence of an urban popular culture whose commercial character is clearly assumed. This ceramics is part of the universe of “kitsch” as mass communications used by the middle class
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Inaga, Shigemi. "Théodore Duret (1838-1927) du journaliste politique à l'historien d'art japonisant contribution à l'étude de critique artistique dans la deuxième moitié du XIXe et au début du XXe siècles /". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37614493g.
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Barré, Dominique. "L'organisation de la surface dans la photographie des années 1970 en France /". Paris : Université de Paris VIII-Saint-Denis, 1988. http://catalogue.bnf.fr/ark:/12148/cb358161638.
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Campbell, Emily G. "Bracquemond, Ruskin, the Haviland-Hayes Service, and Rookwood: Japonisme and Permanence in Art Pottery". VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3771.
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There are two principle arguments in this thesis. First, this thesis will show that Félix Bracquemond had a profound impact on late-nineteenth-century and early-twentieth-century ceramics in America. Second, this thesis will illustrate how John Ruskin’s principle that pottery is “more permanent than the Pyramids” encouraged reform of the ceramic arts and shaped the Art Pottery Movement of the late nineteenth century. After this thesis introduces Bracquemond as an innovator in ceramic decoration and the dissemination of Ruskin’s principle, the thesis will examine two instances in the American Art Pottery Movement in which Bracquemond’s and Ruskin’s influence can be detected. The first is Theodore Davis’s 1879 design for the Haviland-Hayes Service, the White House dinner service for Rutherford B. Hayes. The second case study is the Rookwood Pottery of Cincinnati, which represents the apex of Bracquemond’s influence in America and Ruskin’s principle of the permanence of pottery.
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Moscatiello, Manuela. "Le japonisme de Giuseppe de Nittis, peintre italien en France à la fin du XIXe siècle". Paris 4, 2007. http://www.theses.fr/2007PA040284.
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Pour illustrer l’intérêt que l’art japonais suscita auprès des artistes occidentaux de la deuxième moitié du XIXe siècle, le cas de Giuseppe De Nittis (1846-1884), peintre italien venu s’installer à Paris en 1868, est exemplaire. Devenu un artiste à succès en l’espace d’une décennie, De Nittis fit son entrée dans les milieux artistiques et intellectuels. Son salon devint un des endroits les plus célèbres de la ville. Parmi ses convives, on comptait les amateurs les plus passionnés et les principaux collectionneurs d’art japonais de l’époque. L’artiste italien constitua une collection très raffinée d’art d’Extrême-Orient comprenant des oeuvres remarquables comme un kakemono de Watanabe Seitei (1851-1918), artiste japonais arrivé en France lors de l’Exposition universelle de 1878. Pendant son séjour à Paris, Seitei fit des démonstrations de peinture japonaise qui laissèrent un souvenir vivant chez tous ceux qui eurent, comme De Nittis, la chance d’y assister. Les précieux renseignements rapportés dans l’inventaire après décès du peintre, d’autres informations récupérées dans des notes inédites rédigées par lui, et également les témoignages littéraires, nous ont permis de reconstituer le cadre japonisant où De Nittis avait vécu et de remonter aux objets artistiques orientaux dont il aimait s’entourer et d’où il puisa souvent son inspirationThe artistic experience of Giuseppe De Nittis (1846-1884), an Italian painter working in Paris from 1868, represents an important art history case for studies devoted to nineteenth-century European interest in Japanese art. Around 1878, ten years after his arrival in Paris, De Nittis was already a publicly recognized artist, integrated in the avant-garde artistic and literary circles. His salon became one of the most famous places of the city. Among his guests, one could find the most passionate amateurs and collectors of Japanese art. The Italian artist assembled a very fine Japanese art collection which included high quality works of art such as a kakemono by Watanabe Seitei (1851-1918), a Japanese artist arrived in Paris in 1878 during the Exposition Universelle. While he was in Paris, Seitei made some demonstrations of Japanese painting witch left a lively memory in all who, like De Nittis, were fortunate enough to observe them. Analysis of the posthumous inventory of the painter’s possessions, of some unpublished notes written by him, and the study of various literary sources, have helped us to reconstitute the Japonisant environment in which he lived. They also allowed us to reconstruct his Oriental collection and all the objects he loved to surround himself with and from which he took frequently his inspiration
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Honda-Ishii, Midori. "Le japonisme en France dans la seconde moitié du XIXe siècle : la rencontre de l'Occident avec l'Orient". Paris 5, 2007. http://www.theses.fr/2007PA05H008.
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Le but principal de cette thèse est d’analyser la façon dont le japonisme s’est construit en France durant la seconde moitié du XIXe siècle et quelle trace il a laissé dans l’histoire de l’art occidental, sous l’hypothèse selon laquelle ce n’était pas une contingence, mais plutôt une nécessité dans la causalité historique et artistique, autrement dit, ce que la France cherchait dans l'art japonais et ce qu’elle possédait déjà. II y a très longtemps que l’Occidental rêvait de l’Orient. Nous ne pensons pas nous tromper en affirmant que le japonisme était un phénomène exotique ayant démontré que l’Orient et l’Occident s’attiraient mutuellement bien qu’ils soient opposées sur beaucoup de plans. Le japonisme s’est construit grâce à une diffusion officielle de l’image du pays lors des Expositions Universelles. Nous verrons donc par quelle stratégie politique le Japon s’est attaché à cette diffusion et ce qu’il a exposé. "L’art populaire" et "la relation à la vie quotidienne" de ce pays ont amené un grand enthousiasme chez les Français. Ainsi, nous nous concentrerons sur la façon dont ceux-ci ont réagi face à l’art japonais en suivant fidèlement l’écriture des critiques d’art, particuilièrement celles d’Ernest Chesneau et des frères Goncourt, personnages à l’esprit moderne et révolutionnaire. De plus, nous analyserons la façon dont l’art français fut influencé par l’art japonais pour se transformer à travers trois grands artistes, à savoir, Toulouse-Lautrec, Paul Gauguin et Henri MatisseThe principal objective of this thesis is to analyse the way in which Japonisme constructs itself in France from 1850s to 1900. The thesis also examines the traces that Japonisme has left in the history of Occidental art, with the hypothesis that such a phenomenon is not contingent: rather, Japonisine is a necessity in historical and artistic development. In other words, it is a product of what the French sought in the Japanese art : the traits that French art itself had already possessed. It bas been a long time since the Occident dreamt of the Oriental. One cannot be deceived by the affirmation that Japonisme was merely an exotic occurrence, having demonstrated that the Oriental and the Occident were mutually attracted even though they were conflicting in several respects. The officiai propagation of the country's image during the Universal Expositions had made possible the fabrication of Japonisine. One will thus understand the political strategy that Japan had attached to such circulation, and how it had exhibited an image of itself. Japanese traditional art and its relation to the quotidian brought forth much French enthusiasm. As such, the thesis will study the way in which such enthusiasm responded to Japanese art, expounding on the writings of art critics, in particular Ernest Chesneau and the Goncourt brothers. Furthermore, the thesis analyses the way in which French art was influenced and transformed by Japanese art in the works of three prominent artists. Namely Toulouse-Lautrec, Paul Gauguin and Henri Matisse
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Turner, Catherine Elizabeth. "Self-fashioning, consumption and japonisme : the power of collecting in Tissot's Jeunes femmes regardant des objets japonais, 1869". [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003180.
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Kim, Sookyoung. "Das Ornamentale in Max Klingers Druckgrafik unter besonderer Berücksichtigung der Antikenrezeption und des Japonismus /". kostenfrei, 2007. http://d-nb.info/988468867/34.
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Le, Stum Philippe. "La Bretagne dans la gravure sur bois (1850-1950)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040019.
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De toutes les régions de France, la Bretagne est celle qui attira le plus les artistes entre le milieu du XIXe siècle et le milieu du suivant. Si sa présence dans la peinture est connue, il n’en va pas de même dans le domaine de l’estampe. L’objet de cette thèse est de combler cette lacune en analysant sa place, comme thème, chez les graveurs sur bois français et étrangers. L’étude s’appuie sur un corpus fondé sur le dépouillement des fonds publics et privés. Son analyse révèle l’importance de la thématique dans chaque phase de l’évolution de la gravure sur bois occidentale entre 1850 et 1950. Pour chacune sont étudiées les contributions des graveurs les plus représentatifs. L’apparition de la Bretagne dans la gravure professionnelle d’interprétation est retracée, puis précisée sa place dans la gravure sur bois originale entre 1880 et 1900. Les partis opposés des coloristes et des tenants du noir et blanc divisent en deux sections les chapitres suivants. L’étude des premiers met en évidence l’impact des procédés japonais de gravure et d’impression. Elle se poursuit par la résurgence du camaïeu puis le retour au coloriage après impression. L’analyse de la production en noir met en lumière les pôles autour desquels gravitent presque toutes les représentations de la Bretagne : inspiration maritime et thématique rurale. Elle souligne la contribution régionale à la vogue du livre illustré en gravure sur bois dans l’entre-deux-guerres. Enfin, la présentation d’une production militante constitue un épisode de ce panorama d’une production qui, pour être régionale dans son inspiration, n’en constitue pas moins un exemple représentatif de l’histoire d’un art et d’une techniqueBrittany is the region of France which attracted the greatest number of artists between the mid-19th and 20th centuries. The presence of painters is known, but the same cannot be said for the field of etching. The aim of this thesis is to contribute towards filling that gap.The study is based around the creation of a corpus. Its analysis reveals the importance of the theme adopted during each of the main periods of the development of western woodcut printing between 1850 and 1950. The definitions of these themes form the internal dynamic of the thesis.First of all the appearance of Brittany in professional interpretive etching is related. Then its place in the birth of original wood block printing is detailed. The following chapters are devoted to the opposing groups of artists, those who used colour and those who held to the aesthetic of black and white prints. The study of the colourists begins by highlighting the impact of Japanese wood-block techniques. It is followed by the resurgence of camaïeu and then the return to the western tradition of colouring after printing.Analysis of the more technically homogenous black print production focuses attention on the two themes around which almost all representations of Brittany revolve: the sea and the countryside. It underlines the regional contribution to the vogue for books illustrated with woodcut prints during the period between the wars. Finally, the presentation of militantly Breton works marks a specific episode of this panoramic overview of artistic output which, despite its regional origins, symbolises no less a part of the history of the art and technique of wood-block carving
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Basham, Anna Elizabeth. "From Victorian to Modernist : the changing perceptions of Japanese architecture encapsulated in Wells Coates' Japonisme dovetailing East and West". Thesis, University of the Arts London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442115.
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Cook, Alicia McCaghren. "Edgar Degas's fan shaped designs art, decoration, and the modern woman in late-nineteenth-century France /". Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/cook.pdf.
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Ono, Ayako. "Japonisme in Britain : a source of inspiration : J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan". Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/30763/.
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This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). Whistler was one of the earliest figures who incorporated Japanese elements in his art but never visited Japan; Menpes visited the country and learned Japanese artistic methods from a Japanese artist; Henry and Hornel visited Japan and responded to Japanese photography mass-produced for foreign market. The purpose of this thesis is to consider how Western artists understood and accepted Japanese art as a source of inspiration. To emphasise and support my view that Japanese art was one of the sources of inspiration for the creation of European art, I will also discuss western influences on Japanese art in the second half of the nineteenth century since this movement, supported by the Japanese government, is a good comparison with Japonisme. The historical background of Japonisme will be discussed in chapter one with a variety of examples taken from decorative art, paintings and cartoons. These examples have been chosen from the works of artists who were associated with the Aesthetic Movement and interested in the improvement of Design, since the early stages Japonisme in Britain was developed by leading figures of these movements. The breadth of the phenomenon is too wide to be included in any one thesis so theatre, music, architecture, sculpture or photography are not included. I will examine the essence of Japonisme by making comparisons between Whistler, Menpes, and Henry and Hornel. For the sake of consistency in these comparisons, I am going to concentrate on pictorial art. However, Menpes' studio-house with its Japanese decoration is also going to be discussed since despite his wish to recreate an authentic Japanese interior, he did not understand the fundamental basis of Japanese architecture, so that the result was superficial. The artists have been chosen and discussed as follows.
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Gonse, François. "L'Art japonais, publié par Louis Gonse en 1883 : enjeux et impacts". Paris 4, 1996. http://www.theses.fr/1996PA040289.
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Vers la fin du XIXe siècle,en 1883 était publié à Paris sous le titre "L'Art japonais", le premier ouvrage capital sur l'art du Soleil Levant, fruit d'une vaste érudition et de l'application de méthodes historiques et scientifiques. L'auteur de ce livre, Louis Gonse, était à l'époque directeur de la Gazette des Beaux Arts. Dans le courant des années 1870 jusqu'au début des années 1880, il était devenu un expert de renom en art japonais et possédait une importante collection d'objets d'art japonais d'une qualité indéniable. L'étude présentée ici a pour objectif de comprendre pourquoi "L'Art japonais" publié en 1883 fut considéré comme une oeuvre de grande valeur jusque dans les dernières années du XIXe siècle et pourquoi au XXe siècle il s'est vu dénié le statut d'ouvrage "sérieux" sur l'art japonais. Louis Gonse avait pourtant mis en pratique une méthode scientifique pour construire son histoire de l'art du Japon, avait fait des recherches approfondies sur toutes les données écrites disponibles et surtout il avait "interrogé" les objets japonais figurant dans les collections d'art occidentales. Si l'"Art japonais" de Louis Gonse peut paraître dépassé sur certains points, il offre encore aux lecteurs d'aujourd'hui une quantité appréciable d'informations valables sur les artistes japonais et sur l'éventail des techniques qu'ils utilisaientAlmost at the end of the XIXe century in 1883 the first comprehensive book ever written in the world about art and history of art in Japan is published in Paris under the title "L'art japonais". Numerous illustrations add to the attractiveness of the book. .
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Ingemarsson, Hugo. "To portray the beautiful, exotic and feminine land of cheap export : How Sweden imagined Japan during Japonism, from 1858 to 1914". Thesis, Uppsala universitet, Historiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-444497.
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This master thesis explores the image of Japan in the artistic creations during Japonism in Sweden. Japan and Sweden first started trading in 1868 and knowledge about Japan in Sweden were limited at best. With the emergence of the Western art movement known as Japonism, ranging from 1858 to 1914, fascination for the unknown country grew in Europe. As the art movement Japonism became the first era of interest of Japan in Sweden, the portrayal and subsequent image of the country that emerged during this time is of interest to examine, as to better understand how Japan was imagined by Sweden. Herein, this study aims to analyse the portrayal of Japan in artworks from Swedish artists during Japonism in order to examine what components and ideas composed the image of Japan conveyed during Japonism. A collection of visual artworks depicting Japanese elements, based on Japonism associated artists and creators, have been collected using digital archives and databases to assess what is depicted and how by the creators. Japanese elements, such as objects, clothes, people and landscapes were subsequently analysed using a visual analysis based on researcher Jules David Prown’s three-step method of analysing historical objects. Using the concept of the image, as defined by scholar Torsten Burgman, as the basis of the analysis the depictions of Japanese elements are examined and categorised into several larger and smaller components. The examination is conducted within a framework of ethnocentrism and orientalism to contextualise the image of Japan with the thought structures in 19th century Sweden, as the creators portrayed Japan from both a Swedish and Western Eurocentric colonial perspective. As the source material is artistic depictions, an additional aesthetic framework was applied to contextualise the image of Japan with its artistic medium. Four major image components were found in the material: Japan presented as a commodity; Japanese things as something feminine; Japan as something faraway and exotic, contrasting the West; and Japan as a reference or commentary on the ongoing Japonism movement. The image of Japan found in these depictions of Swedish Japonism was a Eurocentric and ethnocentric understanding of the country. Japan and Japanese things, were imagined as something exotic and beautiful, and usually conveyed as exotic commercial flair for Western women.
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Turner, Catherine Elizabeth. "Self-fashioning, Consumption, and Japonisme: The Power of Collecting in Tissot’s Jeunes Femmes Regardant des Objets Japonais, 1869". Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/58.
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This study examines self-fashioning and the practice of collecting in Second Empire Paris as manifest in James Tissot's Jeunes femmes regardant des objets japonais (1869, Cincinnati Museum of Art). The painting, exhibited in the Salon of 1869, conspicuously portrays Tissot's own collection of exotic Asian collectibles and the artist's private luxe interior. When scholars investigate and interpret Jeunes femmes, it is regularly defined within the prescriptive realm of Tissot's later London paintings, or of his well known series, La Femme à Paris. I argue for a less circumspect engagement with the painting, by focusing on the portrayal of the collectible objects and the decadent interior as evidence of bourgeois self-fashioning and the decorous display and consumption concomitant with Second Empire Paris.
This thesis considers the history of collecting in Second Empire Paris; in particular, the early impact of japonisme on Tissot's artwork. Recent scholarship largely regards Tissor's initial engagement with japonisme, as demonstrated by Japonaise au bain (1864, Muse des Beaux-Arts, Dijon) and Jeune femme tenant des objets japonais (1865, Private Collection), as trite. I argue that such categorizing biased sound consideration of Jeunes femmes. I investigate Tissot's interaction with Japanese aristocracy and contend that his appointment as drawing instructor to Prince Akitake marked a turning point in his artistic career and in his reputation as a collector.
This thesis also explores the role of fetish as an operative analytical tool. By employing the theories of Freudian and Marxist fetish, I am able to scrutinize the collectible objects' inclusion and meticulous representation, account for the obsessive nature of the collector and investigate specific strategies of posturing and self-promotion. Moreover, I can discuss the painting, and the collection it portrays, as a producing agent for Tissot's own artistic and social legacy. Ultimately, I conclude that Jeunes femmes, a richly detailed painting of Tissot's collectibles and interior space, is implicitly concerned with bourgeois self-fashioning and Tissot's own need for financial and social legitimization.
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Hirose, Midori. "L'influence réciproque entre la France et le Japon dans l'industrie textile pendant l'ère Meiji". Paris 7, 2003. http://www.theses.fr/2003PA070011.
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A la fin de l'époque Edo et au début de l'ère Meiji, une influence réciproque entre la France et le Japon s'est exercée dans le domaine du textile, à travers des échanges de produits tels que la soie grège et la mousseline de laine. Dans cette thèse, nous étudions en parallèle le japonisme en France et l'occidentalisation au Japon à travers l'exemple de l'industrie textile. L'ornementation des mousselines de laine exportées vers le Japon par les manufactures mulhousiennes était imitée de motifs japonais, car ces produits étaient destinés à une clientèle japonaise. Par la suite, sous l'influence du japonisme, un goût pour l'esthétique japonaise se développa en France et les fabricants lyonnais commencèrent à produire des textiles ornés de motifs de style japonais à partir des années 1870. Puis, aidé par la tendance naturaliste en vogue à cette époque dans le domaine de l'art, les dessinateurs textiles lyonnais assimilèrent progressivement la théorie de l'art ornemental japonais et l'utilisèrent pour réaliser des tissus originaux, discrètement inspirés du Japon mais profondément français, qui comptent parmi les meilleures exemples d'étoffes dans le style du japonisme. L'ornementation textile au Japon a elle aussi été profondément influencée par l'Occident à la même époque. La tendance majeure de l'art décoratif japonais a été d'adopter certaines techniques picturales occidentales sans pour autant abandonner les motifs tradituionnels japonais. Par exemple, les Japonais céèrent un nouveau type de tapisseries reposant sur les techniques de la manufacture des Gobelins, de style réaliste mais conservant des thèmes japonais, qui sont très caractéristiques de l'esprit de l'ère MeijiAt the end of Edo period and the beginning of Meiji era, a reciprocal influence between France and Japan took place in the domain of textile, through the exchange of such products as raw silk and woollen muslin. In this dissertation, we study in parallel japonism in France and westernization in Japan through the example of textile industry. The ornamentation of woollen muslins exported to Japan by Mulhouse manufactures imitated Japanese design since these products were intended for Japanese customers. Then, under the influence of japonism, a taste for japanese esthetic developed in France and Lyon's silk manufacturers began to produce fabrics adorned with Japan-inspired motifs adapted to western customers. Indeed, Lyon silks ornamented in Japanese style can be found as soon as in the years 1870. Then, helped by the naturalist movement in the domain of arts, Lyon's textile designers progressively assimilated the theory of Japanese ornamental art and used it to design original fabrics, which were discretely inspired by Japan but deeply French, and which constitute one of the best examples of fabrics in the style of japonism. At the same period, textile ornamentation in Japan was deeply influenced by the West. The major tendency of Japanese decorative art was to adopt some western pictural techniques while keeping traditional Japanese ornamental patterns. For example, the Japanese created a new type of tapestries based on techniques from the Gobelin manufacture, ornamented in a realistic style but conserving Japanese thema, which are very characteristical of the spirit of the Meiji era
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Niiro, Keiko. "L'Image du Japon en France entre 1860 et 1915". Amiens, 1997. http://www.theses.fr/1997AMIE0006.
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Depuis 1858, l'année du premier traité franco-japonais, véritable début des relations entre les deux pays, l'image du Japon en France n'a cessé d'évoluer. Vers 1860 le Japon était pour le public français un pays pratiquement inconnu. La découverte du Japon a véritablement commencé avec le mouvement en faveur de l'art japonais qui a pris progressivement de l'ampleur et fini par toucher toute la société française, pour former la première image du Japon. Vers 1885, le japonisme a atteint son point culminant, et l'image artistique, ainsi incrustée dans l'esprit des français, est devenu, pour toujours, la principale représentation du Japon. À la suite de deux évènements politiques internationaux, la guerre sino-japonaise (1894) et surtout, la guerre russo-japonaise (1904), une deuxième représentation du Japon s'est répandue dans la France entière. Il s'agit de l'image militaire et agressive du Japon envahisseur, associée souvent à l'idée de "péril jaune". L'étude générale et comparatiste - documentaire, linguistique, socio-politique et littéraire - de l'image du Japon nous révèle le rôle capital que jouent les facteurs politiques et sociaux, autant dans la formation et que dans l'évolution de l'image d'un pays. L'étude de l'histoire de l'image du Japon nous permet ainsi de suivre, parallèlement, l'histoire sociale des mentalités des français, vue de l'autre côté du miroirSince the beginning of official relations between France and Japan, by the first treaty Franco-Japan in 1858, the image of Japan conceived by French has changed constantly. Among other factors - political or social - that have influenced the evolution of the Japanese image, we should pay particular attention to two "events" concerning Japan, which have both become a "phenomenon social" in France. The first image of Japan was an artistic image, diffused by the introduction of Japanese art - particularly prints (Ukiyo-e) and original small ornaments of feudal epoque. By the end of the 19th century, the Japanese art was getting so popular in France at all levels of society, and the artistic image of Japan, in one sense, definitely took root. After the artistic image, it was the political, even military, image of Japan that was largely diffused at the occasion of the war Russiano-Japan (1904). That was a rather negative image of aggressive Japan, associated with the notion of "yellow peril". The general and comparative study - documentary, linguistic, socio-political and literal - of the image of Japan in France reveals also, in a parallel way, the evolution of French society or French mentality from 1860 to 1915, regarded by the other side of the mirror
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Prado, Maria Yuka de Almeida. "A poética japonesa na canção brasileira". Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-25102010-165153/.
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O cantor deve conhecer em profundidade a obra a ser executada, além de dominar o seu instrumento - a voz. Assim, este estudo foi baseado na análise de obras de Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antonio de Almeida Prado (1943) e Rodolfo Coelho de Souza (1952), sob a ótica do intérprete artista, ou seja, do autor. As obras refletem o amálgama da miscigenação de várias culturas que compõem a nação brasileira. Através deste repertório, questionou-se por que compositores brasileiros compuseram canções com a temática japonesa e como ocorre o encontro da poética japonesa com a canção brasileira. A análise musical foi, em sua maioria, baseada no livro Poetry into song: performance and analysis of Lieder de Deborah Stein & Robert Spillman. Constatou-se a presença de uma esfera meditativa pelo uso de estruturas minimalistas e pentatonismos. De acordo com o autor, isto se deve pela busca do vazio e do silêncio enquanto criação musical. São, portanto, frutos da necessidade intrínseca de uma época - o Zeitgeist - ou seja, experimentações em busca de novas linguagens como tendências da música do século XX. Considerando a peculiaridade do cantor como músico, apresentamos com o título de \"Transcendência\" nossa visão do papel do intérprete do canto. É preciso transcender todo o conhecimento analítico para a execução musical a fim de sentir a canção. Pois é justamente com o sentir e as vivências entre o compositor, poeta e intérprete; Brasil e Japão; racional e afetivo; mundo interno e externo; análise e performance que as bordas fictícias ou imaginadas são atenuadas.The singer must deeply understand the work to be interpreted and, in addition to this, he must dominate his instrument - the voice. Accordingly, this study is based on the analysis of works by Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antônio de Almeida Prado (1943) and Rodolfo Coelho de Souza (1952), from the point of view of the artistic interpreter, the author. The art songs chosen reflect a cultural mosaic specific to Brazil. Through this repertoire, the author questioned why Brazilian composers chose a Japanese subject for their songs and how they integrated Japanese characteristics into Brazilian art song. This musical analysis was mainly based on the book Poetry into song: performance and analysis of Lieder by Deborah Stein & Robert Spillman. The author observed a presence of meditative atmosphere through the use of minimalist structure and pentatonicism. She believes this was the composers´ quest for emptiness and silence while still creating music. These are, therefore, the fruits of an era: the Zeitgeist, the experiments in a search for new languages, a tendency of 20th Century music. Considering the peculiarity of the singer as a musician, the author presents in a summarizing chapter, \"Transcendency\", what she believes the role of an artistic interpreter should express. The singer must transcend the analytical knowledge he has acquired prior to performance in order to know the song. Only then do the feeling and existence of the composer, the poet, the interpreter; Brazil and Japan; reason and emotion; inner and outer world; and analysis and performance integrate, and only then is the fictitious or imagined border blurred.
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Inaga, Shigemi. "Theodore duret (1838-1927) du journaliste politique a l'historien d'art japonisant. Contribution a l'etude de critique artistique dans la deuxieme moitie du xixe et au debut du xxe siecles". Paris 7, 1988. http://www.theses.fr/1988PA070114.
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I. Nous restituons la vie de journaliste politique de theodore duret (1838-1927) a la fin du second empire. Ii la fin de la vie politique et les debut de la critique artistique se chevauchent. Leur comparaison devoile que le style du futur historien de manet et de l'impressionnistes n'est qu'une transposition du style du "grand art" que duret critique. Iii. Ce paradoxe de l'esthetique "moderniste" se concretise dans son courbet (1918): duret nie systematiquement le cote politique de l'artiste. Iv. Manet se situe sur le seuil ou l'art se separe de la politique. Ce deplacement coincide avec un renversement de l'echelle des valeurs de l'esthetique classique. L'effet conjougue aboutit a l'autonomie de l'art dont duret trouve une justification dans le "japonisme", une ideologie esthetique. V. Avec l'accomplissement de ce renversement, un humble chroniqueur incarne une dimension exageree de l'historien exemplaire. Les japonais qui ont rendu visite a duret dans les annees vingt en temoignent. Une fantaisie personnelle: le japonisme sera d'ailleurs ratifiee apres-coup par ces japonais en intimite avec duret. Dans l'annexe nous presentons: a. Transcription annotee de la correspondance inedite de theodore duret b. Une restitution de la collection duret c. Une table chronologique du "japonisme" d. Une anthologie critique de la litterature "japonisante" e. Iconographie f. Pieces justificatives.
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Nakamura, Hiroko. "La connaissance et l'interprétation de Hokusai en France dans la seconde moitié du XIXe siècle". Paris 1, 2006. http://www.theses.fr/2006PA010524.
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Katsushika Hokusai (1760-1849), artisan peintre de l' ukiyo-e, est le plus célèbre et le plus populaire des artistes japonais dans le monde occidental. La reconnaissance de sa valeur a longtemps reposé sur le jugement dithyrambique porté sur son œuvre par les artistes et les critiques d'art les plus prestigieux en France dans la seconde moitié du XIXe siècle, qui souvent aussi étaient impliqués dans le Japonisme. Hokusai a été considéré, dès cette époque, comme le plus grand artiste du Japon, censé ainsi jouer un rôle fondamental et exercer la plus grande influence sur les artistes français et européens dans le développement de ce phénomène artistique. Or, bien que la reconnaissance de sa valeur ait d'étroits rapports avec le Japonisme, il s'avère que l'influence réelle de ce peintre japonais ne s'exerçait pas forcément par son œuvre, mais plutôt par son profil légendaire élaboré par les écrivains et les critiques d'art japonisants. Plus que la réelle appréciation de son œuvre elle-même, la place faite à Hokusai est, à vrai dire, le reflet des enjeux stratégiques des partisans des mouvements artistiques de l'époque, qui désiraient renouveler les arts français, - en particulier, l'éducation artistique et les arts décoratifs. C'est ainsi que, contrairement au Japonisme qui s'éteint vers la fin du XIXe siècle, Hokusai, incarné en icône de l'art japonais, continue encore de séduire le public occidental.
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Fischer, Cynthia. "Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3301.
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This dissertation uncovers three previously unrecognized innovations of Thomas Jeckyll in the Peacock Room. At the same time, the dissertation admits that sometimes James McNeill Whistler chose a more conventional path in the design of the room than previously acknowledged. The dissertation illuminates the often overlooked principle of Classical Decor, first described in the first century BC by Vitruvius, and analyzes how it was instituted in the Peacock Room. Four major points illustrate this conclusion. First, the meaning of the sunflower in the West is explored to account for the flower’s popularity and absorption into ancient heliotropic lore. Thomas Moore’s poetry may have inspired Aesthetic Movement designers such as Jeckyll to use the motif. Second, this dissertation demonstrates that the Peacock Room is only a distant descendant of the traditional European porcelain chamber. It was a new idea to turn the porcelain chamber into a dining room. Further, the room lacks two of the three key features of a porcelain room: lacquer panels and large plate-glass mirrors. When Whistler made the surfaces of this room dark and glossy, he made the room more traditional, aligning it with the customary lacquer paneling of porcelain rooms. And Jeckyll’s sho-dana shelving system in the Leyland dining room was without precedent in porcelain or other kinds of Western rooms, with influences from Japan and China. Third, Decor in the dining room was revealed as an established pattern in eating rooms from Ancient Roman triclinia to the present day. Fourth, Decor is present in the Peacock Room in four ways: in the trappings of the table used to decorate a dining room, in the darkness of this dining room, in the use of a foodstuff, the peacock, to decorate the room, and in the hearth’s sunflowers. Through the lens of the history of Western domestic interiors, significant innovations by Jeckyll have been brought to light, and the meaning of specific elements in the Peacock Room has been elucidated. Jeckyll and Whistler gave the world a sensational story in the Peacock Room but also a complex work of art that is only beginning to be illuminated.
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Winther, Leslie. "Från Japan till Sundborn : En undersökning av Karin Larssons textilier". Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435083.
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The present essay explores artworks of Karin Larsson through the feminist theoretical field of studies. The following three textile works were in the centre of the study, Kärlekens ros, Duk med tecken and Sashiko-gardin. The connection between japonisme, Japanese inspired art, and Karin Larssons art works were studied. Through feminist theories by art historians such as Linda Nochlin and Griselda Pollock the experience of being a woman in the 1800s affected the works of Karin Larsson were discussed. It was found that Karin Larssons upbringing and education as a woman differs from the usual male art student, which affected her art works. The subjects of her art works were also often the result of personal experiences. Furthermore, a correlation between the art works and Japanese woodblocks and Japanese embroidery techniques were identified.
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Johnson, Brandon Esposto. "The Eternal and the Transitory: Exoticism, Otherness, and Commodity in Giovanni Boldini's La Zingara". BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/9093.
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Giovanni Boldini's La Zingara is an image fraught with mystery. As a lesser-known artist, scholarship on him and this painting is sparse. This thesis details the innovations that Boldini exhibited as an artist working in nineteenth-century France, using the lenses of feminist and Marxist art historical readings for a new interpretation of this piece. Participating in the oppressive systems of capitalism, sexism, and prejudice, Giovanni Boldini created the image of La Zingara for personal gain. Painting a subject from a marginalized community, the Romani, Boldini benefitted from those systems. He "others"his Italian heritage and modern art developments to construct a portraiture totally unique to him and his oeuvre. While other artists worked on similar subjects at the time, Giovanni Boldini set himself apart through his updating of classic styles, drawing upon on the Christian iconography of the Byzantine tradition, the portraiture of Trecento and the Renaissance, and some ancient Roman conventions. Additionally, the artist capitalizes on the growing interest and commodification of japonisme to create a highly marketable work. Furthermore, this thesis explores issues of gender and class to acknowledge the difficult place that women have filled in the history of art. Finally, this thesis argues that Boldini deserves a greater place in the history of art.
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Kumojima, Tomoe. "Of friendship and hospitality : Victorian women's travel writing on Meiji Japan". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:545e605a-9361-485a-878c-dabb76da9822.
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This thesis explores the possibility and challenges of international/interracial female friendship and anti-communitarian hospitality through writings of Victorian female travellers to Meiji Japan between 1854 and 1918. It features three travellers, viz. Isabella Bird, Mary Crawford Fraser, and Marie Stopes. The introduction delineates the context of key events in the Anglo-Japanese relationship and explores the representation of Japan in Victorian travelogues and literary works. Chapter I considers the philosophical dialogue between Jean-Luc Nancy, Maurice Blanchot, and Jacques Derrida on community, friendship, and hospitality. It demonstrates the potential of applying their thinking, notwithstanding its occasional complicity, to an analysis of the place of hitherto marginalised groups, women and foreigners, in Western philosophical models. Chapter II examines relationships between Bird and Japanese natives, especially her interpreter, Ito in Unbeaten Tracks in Japan (1880) in terms of questions of stable identity and translation. It further undertakes a comparative study between the travelogue and Itō no koi (2005) by Nakajima Kyōko. I explore the afterlife of Bird in Japanese literature. Chapter III investigates friendships in Fraser’s A Diplomatist’s Wife in Japan (1898). It uncovers her connection with Japanese female writers in oblivion, Yei Theodra Ozaki and Wakamatsu Shizuko. I discuss the influence her friendships had on Fraser’s fictional works such as The Stolen Emperor (1903), especially on the fair portrayals of Japanese women. Chapter IV explores friendships between the sexes in Stopes’ A Journal from Japan (1910) and articulates its relationship with Love-Letters of a Japanese (1911) and Plays of Old Japan (1913). I examine Stopes’ romantic relationship with Fujī Kenjirō and its influence on her career in sexology. It also investigates Stopes’ collaboration with Sakurai Jōji on Nō translation and exposes complex gender, racial, and linguistic politics. The conclusion explores three Japanese female travellers to Victorian Britain, focusing on their contact with local women. It considers Tsuda Umeko’s Journal in London, Yasui Tetsu’s Wakakihi no ato, and Yosano Akiko’s Pari yori (1914).
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Teramoto, Noriko. "Le "Japon" aux Expositions universelles de Paris de 1867 et de 1878 : la formation de l'image du "Japon" à l'aube de la relation franco-japonaise". Paris 1, 2012. http://www.theses.fr/2012PA010518.
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Le Japon a participé pour la première fois à une exposition universelle qui s'est tenue à Paris en 1867. Ce fut la première occasion qui permit au public français de découvrir la culture japonaise pour donner naissance dans les années 1870 au phénomène culturel nommé le « Japonisme ». Notre étude se focalise sur la participation du Japon aux Expositions universelles de Paris de 1867 et de 1878. , dans la mesure où celles-ci ont contribué au développement des relations franco-japonaises et à l'avènement du « Japonisme » : le « Japon » a été découvert en 1867 et a suscité un grand enthousiasme qui culminait en 1878. Les différentes images du « Japon » se sont formées dans le croisement de plusieurs regards, entre les organisateurs français, les visiteurs et les participants japonais. Ce travail se compose de deux parties. La première partie traite du double aspect de la participation du Japon à l'Exposition de 1867 : d'un côté les « objets » japonais exposés et la réaction des Français (chap. 1) ; d'un autre côté, la question politique et diplomatique liée à cette participation (chap. 2). La deuxième partie trait d'abord du changement de la situation politique et diplomatique des deux pays entre 1867 et 1878, l'expansion de l'intérêt pour la culture japonaise en France, et la préparation du Japon à l'Exposition de 1878 (chap. 3). Nous examinons ensuite plusieurs aspects de l'exposition japonaise et de la réaction des Français en 1878 (chap. 4). Ce chapitre s'intéresse surtout à la céramique japonaise et son influence sur l'art industriel français, puisque c'est celle-ci qui a obtenu le plus de succès à l'Exposition et a contribué ainsi à la diffusion de Japonisme.
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Anazawa, Mariko. "Maeterlinck et les Japonais". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC004.
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Maeterlinck fut introduit pour la première fois au Japon en 1895 par un essai de Bin Ueda (1874-1916) intitulé 'La littérature belge'. Les liens entre Maeterlinck et le théâtre japonais fournissent des explications sur les particularités du théâtre japonais au moment de la « période maeterlinckienne », telle l'influence du concept des marionnettes de Gordon Craig et de Maeterlinck sur le théâtre japonais. Trois pièces de théâtre écrites par trois auteurs maeterlinckiens sont également analysées. Il s'agit de La rivière Ikuta d'Ôgai Mori, de Trois heures de l'après-midi d'Isamu Yoshii et de La veille de la commémoration d'Ujaku Akita. Ces œuvres établissent la différence avec laquelle les écrivains japonais voient le monde et appréhendent l'écriture symboliste. De plus, de nouveaux moyens pour avoir accès aux pièces de Maeterlinck au Japon sont présentés : ce sont les kamishibai et les dessins animés. Enfin, est introduit le concept du « Ma »1 qui est une des caractéristiques du théâtre japonais et que l'on retrouve souvent dans les pièces de Maeterlinck. Cela explique les raisons pour lesquelles les pièces de Maeterlinck attirent les Japonais, et à quel point cet auteur était moderne, avant-gardiste. Ses pièces jouées actuellement paraissent nouvelles, modernes, tandis que pour la critique à l'époque, il était ennuyeux, obnubilé par la mortIn 1895 in his essay "Belgian Literature", Bin Ueda (1874-1916) introduced Maeterlinck for the first time in Japan. As we study the connections between Maeterlinck and the Japanese theatre, we shall strive to provide explanations for the particularities of Japanese theatre during the "maeterlinckian period'', such as the influence of the concept of Gordon Craig and Maeterlinck's marionettes upon Japanese theatre. Three plays written by three maeterlinckian authors are also analyzed, namely The Ikuta River by Ôgai Mori, Three O'Clock in the Aftenwon by Isamu Yoshii, and The Day before the Commemoration by Ujaku Akita. Furthermore, we introduce new methods for approaching Maeterlinck's plays in Japan: these are kamishibai and animated films. Finally we introduce the concept of "Ma" which is one of the characteristics of Japanese theatre and which we often find in Maeterlinck's plays. This explains why Maeterlinck's plays attract the Japanese, and to what extent he was a modern, avant-garde writer. His plays being performed nowadays appear innovative and modern, whereas for critics in his day they were disturbing and preoccupied with death
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Sousa, Ana Matilde Diogo de. "Cutencyclopedia: a theoretical - practical investigation on the Kawaii as an aesthetic category in art and pop culture". Doctoral thesis, 2020. http://hdl.handle.net/10451/45935.
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A estética cute (“adorável,” “fofinho”) é uma característica central dos meios mediáticos do século XXI, estendendo-se desde a estratosfera das belas-artes contemporâneas até ao submundo da cultura de massas e ao “lado errado” da Internet. Esta tese de doutoramento mergulha no buraco do coelho do cute japonês – o kawaii – enquanto expressão mais extrema dos mundos estranhos, problemáticos, difíceis, complexos e caóticos que se revelam quando examinamos a relação entre o cute e a negatividade. Ao mesmo tempo, enquanto dissertação no campo das Belas-Artes, constitui um projeto de arte em si mesmo, criando uma “enciclopédia” de ensaios sobre a cuteness negativa. Além da dissertação na sua forma física, em papel, a “enciclopédia” destina-se a ser visualizada on-line, no site www.heta.moe. Deste modo, busca-se uma articulação entre teoria e prática artística, na qual uma não ilustra a outra e vice-versa, mas ambas as produções (obras de arte e ensaios) constroem lado a lado um universo autoral. Assim, apresenta-se um conjunto de ensaios onde se investiga a fenómeno-poética do kawaii. A tese divide-se em três partes: “Parte I - Enciclopédia”, “Parte 2 - Três Artigos” e “Parte III - Declaração de Artista.”
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Sonzini, Astudillo Manuela María. "Reminiscencias orientales". Bachelor's thesis, 2018. http://hdl.handle.net/11086/10752.
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la problemática abordada en “reminiscencias orientales” se basa en un interés personal en el arte japonés y en la pintura como lenguaje. el trabajo final de la licenciatura en pintura parte del proceso desarrollado en los últimos años de la carrera cuya producción manifiesta una fuerte impronta decorativa.
la obra presentada es el resultado de un proceso de selección, descontextualización y re-contextualización de imágenes o motivos florales, que son representados a través de la pintura y el empleo del color plano. la producción bidimensional (cuadros) abre sus posibilidades en cuánto materialidad y soportes, a las artes aplicadas y al diseño ornamental, lo cual, lleva a aplicar estos motivos a diferentes objetos (jarrones y biombo), y a su vez, a involucrar otros objetos de uso cotidiano (repisa, perchero, mesa,
almohadones, un afiche enmarcado, un objeto de porcelana y flores de tela) que complementan y refuerzan el carácter ornamental de la
propuesta.
en la actualidad, la cualidad decorativa pareciera carecer de sustento o valor, en ciertos espacios del arte como el académico, al
identificarse como vacío, irrelevante o banal. es por este motivo que el objetivo del trabajo consiste en dar cuenta de esta situación y analizar las posibilidades de lo decorativo en el contexto contemporáneo. esta problemática tiene una tradición que puede situarse en el debate de los siglos xix y xx entre las artes mayores y las artes menores, entre la producción artesanal y la producción industrial.
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Deja, Katarzyna. "Poza kulturę europejską : polski japonizm literacki 1900-1939". Praca doktorska, 2019. https://ruj.uj.edu.pl/xmlui/handle/item/87283.
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Maśka, Marta. "Kultura i sztuka japońska w polskiej prasie przełomu wieków (XIX i XX)". Doctoral thesis, 2014. https://depotuw.ceon.pl/handle/item/690.
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Praca dotyczy przede wszystkim problemu recepcji kultury i sztuki japońskiej w społeczeństwie polskim. Badania obejmują prasę polską końca XIX i początku XX wieku. Był to bowiem moment pierwszego ważnego kontaktu kulturowego. Kontakt ten wystąpił w oparciu o trzy płaszczyzny: europejską fascynację sztuką japońską, pierwsze polskie podróże na Wyspy Japońskie oraz sytuację międzynarodową i działania polityczne zaborców. Praca składa się z pięciu rozdziałów, wstępu i zakończenia. W rozdziale pierwszym omówiono najważniejsze zagadnienia estetyki japońskiej oraz wpływ drzeworytu japońskiego na europejskie malarstwo drugiej połowy XIX wieku. W rozdziale drugim przedstawiono sylwetkę Feliksa Jasieńskiego, jego poglądy artystyczne oraz działalność na rzecz propagowania wiedzy o sztuce japońskiej. Trzeci rozdział pracy poświęcony został japonizmowi polskiemu, w tym w szczególności informacjom o sztuce japońskiej, jakie ukazywały się w „Chimerze” i „Wędrowcu”. Omówienie artykułów dotyczących teatru japońskiego (przede wszystkim występów japońskich grup teatralnych w polskich miastach) oraz literatury japońskiej i inspiracji japońskich w polskich tekstach literackich znalazło się w rozdziale czwartym. Ostatni, piąty rozdział obejmuje relacje z podróży do Japonii, z których większość ukazała się w polskiej prasie w czasie trwania wojny rosyjsko-japońskiej. Obszar badań dotyczył wielu dyscyplin (między innymi kultury, sztuki i literatury), dlatego wykorzystane zostały różne metody badawcze – wśród nich badania ikonograficzne, intertekstualne, interkulturowe i transkulturowe, autobiografizm i postkolonializm.The dissertation focuses on the problem of reception of Japanese art and culture in Polish society. Studies include the Polish press the late nineteenth and early twentieth century. It was the first moment of important cultural contact. This contact was based on three levels: the European fascination with Japanese art, the first Polish travels to Japan and the international situation - in particular policies of Russia. Dissertation is composed of five chapters, introduction and conclusion. The first chapter discusses the basics of Japanese aesthetics and the impact of Japanese woodcuts for the European modernist painting. The second chapter presents the activities and artistic views of Felix Jasieński. The third chapter has been devoted to Polish japonism and informations about Japanese art, which appeared in the "Chimera" and "Wędrowiec". The fourth chapter included articles about Japanese theater (especially performances of Japanese theater groups in the Polish cities), Japanese literature and Japanese inspirations in Polish literary texts. The fifth chapter presents the memories of a trip to Japan, most of which appeared in the Polish press during the Russo-Japanese War. The study area concerns many disciplines (including culture, art and literature). I used different research methods - including iconographic, intertextual, intercultural and transcultural, autobiographical and postcolonial studies.
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Emiliano, Paulo Alexandre De Albuquerque. "DE SOL A SOL Trabalho-projecto em torno da colecção de ukiyo-e do Museu Calouste Gulbenkian". Master's thesis, 2021. http://hdl.handle.net/10362/129607.
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O objectivo deste Trabalho-Projecto é conceber uma mostra sequencial das estampas japonesas — ukiyo-e —, que se encontram nas reservas do Museu Calouste Gulbenkian, e fazem parte da colecção, propondo uma série de oito exposições temporárias por um período de dois anos, através de um percurso temático, em que são apresentadas cerca de doze estampas em cada mostra. Simultaneamente proponho a forma segura de apresentação das obras, segundo os padrões actuais de conservação preventiva, tendo em conta a fragilidade das peças. Neste sentido são apresentados métodos e dispositivos seguros para que as obras sofram o mínimo desgaste físico. Indissociável do Trabalho de Projecto desta série de exposições, pareceu-nos importante entender a presença destas estampas na colecção de Calouste S. Gulbenkian, o que significou indagar e reflectir sobre as tendências e gostos artísticos que surgiram na Europa no final do século XIX e início do século XX, sobretudo no que diz respeito à arte japonesa, panorama este que, cremos, teve uma influência decisiva no gosto pessoal do coleccionador e no consequente desejo de possuir a sua própria colecção de xilogravuras. Paralelamente, problematiza-se a possível ligação deste núcleo de arte nipónica
ao núcleo de pintores impressionistas.The objective of this Project-Work is to conceive a sequential display of Japanese prints — ukiyo-e — that are in the reserves of the Calouste Gulbenkian Museum, part of the collection, proposing a series of eight temporary exhibitions for two years, through a thematic route — with about twelve prints presented in each exhibition. Moreover, I also aim at proposing a secure way of displaying the works, according to the current standards of preventive conservation, taking into account the fragility of the pieces. Safe methods and devices are presented so that the works suffer the minimum physical wear. But to understand the presence of these prints in the collection of Calouste S. Gulbenkian made me reflect on the trends and artistic tastes that emerged in Europe at the end of the 19th century and beginning of the 20th century relating to Japanese art, thus influencing his taste, as well as awakening in the collector the desire to own his collection of woodcut prints. At the same time, I questioned the possible connection of this nucleus of Japanese art to that of impressionist painters.
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Chen, Yi-jiun y 陳怡君. "Japonisme in Pierre Bonnard''s art". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/57290011413221904149.
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碩士國立屏東教育大學
視覺藝術教育學系
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In the Nineteenth Century, the importation of Japanese Art in Europe was all the range and inspired artists, especially Japanese Ukiyo-e. It shocked the western with different culture, and combined with the nineteenth century weastern art to become popular and to develop “Japonisme”. In France, Japonisme influenced Avant-Garde the most. Pierre Bonnard is called Nabi japonard in Nadis. This papers wants to discuss how a foreign culture influences an artist. Japanese Art inspires Bonnard. Japonisme is a kind of insernation in art style, not just copying and imitation without any thought. The nature of Bonnard’s painting is decoration and platness. The presentation with colorful block and usage of decoration pattern in his painting result of Japanese Art inspiration. Beside, the Japonisme influence in Bonnard’s painting includes the usage of line , the composition, the similar elements with Japanese Ukiyo-e, and the frequent employment of kakimono scroll.