Pub Date : 2022-12-01DOI: 10.1163/24054992-07020003
Antoine Chatelain, Pauline Guyot
Scholars affiliated with the inha (Institut national d’histoire de l’art) introduce a new open access online database dedicated to collectors, travelers, military personnel, art dealers, and artists who collected Asian art from 1700–1939.
国立美术史研究所(Institut national d’histoire de l’art)的学者们正在介绍一个新的开放访问的在线数据库，该数据库专门为收藏1700年至1939年亚洲艺术品的收藏家、旅行者、军人、艺术品经销商和艺术家提供服务。
{"title":"The Launch of a New Open-Access French-English Database by the Institut national d’histoire de l’art","authors":"Antoine Chatelain, Pauline Guyot","doi":"10.1163/24054992-07020003","DOIUrl":"https://doi.org/10.1163/24054992-07020003","url":null,"abstract":"\u0000Scholars affiliated with the inha (Institut national d’histoire de l’art) introduce a new open access online database dedicated to collectors, travelers, military personnel, art dealers, and artists who collected Asian art from 1700–1939.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116312029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.1163/24054992-07010003
A. Takesue
This essay was developed while translating the article by Matsuo Tomoko, Senior Curator at the Chiba City Museum of Art which was originally published in 2001 (see Appendix). While Matsuo’s article focuses on the historiography of netsuke in Japan, this essay discusses the historical reception of this form of art in the West from the mid-nineteenth century to the turn of the twenty-first century. It is hoped that the essay and the translation together provide a critical perception on netsuke, which has rarely been discussed within the narrative of Japanese art history.
{"title":"The Reception of Netsuke in the West since Japonisme","authors":"A. Takesue","doi":"10.1163/24054992-07010003","DOIUrl":"https://doi.org/10.1163/24054992-07010003","url":null,"abstract":"\u0000 This essay was developed while translating the article by Matsuo Tomoko, Senior Curator at the Chiba City Museum of Art which was originally published in 2001 (see Appendix). While Matsuo’s article focuses on the historiography of netsuke in Japan, this essay discusses the historical reception of this form of art in the West from the mid-nineteenth century to the turn of the twenty-first century. It is hoped that the essay and the translation together provide a critical perception on netsuke, which has rarely been discussed within the narrative of Japanese art history.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123788651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.1163/24054992-07010004
Hyoungee Kong
{"title":"Christopher Reed, Bachelor Japanists, Japanese Aesthetics and Western Masculinities","authors":"Hyoungee Kong","doi":"10.1163/24054992-07010004","DOIUrl":"https://doi.org/10.1163/24054992-07010004","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131733932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.1163/24054992-07010002
Elizabeth Emery
This article extends the conclusions of “A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)” (Journal of Japonisme, 6:1, 2021), an essay dedicated to the translation and analysis of a set of French letters documenting the friendship between Hayashi Tadamasa and Philippe Burty. The present article focuses on a second set of letters sent from Hayashi to Burty while on a trip to the United States in 1887 during which he sold fourteen French paintings for Burty. Hayashi’s descriptions of transatlantic voyages, the tastes and practices of American clients, and his personal reflections on travel, religion, and the tensions among French and American japonistes provide valuable insights into his character, the art market, and the social and aesthetic situation of Japonisme in 1887.
{"title":"Hayashi Tadamasa in the United States (1887)","authors":"Elizabeth Emery","doi":"10.1163/24054992-07010002","DOIUrl":"https://doi.org/10.1163/24054992-07010002","url":null,"abstract":"\u0000 This article extends the conclusions of “A Japoniste Friendship in Translation: Hayashi Tadamasa and Philippe Burty (1878–1890)” (Journal of Japonisme, 6:1, 2021), an essay dedicated to the translation and analysis of a set of French letters documenting the friendship between Hayashi Tadamasa and Philippe Burty. The present article focuses on a second set of letters sent from Hayashi to Burty while on a trip to the United States in 1887 during which he sold fourteen French paintings for Burty. Hayashi’s descriptions of transatlantic voyages, the tastes and practices of American clients, and his personal reflections on travel, religion, and the tensions among French and American japonistes provide valuable insights into his character, the art market, and the social and aesthetic situation of Japonisme in 1887.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128384156","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-18DOI: 10.1163/24054992-07010001
Karen Schneider
Katharine Nash Rhoades, a painter, Charles Lang Freer’s assistant, and a member of the Stieglitz Circle, met Freer at Mount Kisco, New York, the country home of Asian art collectors Agnes and Eugene Meyer on June 29, 1913. Their friendship lasted until Freer’s death on September 25, 1919. Although their relationship was relatively short in duration, it was characterized by loyalty, warmth, and mutual respect. Rhoades and Freer shared the pursuit of beauty as the guiding principle in their lives. Rhoades’s paintings reveal the influence that the Japanese art in Freer’s collection had upon her work. She was instrumental in the creation of the Freer Gallery of Art as it is known today. This article, based on extensive research using primary sources, sheds new light on the relationship between Katharine Rhoades and Charles Lang Freer and the ways in which the art of Japan played a key role in their lives.
1913年6月29日，画家凯瑟琳·纳什·罗兹(Katharine Nash Rhoades)，查尔斯·朗·弗里尔(Charles Lang Freer)的助手，斯蒂格利茨圈子的成员，在纽约基斯科山(Mount Kisco)见到了弗里尔，那里是亚洲艺术收藏家艾格尼丝和尤金·迈耶(Eugene Meyer)的乡村住宅。他们的友谊一直持续到弗利尔于1919年9月25日去世。虽然他们的关系持续时间相对较短，但其特点是忠诚、温暖和相互尊重。罗迪斯和弗里尔都把追求美作为他们生活的指导原则。罗兹的画作揭示了弗里尔收藏的日本艺术对她作品的影响。她在弗里尔艺术画廊的创建中发挥了重要作用，正如今天所知的那样。本文基于对第一手资料的广泛研究，揭示了凯瑟琳·罗迪斯和查尔斯·朗·弗里尔之间的关系，以及日本艺术在他们生活中发挥关键作用的方式。
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Pub Date : 2021-08-26DOI: 10.1163/24054992-06020003
L. Dixon
{"title":"Josephine Lee, The Japan of Pure Invention: Gilbert & Sullivan's","authors":"L. Dixon","doi":"10.1163/24054992-06020003","DOIUrl":"https://doi.org/10.1163/24054992-06020003","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124468332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-26DOI: 10.1163/24054992-06020002
L. Dixon
George Hendrik Breitner (1857–1923) was a Dutch Realist artist, whose works chronicle urban life in Amsterdam. But his paintings of a young woman, collapsed on a divan and wrapped in a luxuriant kimono, secured his reputation as an exponent of European Japonisme. The so-called ‘Kimono Girls’, completed between 1893 and 1896, are compelling evocations of female leisure, subsumed within an exotic melange of vivid color and pattern. More importantly, they are an amalgamation of several cultural contexts that characterized the volatile nineteenth century. European Japonisme, the revival of Dutch painterly traditions, medical dogma, and the beginnings of organized feminism come together in these works, making them both compelling and subversive.
{"title":"Japan Meets Holland","authors":"L. Dixon","doi":"10.1163/24054992-06020002","DOIUrl":"https://doi.org/10.1163/24054992-06020002","url":null,"abstract":"\u0000George Hendrik Breitner (1857–1923) was a Dutch Realist artist, whose works chronicle urban life in Amsterdam. But his paintings of a young woman, collapsed on a divan and wrapped in a luxuriant kimono, secured his reputation as an exponent of European Japonisme. The so-called ‘Kimono Girls’, completed between 1893 and 1896, are compelling evocations of female leisure, subsumed within an exotic melange of vivid color and pattern. More importantly, they are an amalgamation of several cultural contexts that characterized the volatile nineteenth century. European Japonisme, the revival of Dutch painterly traditions, medical dogma, and the beginnings of organized feminism come together in these works, making them both compelling and subversive.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133140275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-26DOI: 10.1163/24054992-06020004
G. Weisberg
The essay traces the role of Marie Nordlinger (1876-1961) against her ties with Siegfried Bing, Marcel Bing, Marcel Proust and Charles Lang Freer. Nordlinger first worked in the ateliers of art nouveau later becoming a confidante of the Bings who helped sell Japanese prints in the United States especially to Charles Lang Freer when she visited the country.
这篇文章追溯了玛丽·诺德林格(1876-1961)在她与齐格弗里德·宾、马塞尔·宾、马塞尔·普鲁斯特和查尔斯·朗·弗里尔的关系中所扮演的角色。诺德林格最初在新艺术派的画室工作，后来成为宾家的密友，帮助把日本版画卖到美国，尤其是当她访问美国时卖给了查尔斯·朗·弗里尔(Charles Lang Freer)。
{"title":"Marie Nordlinger and the Bings","authors":"G. Weisberg","doi":"10.1163/24054992-06020004","DOIUrl":"https://doi.org/10.1163/24054992-06020004","url":null,"abstract":"\u0000The essay traces the role of Marie Nordlinger (1876-1961) against her ties with Siegfried Bing, Marcel Bing, Marcel Proust and Charles Lang Freer. Nordlinger first worked in the ateliers of art nouveau later becoming a confidante of the Bings who helped sell Japanese prints in the United States especially to Charles Lang Freer when she visited the country.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114343280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-22DOI: 10.1163/24054992-06010001
C. Guth
Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made familiar through art and literature. The silent film, produced in Hollywood, by and co-starring Sessue Hayakawa and his wife Tsuru Aoki, expanded and complicated the modes of visualizing Japan by featuring a Japanese couple in starring roles. This article addresses the relationship between the novel, an allegory of Japanese cultural loss and renewal, and the film, a romance inflected with American concerns about race, drawing particular attention to gender and Japanism in their reception and interpretation.
{"title":"From Book to Film","authors":"C. Guth","doi":"10.1163/24054992-06010001","DOIUrl":"https://doi.org/10.1163/24054992-06010001","url":null,"abstract":"\u0000Mary McNeil Fenollosa’s 1906 novel The Dragon Painter and its 1919 filmic adaptation sit at the intersection of American literary, art, and film history. Simultaneously personal and political, each is a product of its time and place. Together, they tell a story about changing (and unchanging) attitudes that were constituents of the complex and often contradictory history of the reception of Japanese culture and people in the United States. The novel draws on stereotypes of Japan as a primitive country of innately artistic people that at the time of its publication had been made familiar through art and literature. The silent film, produced in Hollywood, by and co-starring Sessue Hayakawa and his wife Tsuru Aoki, expanded and complicated the modes of visualizing Japan by featuring a Japanese couple in starring roles. This article addresses the relationship between the novel, an allegory of Japanese cultural loss and renewal, and the film, a romance inflected with American concerns about race, drawing particular attention to gender and Japanism in their reception and interpretation.","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127866100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-04DOI: 10.1163/24054992-00412P04
Elizabeth K. Mix
{"title":"Mesdag & Japan, Collecting the Far East, De Mesdag Collectie (The Mesdag Collection), The Hague, March 7-June 17, 2018 and Mesdag & Japan. The Hague: The Mesdag Collection, 2018, written by Renske Suijver, in collaboration with Bram Donders, 2018","authors":"Elizabeth K. Mix","doi":"10.1163/24054992-00412P04","DOIUrl":"https://doi.org/10.1163/24054992-00412P04","url":null,"abstract":"","PeriodicalId":436254,"journal":{"name":"Journal of Japonisme","volume":"155 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120879894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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