What Is a Word for a Passion for Collecting Japense Art

European imitation of Japanese art during the 19th and 20th centuries

Young Ladies Looking at Japanese Objects by the painter James Tissot in 1869 is a representation of the popular curiosity nearly all Japanese items that started with the opening of the country in the Meiji Restoration of the 1860s.

Japonisme ^[a] is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858.^[i] ^[two] Japonisme was first described by French fine art critic and collector Philippe Burty in 1872.^[3]

While the effects of the trend were likely most pronounced in the visual arts, they extended to compages, landscaping and gardening, and clothing.^[4] Even the performing arts were afflicted; Gilbert & Sullivan'southward The Mikado is perhaps the best example.

Window of La Pagode (Paris), built in 1896

From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.^[5] These prints were created for the commercial market in Japan.^[5] Although a percent of prints were brought to the W through Dutch merchandise merchants, it was non until the 1860s that ukiyo-e prints gained popularity in Europe.^[5] Western artists were intrigued by the original apply of color and composition. Ukiyo-eastward prints featured dramatic foreshortening and asymmetrical compositions.^[6]

Japanese decorative arts, including ceramics, enamels, metalwork, and lacquerware, were as influential in the West as the graphic arts.^[7] During the Meiji era (1868–1912), Japanese pottery was exported around the world.^[8] From a long history of making weapons for samurai, Japanese metalworkers had achieved an expressive range of colours past combining and finishing metal alloys.^[ix] Japanese cloissoné enamel reached its "golden age" from 1890 to 1910,^[10] producing items more advanced than ever before.^[11] These items were widely visible in nineteenth-century Europe: a succession of world'south fairs displayed Japanese decorative art to millions,^[12] ^[13] and it was picked up by galleries and fashionable stores.^[vii] Writings by critics, collectors, and artists expressed considerable excitement virtually this "new" art.^[vii] Collectors including Siegfried Bing^[fourteen] and Christopher Dresser^[15] displayed and wrote virtually these works. Thus Japanese styles and themes reappeared in the work of Western artists and craftsmen.^[seven]

History [edit]

Seclusion (1639–1858) [edit]

During the about of the Edo period (1603–1867), Japan was in a fourth dimension of seclusion and but one international port remained agile.^[16] Tokugawa Iemitsu ordered that an island, Dejima, be built off the shores of Nagasaki from which Nippon could receive imports.^[sixteen] The Dutch were the simply Westerners able to engage in merchandise with the Japanese, yet this small amount of contact nevertheless allowed for Japanese art to influence the West.^[17] Every year the Dutch arrived in Japan with fleets of ships filled with Western goods for trade.^[18] The cargo included many Dutch treatises on painting and a number of Dutch prints.^[xviii] Shiba Kōkan (1747–1818) was one of the Japanese artists that studied the imports.^[xviii] Kōkan created one of the first etchings in Japan which was a technique he had learned from i of the imported treatises.^[18] Kōkan combined the technique of linear perspective, which he learned from a treatise, with his own ukiyo-due east styled paintings.

Early on exports [edit]

The primary Japanese exports were initially silver, which was prohibited later 1668, and gold, generally in the form of oval coins, which was prohibited after 1763, and subsequently copper in the class of copper bars. Japanese exports eventually decreased and shifted to craftwork such as ceramics, manus fans, paper, piece of furniture, swords, armors, mother-of-pearl objects, folding screens, and lacquerware, which were already being exported.^[nineteen]

During the era of seclusion, Japanese goods remained a luxury sought afterward past European elites.^[20] The production of Japanese porcelain increased in the seventeenth century, later on Korean potters were brought to the Kyushu area.^[21] The immigrants, their descendants, and Japanese counterparts unearthed kaolin clay mines and began to brand high quality pottery. The blend of traditions evolved into a singled-out Japanese industry with styles such as Imari ware and Kakiemon. They would later influence European and Chinese potters.^[20] The exporting of porcelain was farther additional past the effects of the Ming-Qing transition, which immobilized the center of Chinese porcelain production in Jingdezhen for several decades. Japanese potters filled the void making porcelain for European tastes.^[20] Porcelain and lacquered objects became the chief exports from Japan to Europe.^[22] An extravagant mode to brandish porcelain in a home was to create a porcelain room with shelves placed throughout to show off the exotic wares,^[22] but the ownership of a few pieces was possible for a wide and increasing social range of the center form. Marie Antoinette and Maria Theresa are known collectors of Japanese lacquerware, and their collections are often exhibited in the Louvre and the Palace of Versailles.^[23] The European imitation of Asian lacquerwork is referred to as Japanning.^[24]

Re-opening (19th century) [edit]

During the Kaei era (1848–1854), later on more than than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long flow of national isolation and became open to imports from the W, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to announced in small curiosity shops in Paris and London.^[25] Japonisme began as a craze for collecting Japanese art, peculiarly ukiyo-e. Some of the start samples of ukiyo-due east were seen in Paris.^[26]

During this time, European artists were seeking alternatives to the strict European academic methodologies.^[27] Around 1856, the French artist Félix Bracquemond encountered a copy of the sketch book Hokusai Manga at the workshop of his printer, Auguste Delâtre.^[28] In the years post-obit this discovery, there was an increase of interest in Japanese prints. They were sold in curiosity shops, tea warehouses, and larger shops.^[28] Shops such equally La Porte Chinoise specialized in the sale of Japanese and Chinese imports.^[28] La Porte Chinoise, in particular, attracted artists James Abbott McNeill Whistler, Édouard Manet, and Edgar Degas who drew inspiration from the prints.^[29] It and other shops organized gatherings which facilitated the spread of information regarding Japanese art and techniques.^[27]

Artists and Japonisme [edit]

Ukiyo-east prints were one of the principal Japanese influences on Western art. Western artists were inspired by dissimilar uses of compositional space, flattening of planes, and abstruse approaches to colour. An emphasis on diagonals, disproportion, and negative space can be seen in the works of Western artists who were influenced past this way.^[30]

Vincent van Gogh [edit]

Vincent van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. ^[31] Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life.^[31] Van Gogh used Régamey as a reliable source for the creative practices and everyday scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could exist bought in minor Parisian shops.^[31] He shared these prints with his contemporaries and organized a Japanese impress exhibition in Paris in 1887.^[31]

Van Gogh's Portrait of Père Tanguy (1887) is a portrait of his color merchant, Julien Tanguy. Van Gogh created two versions of this portrait. Both versions feature backdrops of Japanese prints^[32] past identifiable artists like Hiroshige and Kunisada. Inspired by Japanese woodblock prints and their colorful palettes, Van Gogh incorporated a like vibrancy into his own works.^[33] He filled the portrait of Tanguy with vibrant colors as he believed that buyers were no longer interested in grey-toned Dutch paintings and that paintings with many colors would exist considered modern and desirable.^[33]

Alfred Stevens [edit]

The Belgian painter Alfred Stevens was 1 of the earliest collectors and enthusiast of Japanese art in Paris.^[34] ^[35] Objects from Stevens' studio illustrate his fascination with Japanese and exotic knick-knacks and piece of furniture. Stevens was close with Manet and to James McNeill Whistler,^[36] with whom he shared this involvement early on. Many of his contemporaries were similarly enthused, especially later on the 1862 International Exhibition in London and the International Exposition of 1867 in Paris, where Japanese art and objects appeared for the first time.^[36]

From the mid-1860's, Japonisme became a primal chemical element in many of Stevens' paintings. Ane of his most famous Japonisme-influenced works is La parisienne japonaise (1872). He realized several portraits of immature women dressed in kimono, and Japanese elements characteristic in many other paintings of his, such as the early La Dame en Rose (1866), which combines a view of a fashionably dressed adult female in an interior with a detailed examination of Japanese objects, and The Psyché (1871), wherein on a chair there sit Japanese prints, indicating his artistic passion.^[37]

Edgar Degas [edit]

Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, 1879–1880. Aquatint, drypoint, soft-ground etching, and etching with burnishing, 26.8 × 23.half-dozen cm.

In the 1860s, Edgar Degas began to collect Japanese prints from La Porte Chinoise and other small print shops in Paris.^[38] His contemporaries had begun to collect prints also, which gave him a wide array of sources for inspiration.^[38] Among prints shown to Degas was a re-create of Hokusai'due south Manga, which Bracquemond had purchased after seeing it in Delâtre's workshop.^[27] The estimated appointment of Degas' adoption of japonismes into his prints is 1875, and it tin can be seen in his choice to divide private scenes past placing barriers vertically, diagonally, and horizontally.^[38]

Similar to many Japanese artists, Degas' prints focus on women and their daily routines.^[39] The atypical positioning of his female figures and the dedication to reality in his prints aligned him with Japanese printmakers such as Hokusai, Utamaro, and Sukenobu.^[39] In Degas' impress Mary Cassatt at the Louvre: The Etruscan Gallery (1879–80), the artist uses of two figures, ane seated and one standing, which is a mutual composition in Japanese prints.^[forty] Degas also continued to use lines to create depth and separate space inside the scene.^[40] His most clear cribbing is of the woman leaning on a closed umbrella, which is borrowed direct from Hokusai's Manga.^[41]

James McNeill Whistler [edit]

Japanese art was exhibited in Britain beginning in the early 1850s.^[42] These exhibitions featured various Japanese objects, including maps, letters, textiles, and objects from everyday life.^[43] These exhibitions served as a source of national pride for Britain and served to create a separate Japanese identity apart from the generalized "Orient" cultural identity.^[44]

James Abbott McNeill Whistler was an American artist who worked primarily in United kingdom of great britain and northern ireland. During the late 19th century, Whistler began to reject the Realist style of painting that his contemporaries favored. Instead, he found simplicity and technicality in the Japanese aesthetic.^[45] Rather than copying specific artists and artworks, Whistler was influenced by general Japanese methods of articulation and composition, which he integrated into his works.^[45]

Artists influenced by Japanese art and culture [edit]

Artist	Date of birth	Date of expiry	Nationality	Style
Alfred Stevens	1823	1906	Belgian	Realism, Genre painting
James Tissot	1836	1902	French	Genre Art, Realism
James McNeill Whistler	1834	1903	American	Tonalism, Realism, Impressionism
Édouard Manet	1832	1883	French	Realism, Impressionism
Claude Monet	1840	1926	French	Impressionism
Vincent van Gogh	1853	1890	Dutch	Mail service-Impressionism
Edgar Degas	1834	1917	French	Impressionism
Pierre-Auguste Renoir	1841	1919	French	Impressionism
Camille Pissarro	1830	1903	Danish-French	Impressionism, Mail-Impressionism
Paul Gauguin	1848	1903	French	Mail-Impressionism, Primitivism
Henri de Toulouse-Lautrec	1864	1901	French	Post-Impressionism, Art Nouveau
Mary Cassatt	1844	1926	American	Impressionism
George Hendrik Breitner	1857	1923	Dutch	Amsterdam Impressionism
Bertha Lum	1869	1954	American	Japanese Styled Prints
William Bradley	1801	1857	English	Portrait
Aubrey Beardsley	1872	1898	English	Art Nouveau, Aestheticism
Arthur Wesley Dow	1857	1922	American	Arts and Crafts Revival, Japanese Styled Prints
Alphonse Mucha	1860	1939	Czech	Fine art Nouveau
Gustav Klimt	1862	1918	Austrian	Art Nouveau, Symbolism
Pierre Bonnard	1867	1947	French	Mail-Impressionism
Frank Lloyd Wright	1867	1959	American	Prairie School
Charles Rennie Mackintosh	1868	1928	Scottish	Symbolism, Arts and crafts, Art Nouveau, Glasgow Style
Louis Comfort Tiffany	1848	1933	American	Jewelry and glass designer
Helen Hyde	1868	1919	American	Japanese Styled Prints
Georges Ferdinand Bigot	1860	1927	French	Cartoon

Theater [edit]

The beginning popular stagings of Asia were depictions of Nihon from England. The comic opera Kosiki (originally titled The Mikado merely renamed subsequently protest from Japan) was written in 1876. In 1885, Gilbert and Sullivan, manifestly less concerned about Japanese perceptions, premiered their Mikado. This comic opera enjoyed immense popularity throughout Europe where seventeen companies performed it nine,000 times within 2 years of its premiere. Translated into German language in 1887, The Mikado remained the most popular drama in Federal republic of germany throughout the 1890s. In the wake of this popularity, comedies fix in Asia and featuring comic Asian figures appeared in rapid succession, both in comic opera and drama.

Ad poster for the comic opera The Mikado, which was set in Nippon (1885)

The successor to The Mikado equally Europe'south most popular Japan drama, Sidney Jones' opera The Geisha (1896) added the championship graphic symbol to the stock characters representing Japan, the figure of the geisha belongs to the "objects " which in and of themselves meant Japan in Deutschland and throughout the W. The period from 1904 to 1918 saw a European boom in geisha dramas. The most famous of these was, of course, Puccini'due south opera Madama Butterfly. In 1900, Puccini saw a staging of David Belasco's play of the same name and reportedly found it so moving that he wept. The popularity of the opera brought on a slew of Madame Something or Others, including Madames Cherry, Espirit, Flott, Flirt, Wig-Wag, Leichtsinn, and Tip Top, all of whom appeared effectually 1904 and disappeared relatively chop-chop. They were not without lasting upshot, still, and the geisha had established herself among the scrolls, jade, and images of Mount Fuji that signified Japan to the W. Much as this human figure of the geisha was reduced to the level of other objects signifying ing Japan in the drama, Japanese performers in Germany served German play wrights in their quest to renew the German language drama. Just as ukiyo-e had proven useful in France, severed from whatsoever understanding of Japan, the troupes of Japanese actors and dancers that toured Europe provided materials for "a new style of dramatizing"on stage. Ironically, the popularity and influcnce of these Japanese dramas had a great deal to do with the westernization of the Japanese theater in general and of the pieces performed in Europe in detail.

Invented for the Kabuki theatre in Japan in the 18th century, the revolving stage was introduced into Western theater at the Residenz theatre in Munich in 1896 under the influence of japonism fever. The Japanese influence on German drama get-go appeared in stage design. Karl Lautenschlager adopted the Kabuki revolving stage in 1896 and ten years afterwards Max Reinhardt employed it in the premiere of Frühlings Erwachen by Frank Wedekind. Soon this revolving stage was a trend in Berlin. Another adaptation of the Kabuki stage popular amid German directors was the Blumensteg, a jutting extension of the stage into the audition. The European acquaintance with Kabuki came either from travels in Japan or from texts, merely also from Japanese troupes touring Europe. In 1893, Kawakami Otojiro and his troupe of actors arrived in Paris, returning once more in 1900 and playing in Berlin in 1902. Kawakami's troop performed two pieces, Kesa and Shogun, both of which were westernized and were porformed without music and with the majority of the dialogue climinated. This being the example, these performances tended toward pantomime and dance. Dramatists and critics quickly latched on to what they saw as a"re-theatricalization of the theater." Among the actors in these plays was Sada Yacco, first Japanese star in Europe, who influenced pioneers of mod dance such as Loie Fuller and Isadora Duncan, she performed for Queen Victoria in 1900, and enjoyed the status of a European star.^[46] ^[47]

Japanese gardens [edit]

The artful of Japanese gardens was introduced to the English-speaking world past Josiah Conder'southward Mural Gardening in Japan (Kelly & Walsh, 1893), which sparked the first Japanese gardens in the West. A 2nd edition was published in 1912.^[48] Conder'due south principles have sometimes proved hard to follow:^{[ commendation needed ]}

Robbed of its local garb and mannerisms, the Japanese method reveals aesthetic principles applicable to the gardens of any country, teaching, every bit information technology does, how to catechumen into a poem or movie a composition, which, with all its variety of detail, otherwise lacks unity and intent.^[49]

Tassa (Saburo) Eida created several influential gardens, two for the Japan–British Exhibition in London in 1910 and i built over four years for William Walker, 1st Baron Wavertree.^[50] The latter tin still be visited at the Irish National Stud.^[51]

Samuel Newsom's Japanese Garden Structure (1939) offered Japanese aesthetics every bit a corrective in the construction of rock gardens, which owed their quite separate origins in the West to the mid-19th century desire to grow alpines in an approximation of Tall scree. Co-ordinate to the Garden History Society, Japanese mural gardener Seyemon Kusumoto was involved in the development of around 200 gardens in the UK. In 1937, he exhibited a stone garden at the Chelsea Flower Show, and worked on the Burngreave Estate at Bognor Regis, a Japanese garden at Cottered in Hertfordshire, and courtyards at Du Cane Court in London.

The impressionist painter Claude Monet modelled parts of his garden in Giverny later Japanese elements, such as the bridge over the lily pond, which he painted numerous times. In this serial, by detailing just on a few select points such as the span or the lilies, he was influenced by traditional Japanese visual methods found in ukiyo-e prints, of which he had a large drove.^[52] ^[53] ^[54] He also planted a large number of native Japanese species to give information technology a more exotic feeling.

Museums [edit]

In the U.s.a., the fascination with Japanese art extended to collectors and museums creating significant collections which still be and have influenced many generations of artists. The epicenter was in Boston, likely due to Isabella Stewart Gardner, a pioneering collector of Asian art.^[55] As a upshot, the Museum of Fine Arts, Boston now claims to house the finest drove of Japanese art exterior Nippon.^[56] The Freer Gallery of Art and the Arthur M. Sackler Gallery house the largest Asian art research library in the United States, where they business firm Japanese fine art together with the Japanese-influenced works of Whistler.

Gallery [edit]

Japanese salon at Villa Hügel, Vienna

See too [edit]

Anglo-Japanese manner
Arabist – "Arab" style
Chinoiserie – similar Chinese influence on Western art and pattern
David B. Gamble House
Occidentalism – for Eastern views of the West
Orientalism – Western romanticized depictions of Asian (more than often Near Eastern) field of study thing
Turquerie
Woodblock printing in Nippon
Woodcut
Yamashiro Celebrated District

Notes [edit]

^ From the French Japonisme

References [edit]

References

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^ "Commodore Perry and Japan (1853–1854) | Asia for Educators | Columbia University". afe.easia.columbia.edu . Retrieved 2020-02-02 .
^ Ono 2003, p. 1
^ Davis, Aaron, "Japanese Influence On Western Architecture Role 2: The Early Craftsmen Movement" Nakamoto Forestry, May 28, 2019; accessed 2020.09.xvi.
^ ^a ^b ^c Bickford, Lawrence (1993). "Ukiyo-east Impress History". Impressions (17): one. JSTOR 42597774.
^ Ono 2003, p. 45
^ ^a ^b ^c ^d Irvine 2013, p. eleven.
^ Earle 1999, p. 330.
^ Earle 1999, p. 66.
^ Irvine 2013, p. 177.
^ Earle 1999, p. 252.
^ Irvine 2013, pp. 26–38.
^ Earle 1999, p. 10.
^ Irvine 2013, p. 36.
^ Irvine 2013, p. 38.
^ ^a ^b Lambourne 2005, p. 13
^ Gianfreda, Sandra. "Introduction." In Monet, Gauguin, Van Gogh… Japanese Inspirations, edited by Museum Folkwang, Essen, fourteen. Gottingen: Folkwang/Steidl, 2014.
^ ^a ^b ^c ^d Lambourne 2005, p. 14
^ Wichmann, Siegfried (2007). Japonisme: the Japanese influence on Western art since 1858. London: Thames and Hudson. ISBN978-0-500-28163-five. OCLC 315522043.
^ ^a ^b ^c Lambourne 2005, p. 16
^ Nogami, Takenori (2013). "Japanese Porcelain in the Philippines". Philippine Quarterly of Culture and Society. 41 (1/2): 101–121. ISSN 0115-0243. JSTOR 43854721.
^ ^a ^b Chisaburo, Yamada. "Substitution of Influences in the Fine Arts betwixt Nippon and Europe." Japonisme in Art: An International Symposium (1980): 14.
^ "Marie Antoinette and Japanese lacquer". vogue.com . Retrieved 2021-04-24 .
^ "A Written report of the Methods and Operations of Japanning Exercise". Automotive Industries (42): 669. xi Mar 1920.
^ Cate et al. 1975, p. 1
^ Yvonne Thirion, "Le japonisme en French republic dans la seconde moitié du XIXe siècle à la faveur de la improvidence de 50'estampe japonaise", 1961, Cahiers de fifty'Association internationale des études francaises, Book thirteen, Numéro thirteen, pp. 117–130. DOI 10.3406/caief.1961.2193
^ ^a ^b ^c Breuer 2010, p. 68
^ ^a ^b ^c Cate et al. 1975, p. 3
^ Cate et al. 1975, p. 4
^ Breuer 2010, p. 41
^ ^a ^b ^c ^d Thomson 2014, p. 70
^ Thomson 2014, p. 71
^ ^a ^b Thomson 2014, p. 72
^ Stevens ging als geen ander mee met het toentertijd sterk in mode zijnde Japonisme.
^ Thomas, Bernadette. "Alfred (Emile-Léopold) Stevens" in Oxford Art Online. Retrieved 27 December 2013.
^ ^a ^b Marjan Sterckx. "Alfred Stevens". Association of Historians of Nineteenth-Century Art. Retrieved ten September 2020.
^ "The Psyché (My Studio), ca. 1871". Princeton University Fine art Museum. Retrieved 20 Baronial 2020.
^ ^a ^b ^c Cate et al. 1975, p. 12
^ ^a ^b Cate et al. 1975, p. 13
^ ^a ^b Breuer 2010, p. 75
^ Breuer 2010, p. 78
^ Ono 2003, p. 5
^ Ono 2003, p. 8
^ Ono 2003, p. six
^ ^a ^b Ono 2003, p. 42
^ Maltarich, Bill, 1969- (2005). Samurai and supermen : national socialist views of Japan. Oxford: P. Lang. ISBN3-03910-303-2. OCLC 59359992. {{cite book}}: CS1 maint: multiple names: authors list (link)
^ "International Briefing". www.jsme.or.jp . Retrieved 2020-12-28 .
^ Slawson 1987, p. 15 and note2.
^ Conder quoted in Slawson 1987, p. 15.
^ Britain and Nippon: Biographical Portraits. Global Oriental. 2010. p. 503.
^ "Japanese Garden". Irish National Stud. nineteen May 2017. Retrieved 16 January 2019.
^ "Giverny | Drove of japanese prints of Claude Monet". Giverny hébergement, hôtels, chambres d'hôtes, gîtes, restaurants, informations, artistes... 2013-11-thirty. Retrieved 2020-05-26 .
^ Genevieve Aitken, Marianne Delafond. La drove d'estampes Japonaises de Claude Monet. La Bibliotheque des Arts. 2003. ISBN 978-2884531092
^ "The japanese prints". The Claude Monet Foundation . Retrieved 2020-05-26 .
^ 1957–, Chong, Alan (2009). Journeys east: Isabella Stewart Gardner and Asia. Murai, Noriko., Guth, Christine., Isabella Stewart Gardner Museum. [Boston]: Isabella Stewart Gardner Museum. ISBN978-1934772751. OCLC 294884928. {{cite book}}: CS1 maint: numeric names: authors list (link)
^ "Fine art of Asia". Museum of Fine Arts, Boston. 2010-10-fifteen. Retrieved 2017-09-27 .
^ "George Hendrik Breitner – Girl in White Kimono". Rijksmuseum, Amsterdam. Archived from the original on 9 September 2012. Retrieved 12 May 2012.

Sources

Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing.
Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854–1910. Kent Country University Press.
Earle, Joe (1999). Splendors of Meiji: treasures of imperial Nihon: masterpieces from the Khalili Collection. Saint petersburg, Fla.: Broughton International Inc. ISBN1874780137. OCLC 42476594.
Irvine, Gregory, ed. (2013). Japonisme and the rise of the modern art movement: the arts of the Meiji period: the Khalili collection. New York: Thames & Hudson. ISBN978-0-500-23913-one. OCLC 853452453.
Lambourne, Lionel (2005). Japonisme: cultural crossings between Japan and the W. New York: Phaidon.
Ono, Ayako (2003). Japonisme in United kingdom: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon.
Slawson, David A. (1987). Clandestine Teachings in the Fine art of Japanese Gardens. New York/Tokyo: Kodansha.
Thomson, Belinda (2014). "Japonisme in the Works of Van Gogh, Gauguin, Bernard and Anquetin". In Museum Folkwang (ed.). Monet, Gauguin, Van Gogh… Japanese Inspirations. Folkwang/Steidl.

External links [edit]

Wikimedia Commons has media related to Japonisme.

"Japonisme" from the Metropolitan Museum of Fine art Timeline of Art History
"Orientalism, Absence, and Quick~Firing Guns:The Emergence of Japan as a Western Text"
"Japonisme: Exploration and Commemoration"
Marc Maison's Gallery specialized in japonisme
The Private Collection of Edgar Degas, fully digitized text from The Metropolitan Museum of Art libraries; contains essay Degas, Japanese Prints, and Japonisme (pgs 247–260)

colemanduchis65.blogspot.com

Source: https://en.wikipedia.org/wiki/Japonisme