Japonisme Research Papers - Academia.edu (original) (raw)
« L’hôtel Tassel : maison portrait d’un collectionneur », in Liber amicorum Françoise Aubry, Bruxelles, s.e., 2018. This study try to recollect the important collection of Japanese prints, Tsubas and artefacts owned by Emile Tassel who... more
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- Architecture, Art Nouveau, Japonisme, Victor Horta
The influence of "Japonisme" on symbolist art is generally studied only from the formal point of view The influence of Japonisme on symbolist art is generally studied only from the formal point of view : format, graphics, iconographic... more
The influence of "Japonisme" on symbolist art is generally studied only from the formal point of view The influence of Japonisme on symbolist art is generally studied only from the formal point of view : format, graphics, iconographic elements analyzed for their plastic aspect. This paper shows how the Japanese world inspires the idealist artists of the end of the 19th century far beyond the formal aspect. The strangeness generated by a distant culture allows them to suggest an imaginary world: the foreign Japanese repertoire here becomes a factor of metaphysical strangeness.
Orient-Bcn. Guia d’Història Urbana. MUHBA, Barcelona, 2011
The Body as Object and Sculpture in Japanese Arts
PART 1: Kinkarakawakami aka Japanese leather paper: historical context and production processes
El arte en Japón, en origen, derivó del legado artístico chino. Con el tiempo, encontraron su propia identidad, desarrollando una producción japonesa per se, el yamato-e. Con la llegada de los portugueses a Kyūshū en el siglo XVI se... more
El arte en Japón, en origen, derivó del legado artístico chino. Con el tiempo, encontraron su propia identidad, desarrollando una producción japonesa per se, el yamato-e. Con la llegada de los portugueses a Kyūshū en el siglo XVI se produjo un proceso de evangelización y aculturación que impregnó todo el arte tradicional. Los artistas japoneses dejaron en desuso sus técnicas centenarias a favor de las novedades llegadas de Occidente. Esta situación generó una crispación entre un grupo de artistas que avalaban las virtudes de lo autóctono y promovían su recuperación. Esto dará lugar al nihonga o pintura propiamente japonesa. En el siglo XIX, cuando el País del sol naciente se abre al exterior y penetra en Europa, los occidentales se quedan fascinados con su cultura. Los mismos que habían destruido una tradición, imponiendo la suya, ahora se sienten atraídos por lo exótico, adoptando sus técnicas y formas en su pintura vanguardista.
De sociaalpsychologische invloed van Japanse kunst op de beeldvorming over Japan in het Belgische japonistische netwerk tijdens het fin de siècle - The Social-psychological Influence of Japanese Art on the Formation of Japan’s Image... more
De sociaalpsychologische invloed van Japanse kunst op de beeldvorming over Japan in het Belgische japonistische netwerk tijdens het fin de siècle - The Social-psychological Influence of Japanese Art on the Formation of Japan’s Image among the Belgian Japonisants during the Fin de Siècle
Paper presented at the 12e École Internationale de Printemps, " Wakugumi (Cadres conceptuels / Frameworks) en Histoire de l'Art - Regards croisés sur l'Occident, le Japon et l'Asie - ", organized by the Réseau International pour la... more
Paper presented at the 12e École Internationale de Printemps, " Wakugumi (Cadres conceptuels / Frameworks) en Histoire de l'Art - Regards croisés sur l'Occident, le Japon et l'Asie - ", organized by the Réseau International pour la Formation à la Recherche en Histoire de l’Art, June 13, 2014. (University of Tokyo)
Since the nineteenth century, artists, art theorists and art historians have dreamed of a Japanese material aesthetic—of the beauty of the formless, the ephemeral and the processual. This book is the first to explore this history:... more
Since the nineteenth century, artists, art theorists and art historians have dreamed of a Japanese material aesthetic—of the beauty of the formless, the ephemeral and the processual. This book is the first to explore this history: Japonism as a question of material aesthetics. It uncovers the historical, technical and discursive conditions on which the concept of a Japanese material aesthetic is based, and subjects the iconographic meanings so closely linked to the tradition of Japanese tea ceramics, wooden architecture or ink painting to a critical historical analysis. In doing so, it opens up new perspectives on the modernist art that emerged in Japan after 1945, which is shown to have radically challenged such iconographic fixations.
Japanese art came to Barcelona in the 1870s but it was not until the late 80s that the first com- mercial contacts between Catalan and Japanese businessmen were established. This study aims to provide a first overview of the nature and... more
Japanese art came to Barcelona in the 1870s but it was not until the late 80s that the first com- mercial contacts between Catalan and Japanese businessmen were established. This study aims to provide a first overview of the nature and developments in the Japanese art trade, starting with Barcelona’s Universal Exposition in 1888 through until the beginning of the twentieth century.
Если верить Ролану Барту, мода убила дендизм. Никто уже не может в полной мере быть автором собственного облика, так как «проект своеобычности» приобрел форму социального института, превращающего индивидуальное самовыражение в одежде в... more
Если верить Ролану Барту, мода убила дендизм. Никто уже не может в полной мере быть автором собственного облика, так как «проект своеобычности» приобрел форму социального института, превращающего индивидуальное самовыражение в одежде в право и обязанность каждого. «Равномерное распределение» дозированного своеобразия поддерживается как на идеологическом («Мода -это здоровье и нравственность»), так и на материальном уровне -благодаря сложной системе производства и распространения модных изделий, от масс-маркета и дешевых подделок до эксклюзивных дизайнерских причуд, в которых сам «выход за рамки оказывается предметом коммерции» (Барт 2004а: 396-397).
Cet ouvrage rassemble des textes critiques – prononcés lors d’un colloque qui s’est tenu à la Maison Franco-Japonaise de Tokyo en septembre 2013 – portant sur des œuvres « néo- » et « post- japonistes » françaises créées après 1945. Ces... more
Cet ouvrage rassemble des textes critiques – prononcés lors d’un colloque qui s’est tenu à la Maison Franco-Japonaise de Tokyo en septembre 2013 – portant sur des œuvres « néo- » et « post- japonistes » françaises créées après 1945. Ces créations littéraires et artistiques (photographie, cinéma, danse...) forment en effet un corpus important encore peu étudié à ce jour et dont les principales tendances et caractéristiques sont ici présentées au fil des différentes contributions. On trouvera entre autres des études d’auteurs comme Chris Marker, Georges Perec, Jacques Roubaud ou Jean-Philippe Toussaint, mais également Michaël Ferrier, Philippe Forest et Gérard Macé, ces trois écrivains ayant participé à ce volume.
Updated and illustrated version of PhD thesis, University College London. 1,161 html pages, bibliographical notes for 4,000 works, 1,100 images, 45,578 hyperlinked cross-references. Complete to 2003 with occasional but not systematic... more
Updated and illustrated version of PhD thesis, University College London. 1,161 html pages, bibliographical notes for 4,000 works, 1,100 images, 45,578 hyperlinked cross-references. Complete to 2003 with occasional but not systematic notes added since. Not actively updated.
When Japanese ukiyo-e woodcut prints arrived in the European art world of the late nineteenth century, they caused a sensation and influenced artists as diverse as van Gogh, Toulouse-Lautrec, and Rodin. Picasso first encountered their... more
When Japanese ukiyo-e woodcut prints arrived in the European art world of the late nineteenth century, they caused a sensation and influenced artists as diverse as van Gogh, Toulouse-Lautrec, and Rodin. Picasso first encountered their bold stylization and expressive flair as a young artist in Barcelona, but his connection with Japanese art has been comparatively neglected by critical studies until now.
Although Picasso expressed an ambivalent attitude to the Japonisme movement, it has recently been discovered that he personally owned more than sixty of the highly erotic prints known as shunga. Now a selection of these rare works from his private collection has been brought together by the Museu Picasso in Barcelona and is shown here for the first time along with Picasso’s own prints and drawings. This juxtaposition reveals a series of fascinating parallels and convergences in terms of both subject matter and composition. The stylistic echoes are most visible in Picasso’s erotic drawings of the first decade of the twentieth century, and in a series of witty and explicit prints made toward the end of his life, which share the frank yet playful attitude to sexual relationships that shines through in the best Japanese works of this genre.
When the Japanese borders opened in 1853 and the country began exporting goods into Europe, fascination with Japan emerged in European society. This fascination with Japan, also called Japonisme, applied to European culture and art;... more
When the Japanese borders opened in 1853 and the country began
exporting goods into Europe, fascination with Japan emerged in European
society. This fascination with Japan, also called Japonisme, applied to
European culture and art; artists incorporated Japanese motifs within
paintings and adopted Japanese artistic compositions which altered many
Impressionists’ careers. Fast forward to 2015—the Museum of Fine Arts
Boston had a heated controversy regarding their summer event, “Kimono
Wednesday,” which encouraged museum visitors to stand in front of a
Monet painting while wearing a replica of the kimono that Monet depicted.
The event sparked conversations about race within art, with the central
question of whether or not Japonisme is a form of cultural appropriation.
This paper aims to intertwine the discourses on race and art, answering the
questions of whether Japonisme—an attempt to celebrate Japanese culture and traditions in Western art—is inherently racist. In this paper, I discuss Japonisme from a modern-day lens, and analyze if Japonisme is truly a form of appropriation by Europeans. I will first explore the history of Japanese fascination in Europe, before moving onto why Impressionists, such as Monet, took upon Japanese influences. Then, I will move onto the twenty-first-century discourse on cultural appropriation, and try to understand the connection between racism and art. Finally, I will discuss whether or not museums have the responsibility to utilize their platform to bring awareness to such discourses and promote a conversation on race and cultural appropriation.
Japonisme refers to the genre of art, fashion and aesthetics in the West deriving motifs, subjects and techniques from Japanese art. The most prominent expression of Japonisme was seen in European art, especially on the nineteenth century... more
Japonisme refers to the genre of art, fashion and aesthetics in the West deriving motifs, subjects and techniques from Japanese art. The most prominent expression of Japonisme was seen in European art, especially on the nineteenth century art movement, Impressionism. After two centuries of political and economic isolation, Japanese opened their ports to the west in 1868. This political development set into motion series of experimentation in the art world when Japanese prints, ceramics, lacquer and other artifacts reached the west. With the Paris Exposition Universelle 1867, Japanese craze truly began. The surprise and awe that an exhibition of non-western art created was unprecedented and artists found an avenue for liberation from the pressures of their own past and academism of older masters. In this paper, I have attempted to trace the history of Japanese prints in their origins and socio-political significance of their themes, going on to describe 'the great wave' that hit Europe and America. This paper also describes the impact of Japanese subject matter and technique on famous artists like Edgar Degas, Edouard Manet, Claude Monet, Mary Cassatt and Vincent Van Gogh. Their attempts depict the creative ways in which one art style is adapted and moulded to form something distinctive while retaining the essence.
JAPONISME: JAPAN AND THE BIRTH OF MODERN ART
Melbourne: National Gallery of Victoria, 2018
At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He... more
At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He presents an in-depth discussion of the influence of Japanese printed erotic imagery by ukiyo-e masters such as Kitagawa Utamaro and Katsushika Hokusai on European artists, including Edgar Degas, Auguste Rodin, Henri de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well as writers, critics, and collectors, such as Edmond de Goncourt, Joris-Karl Huysmans, and Émile Zola. With over 160 color illustrations sourced from public and private collections, Erotic Japonisme demonstrates the rich artistic dialogue that existed between Europe and Japan.
Exhibition at the Museum of Art and Archaeology, University of Missouri
7 November 2017 - 1 April 2018
Tarihi boyunca orduya büyük önem veren, hatta bazı dönemler militarist yaklaşımlar benimsemiş Japonya, 1946 tarihinden sonra anayasal pasifizm dönemine girmiş ve ABD ile sıkı ilişkiler geliştirerek askeri güvenliğini tamamen ABD'ye... more
Tarihi boyunca orduya büyük önem veren, hatta bazı dönemler militarist yaklaşımlar benimsemiş Japonya, 1946 tarihinden sonra anayasal pasifizm dönemine girmiş ve ABD ile sıkı ilişkiler geliştirerek askeri güvenliğini tamamen ABD'ye bırakmıştır. Öte yandan gerçekleştirdiği ekonomik atılımlarla, ekonomik anlamda önemli bir güç haline gelmeyi başarmıştır. Ancak Soğuk Savaş sonrası değişen konjonktür, bölgesel bir güç olarak konumunu sağlamlaştırmak isteyen Japonya'nın askeri olarak güçlenmesi gerektiğini ortaya koymuştur. Bu bilinçle hareket eden Japonya'nın bugün artık sadece bir yumuşak güç olduğunu söylemek mümkün değildir.
Gestalt psychology was founded in 1910 by three German psychologists, Max Wertheimer, Kurt Koffka, and Wolfgang Köhler. The author discusses gestalt theory's influence on modern art and design, describes its resemblance to... more
Gestalt psychology was founded in 1910 by three German psychologists, Max Wertheimer, Kurt Koffka, and Wolfgang Köhler. The author discusses gestalt theory's influence on modern art and design, describes its resemblance to Japanese-inspired theories of esthetics, and finds evidence of a mutual, if limited, interest between the gestalt psychologists and certain artists.
Az Európában a 19. század második felében kialakuló impresszionista stílusirányzat kétség kívül új irányt hozott a modern képzőművészetben. Az impresszionista mozgalom egyik kiindulópontja az akadémikus művészet megmerevedett formáival... more
Az Európában a 19. század második felében kialakuló impresszionista stílusirányzat kétség kívül új irányt hozott a modern képzőművészetben. Az impresszionista mozgalom egyik kiindulópontja az akadémikus művészet megmerevedett formáival szembeni lázadás, míg a másiknak egy Európához látszólag nem kapcsolódó képtípus, a japán fametszetes technikával készült nyomat, az ukiyo-e hatását kell tekintenünk.
Az ukiyo-e a 19. század végi francia japonisme irányzat egyik alapvető bázisa, amely közvetlenül hatott az impresszionizmusra úgy művészetesztétikailag, mint az impresszionisták azon törekvésére, amely a természet és a világ változékonyságát egy pillanatba sűrítve kísérelte meg visszaadni. Az ukiyo-e által közvetített japán világ-, és életszemlélet rendkívül hasonlít az impresszionisták által keresett ideálhoz. A művészettörténeti kérdésektől eltávolodva felvetem, hogy a japán művészettel egy olyan időtlen gondolat került Európába, amelyet ukiyo-hatásnak nevezhetünk. A fogalom bevezetése elengedhetetlen, mivel a japán művészettörténetre csak erőltetve vetíthetjük ki az európai fogalmainkat, továbbá az ukiyo-hatás összetettségében túl is lép a (nyugati) esztétikai kérdéseken.
Dolgozatom célja az ukiyo-hatás fogalmi megalapozottságának és szükségességének bizonyítása mellett, bemutatni az impresszionisták által nagyra becsült japán kifejezés-technikai hatásokat, egyben a korban a japonisme körül folyó vitákat. A kifejezés-technika kapcsán az egyik legjelentősebb az egy enyészpontos perspektíva alkalmazása, amelynek történeti fejlődését vizsgálva, azzal szembesülünk, hogy a japánok a 16. században európai hatásra fejlesztették ki, mégis később visszahatott Európára. Felmerül a kérdése egy kulturális cserekapcsolat eredményeként létrejövő művészeti irányvonalnak.
Vincent Van Gogh japonizáló korszakával illusztrálom, hogyan lép kölcsönhatásba a két világ, s hogyan tudott, ha félreértelmezve is, óriási befolyást gyakorolni a művészettörténetre Japán úgy, hogy mindeközben egy sajátos világszemléletet integrált a nyugati kultúrába.
For Western modern artists Japonisme was like a new religion – a stimulus that offered salvation from the conservative grasp of academism and unimaginative realism. Fin de siècle Eastern European artists also gradually developed a strong... more
For Western modern artists Japonisme was like a new religion – a stimulus that offered salvation from the conservative grasp of academism and unimaginative realism. Fin de siècle Eastern European artists also gradually developed a strong fascination with Japan and its culture. This paper examines one of the most enthusiastic advocates of Japonisme – a Russian-Lithuanian artist Mstislav Dobuzhinsky. Placing Dobuzhinsky’s art in the broader context of Eastern European Japonisme, this paper examines the role of Japanese stimuli in Dobuzhinsky’s artistic pursuits. Starting from the early 1900s, Dobuzhinsky’s art was visibly recast under the influence of Japanese aesthetics. The paper argues that Japanese aesthetics brought electrifying new ideas into Dobuzhinsky’s art and not only played a seminal role in the formation of his style but may have ignited his interest in graphics.
Questa breve opera deriva da un piccolo ciclo di lezioni sull'estetica contemporanea che ho tenuto all'università di Tor Vergata nell'anno 2012-2013. In questo caso, poiché il testo non si rivolge a un pubblico specializzato, userò un... more
Questa breve opera deriva da un piccolo ciclo di lezioni sull'estetica contemporanea che ho tenuto all'università di Tor Vergata nell'anno 2012-2013. In questo caso, poiché il testo non si rivolge a un pubblico specializzato, userò un linguaggio divulgativo, colloquiale, informale e ricco di esempi, ma non per questo si vuole rinunciare a un'impostazione metodologica e critica che eviti i cliché delle pubblicazioni che trattano questi argomenti in maniera amatoriale, in modo che possa essere un'introduzione valida anche per gli studenti universitari. Trattandosi di un argomento vastissimo, nelle poche pagine in cui mi è stato chiesto di contenere l'argomento, mi limiterò solo a offrire degli spunti. Infatti, il mio intento non è quello di riassumere un lista di nozioni, come fanno i divulgatori di professione, e di volgarizzarli in un linguaggio chiaro e accessibile elencato per punti in modo didascalico e didattico. Questo tipo di lavoro presuppone delle certezze, ovvero un discorso già deciso e codificato dagli esperti, di cui si accettano le verità in modo indiscusso e si procede pertanto solo alla loro trasformazione in parole povere o in riassuntini. Questo non è quello che sarà fatto qui. Non vi saranno presentati dei piatti pronti alla portata di tutti, in stile fast food, ma sarete portati, anche se solo per una rapida occhiata, nelle cucine. Se dobbiamo scegliere tra
The network of Japanese designers who trained abroad in the inter-war period significantly shaped the phenomenon of Japanese Modernism—a phenomenon still to be thoroughly explored in the context of Modernism studies. This article offers a... more
The network of Japanese designers who trained abroad in the inter-war period significantly shaped the phenomenon of Japanese Modernism—a phenomenon still to be thoroughly explored in the context of Modernism studies. This article offers a new perspective focusing on the mutual nature of transnational exchanges rather than the mono local context or the one way ‘influence’ of the Bauhaus and Constructivism on Japan which has been studied in the past. My analysis of the Bauhaus network as a component of the larger network of 1930s Japanese modernity in architecture and design confirms that one cannot capture this transnational landscape properly unless one considers the hybrid and productive outcomes shared by a network of artists involved. The analysis presents a number of networks that interact and overlap, with particular attention to the network of women artists.
PART 2: Kinkarakawakami or Japanese leather paper: cases and assessment
This book is a unique and comprehensive illustrated dictionary of French Art Nouveau Ceramics. A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time... more
This book is a unique and comprehensive illustrated dictionary of French Art Nouveau Ceramics. A census conducted in 1901 indicated the existence of some 209 producers of pottery in France, employing a total of around 5,800 full-time labourers. This great activity stimulated a parallel development in the arts, including the search for new expressions in art pottery, giving birth to l'art nouveau, a great and eclectic synthesis of a number of other art styles. Largely through British arts and crafts, and the work of artists like the Manxman Archibald Knox, it reached far back into the prehistory of Celtic art. To this were added later medieval elements, through the gothic revival championed by William Morris.
Thesis about Van Gogh and his connection with Japanese art prints (Van Gogh and Japonisme)
Les décors successifs d'Odette de Crécy ont-ils véritablement été inspirés à Proust par ceux de la muse de Mallarmé, Méry Laurent? Cet article tente de faire le point sur la question tout en recherchant d'autres influences dans la... more
Les décors successifs d'Odette de Crécy ont-ils véritablement été inspirés à Proust par ceux de la muse de Mallarmé, Méry Laurent? Cet article tente de faire le point sur la question tout en recherchant d'autres influences dans la littérature du XIXe siècle et dans les arts décoratifs de l'époque.