Monet portrayed his wife Camille dressed in a Japanese kimono surrounded by Japanese fans, and his water garden at Giverny was inspired by Japanese gardens depicted in prints and included a Japanese-style wooden bridge. Immediately noticeable among the artworks surrounding him are a Japanese woodblock print of a wrestler and a Japanese gold screen. In Manet’s portrait of Emile Zola the novelist and art critic sits at his overflowing desk. Works by prominent artists associated with Impressionism and Post-Impressionism bear witness to the late 19th-century fashion for Japanese art and decorative objects. Edouard Manet, Emile Zola, oil on canvas, 1868 Claude Monet, La Japonaise, oil on canvas, 1876 Bing was also a major supporter of Art Nouveau, a fin-de-siècle (end of century) decorative style greatly influenced by Japonisme. He sold them in his shop La Porte Chinoise, as well as promoting them in his lavish magazine Le Japon Artistique, published from 1888-1891. The art dealer Siegfried Bing was one of the earliest importers of Japanese decorative arts in Paris. The late-nineteenth century Western fascination with Japanese art directly followed earlier European fashions for Chinese and Middle Eastern decorative arts, known respectively as Chinoiserie and Turquerie. Decorative objects from both Japan and China surround her, including a large gold Japanese folding screen. In Whistler’s painting, a European woman sits on the floor wearing richly embroidered silks like those of a Japanese courtesan while she studies a set of woodblock prints by the Japanese artist Hiroshige. It refers to the fashion for Japanese art in the West and the Japanese influence on Western art and design following the opening of formerly isolated Japan to world trade in 1853. James McNeill Whistler’s Caprice in Purple and Gold is an early example of Japonisme, a term coined by the French art critic Philippe Burty in 1872.
0 Comments
Leave a Reply. |