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Otani Oniji II, dated 1794 Toshusai Sharaku (Japanese, active 1794–95) |
In 1853 Japanese ports reopened to trade with the West – therefore, a lot of foreign imports flooded
European shores. Among the foreign imports were
woodcut prints by masters of the Ukiyo-e school
which transformed Impressionist and Post- Impressionist art by showing that
simple, everyday subjects from “the floating
world” could be presented in beautiful,
decorative ways.
Japan occupied a pavilion at
the world’s Fair of 1867. At this time, Parisians saw their first formal exhibition of
Japanese arts and crafts. Ships had already started to
bring oriental bric-a-brac (including
fans, kimonos, lacquers, bronzes and skills)
into England and France.
 |
Kinryusan Temple at Asakusa: From the series
One Hundred Famous Views of Edo, Edo period
(1615–1868), 1856 Ando Hiroshige (Japanese, 1797–1858) |
James Whistler discovered Japanese prints in a Chinese tearoom
near London Bridge and in a spice shop in
Holland, some were
being used as wrapping paper by Claude Monet.
The earliest collectors of Japanese art in France were
the two friends James Tissot and Edgar Degas. Degas didn’t like models dressed in
kimonos and the conspicuous display of oriental props.
Reference:
Japonisme | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. 2013.
Japonisme | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art. [ONLINE] Available at:
http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm.