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Copyright of ARTS: Artuklu Journal of Art & Humanities is the property of Mardin Artuklu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, I examine how the set of Japanese decorative items present in Benito Pérez Galdós's La familia de León Roch (1878) elucidates a reformulation of the Krausist model of masculinity embodied by the novel's hero. Focusing on Buddhist imagery in the text, I explore how allusions to the Eastern religion provide a symbolic framework to explore other modes for the liberal hero to be in the world that renders his apparent excesses into the positive behaviors necessary to effect reform and social change. Considering the rudimentary understandings of Buddhism that reached Spain amid the late-nineteenth-century Japan craze, Japonisme , then, I interpret León Roch not as a failed model of masculinity, but rather as an alternative within Galdós's broader revision of the Krausist ideal of the "hombre nuevo" in the late 1870s. In this essay, I examine how the set of Japanese decorative items present in Benito Pérez Galdós's La familia de León Roch (1878) elucidates a reformulation of the Krausist model of masculinity embodied by the novel's hero. Focusing on Buddhist imagery in the text, I explore how allusions to the Eastern religion provide a symbolic framework to explore other modes for the liberal hero to be in the world that renders his apparent excesses into the positive behaviors necessary to effect reform and social change. Considering the rudimentary understandings of Buddhism that reached Spain amid the late-nineteenth-century Japan craze, Japonisme, then, I interpret León Roch not as a failed model of masculinity but rather as an alternative within Galdós's broader revision of the Krausist's ideal of the "hombre nuevo" in the late 1870s. [ABSTRACT FROM AUTHOR]

Copyright of Forum Modernes Theater is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article is concerned with a Japanese wedding uchikake kimono, c. 1800–1850, acquired by distinguished Polish collector Feliks 'Manggha' Jasieński in 1900, the nuanced issues surrounding its multiple representations in Polish painting and photography during the period 1900–1908, and the multifarious meanings with which the garment was imbued. The uchikake's original features exerted a seminal formal influence upon its representations. The interpretive process was also informed by perceptions concerning the woman's status in society and marriage in Japan and in the West, Western and Japanese artistic traditions, as well as current Japonisme in art and fashion. In each of its representations, the uchikake also conveyed personal meanings important to the artist/wearer. [ABSTRACT FROM AUTHOR]

In 1913, a so-called Moon Bridge was built in the Japanese garden of the Huntington Library in San Marino, California, USA as a fruit of the Japonism in the Western world at that time. The master carpenter was Toichiro Kawai, a Japanese immigrant from Yokohama who was originally a ship carpenter.The bridge is made of wood and shaped in the exaggerated arch form, which classifies the bridge as a “drum bridge” (Taiko-bashi) in Japanese culture. However, the unique structural form of this bridge, the “woven arch,” is rare in building history.This paper aims to explore why and how such a bridge appeared in such a place and time. For this purpose, we go from the historical background to its construction history, from the concept of the designer to the detailed design methods. Data come partly from the author's first-hand investigation and the limited local archive. The most interesting discoveries were made during the detailed on-site investigation, including the fact that the bridge is designed to express the metaphor of “perfection” (full moon) through its geometrical features, and the design is based according to traditional Japanese methods.

Copyright of Journal of Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

In the late nineteenth century, Catalonia witnessed an exponential increase in the use of and predilection for the designs and aesthetic characteristics of Japanese art in the design of stained glass. At the time, oriental forms were received with enthusiasm, which resulted in the development of production of artistic stained glass, inspired by these new models. This article focuses on the different ways in which Japanese-based designs made their way from Japan to the stained glass workshops of Catalonia, where they were transformed into spectacular pieces, some of which are still preserved today. In addition, the article examines how stained glass makers assimilated the aesthetics and compositional concepts of Japanese art and made them their own, adapting them to their needs while creating innovative stained glass that helped them to, paradoxically, converge with the medieval stained glass on which they were based. [ABSTRACT FROM AUTHOR]

Bonnard's folding screens are generally understood as part of the phenomenon of japonisme, a widespread fascination with Japanese culture in Europe that emerged during the second half of the nineteenth century. When they begin to appear and then alter the representation of space in Bonnard's painting, however, japonisme no longer provides an adequate framework for understanding their role in his art. I endeavor to account for the continued life of the non-Western object in the Western context by highlighting the folding screen's capacity to disrupt and engender change even as it disappears from Bonnard's late paintings. After an overview of the artist's folding screens and their relation to japonisme, I trace their migration into Bonnard's paintings, where the limits of this Western construct become more apparent. I propose an alternate framework—ornamentalism—within which to interpret their integration into the compositional structure of the late paintings. Ornamentalism views the ornamental object as a subject whose power to act is tied to its own degradation under imperialist and colonialist practices. Through it, I consider how the evolution of the folding screen in Bonnard's art can help us think differently about the dynamics between Western artists and non-Western objects. [ABSTRACT FROM AUTHOR]

Art critic and collector Philippe Burty (1830–1890) was one of the first friends the Japanese interpreter (and future art dealer) Hayashi Tadamasa (1853–1906) made on arrival in Paris in 1878. The previously unknown letters translated into English within this essay present Hayashi's work in Paris (1878) and Brussels (1880), his first impressions of Normandy (1882) and New York (1886), and his explanation of the evolution of Japanese painting (1885). They furnish valuable insights into the cross-cultural aesthetics that led the Japanese, the French, the British, the German, and Americans to collaborate in the development of the phenomenon now known as Japonisme, thereby filling in some of the information gaps surrounding Burty's international networks and Hayashi's early years in Europe. [ABSTRACT FROM AUTHOR]

In 1913, a so-called Moon Bridge was built in the Japanese garden of the Huntington Library in San Marino, California, USA as a fruit of the Japonism in the Western world at that time. The master carpenter was Toichiro Kawai, a Japanese immigrant from Yokohama who was originally a ship carpenter. The bridge is made of wood and shaped in the exaggerated arch form, which classifies the bridge as a "drum bridge" (Taiko-bashi) in Japanese culture. However, the unique structural form of this bridge, the "woven arch," is rare in building history. This paper aims to explore why and how such a bridge appeared in such a place and time. For this purpose, we go from the historical background to its construction history, from the concept of the designer to the detailed design methods. Data come partly from the author's first-hand investigation and the limited local archive. The most interesting discoveries were made during the detailed on-site investigation, including the fact that the bridge is designed to express the metaphor of "perfection" (full moon) through its geometrical features, and the design is based according to traditional Japanese methods. [ABSTRACT FROM AUTHOR]

The study examines some aspects of the History of Plastic Arts by Nikolay Raynov and, more specifically, the concept of plasticity, which is of great importance for the 20th-century Bulgarian art. Raynov introduces it in a different sense from that of its later understanding. Important for Rainov's theory of art is his attitude to the applied arts, and this issue needs a much more detailed consideration. The same applies to the 'unconditional', which is also present in many of Raynov's articles on art. There is a need to trace these categories in the voluminous work of Nikolay Raynov and this article only marks issues that need to be developed in the future. [ABSTRACT FROM AUTHOR]

Some lesser-known long range theories besides Altaic are discussed in the present article, before special attention is given to the two non-distant hypotheses which purport to substantiate the genetic relationship between Japonic and Ainu as well as between Japonic and Korean. Other assumptions about Japonic, such as Japanese as a 'mixed language', are also evaluated and critically assessed. Furthermore, the reasons why Japanese was linked to such a panoply of linguistic families are also taken in consideration, and a discussion about the fate of "linguistic isolates" is also offered. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Ètudes Proustiennes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To commemorate the centenary of Debussy's death, this article proposes a new perspective on the composer's relationship to Otherness. While many have argued for the influence of japonisme and Javanese music on his oeuvre, here I look at experiences, influences, and ideas that shaped these and similar encounters, together with their implications. I argue that symbolism was not alone in motivating Debussy's resistance to overt mimesis and ambivalence about assimilation; Japan's evolving political identity between 1868 and 1904 may also have played a role. I examine what Debussy may have learned from, or at least shared with, Edmond Bailly, Robert Godet, Victor Segalen, and Louis Laloy. These connections draw particular attention to contemporary conceptions of sound, as promoted in esoteric philosophy, and especially nature's relationship to the arts through 'vibrations'—ideas later implicit in Vladimir Jankélévitch's philosophical approach, here re-evaluated after the 2012 colloquy in the Journal of the American Musicological Society. They offer intriguing historical foundations for today's 'sound studies' research. [ABSTRACT FROM AUTHOR]

The article discusses the career of French artist Félix Régamey including details about his portrait duel with Japanese painter Kawanabe Kyosai, his significant contributions to the Japonisme art movement, and his achievements as a drawing instructor.

The article reviews the exhibition "Japon-Japonismes. Objets inspirés, 1867-2018" at the Musée des Arts Décoratifs in Paris, France from November 15, 2018 to March 3, 2019.

Josep Mansana Dordan, a well-known Catalan late-nineteenth-century businessman, founded what is considered the finest collection of Japanese art established in Catalonia and in Spain at the turn of the century. In the early twentieth century, the Mansana Collection, as it was known, enjoyed popularity and prestige in Barcelona thanks to its constant expansion driven by the founder's son, Josep Mansana Terrés, also an entrepreneur. The collection was well known at the time, but fell into oblivion after the outbreak of the Spanish Civil War in 1936. It was not until 2013 that, on the occasion of the exhibition Japonisme. La fascinació per l'art japonès , the collection began to be rediscovered and studied. This article aims to present a first complete overview of the history and characteristics of the old Mansana Collection and its impact on Barcelona at and immediately after the turn of the twentieth century. [ABSTRACT FROM AUTHOR]

The primary purpose of world's fairs was commercial and industrial, focused on the celebration of technical and material progress. At the same time, they were places of immaterial exchanges between exhibitors and visitors, all of whom contributed a diversity of customs and cultures. As major exhibitions developed in Europe (1850–1900), Japan was opening to Western influences after a centuries-old period of self-isolation. The advent of the Meiji era marked the decision to transform feudal Japan into a modern capitalist state; in order to find economic partners, Japan became a regular presence at the world's fairs. Openness gave way to confluence: European visitors discovered a living, rich image of Japan, complete with its traditions and arts. The revelation, to a wider audience, of Japanese art was at the origin of an artistic movement – Japonisme – which would have a lasting influence on European artists. Japan's regular contributions to world's fairs, especially those in Paris (1867, 1878, 1889, and 1900), enjoyed great popular success and shaped the European understanding of, and taste for, Japanese arts and culture. [ABSTRACT FROM AUTHOR]

The present study defines the connection between Japonisme and the Greek diplomat and donor-collector Gregorios Manos (1851–1928). Manos collected Japanese pieces during the reign of Japonisme in Europe, was a pioneer of the study of Japanese art in Greece, and the first donor of Chinese and Japanese artifacts to the Greek State in 1919. The donation resulted in the foundation, in 1926, of the Sino-Japanese Museum (renamed in Museum of Asian Art in 1973) in Corfu. The present research is based on primary and secondary sources and seeks to present unpublished data as well as re-examine Manos' connection to Japonisme. In addition, this micro-perspective research aims to reveal Manos' studies, diplomatic carrier, collecting practices, and donating vision. At the same time, it hopes to enrich macro-perspective study by outlining the circumstances under which collectors founded museums of Asian art in peripheral places, such as Greece, during the first half of the twentieth century under and beyond the allure of Japonisme. [ABSTRACT FROM AUTHOR]

The article explores Julian Fałat's stay in Japan and the influence of Japanese art and aesthetics on his works. It delves into how Fałat's exposure to Japanese culture during his visit to Japan in 1885 impacted his artistic style and subject matter, particularly focusing on his later works painted in Krakow and Silesia. It discusses the broader context of Japonisme in Krakow at the turn of the 20th century and its influence on Fałat's contemporaries.

The article explores the significance of four newly discovered Ukiyo-e panels in Vienna, Austria, around 1900, shedding light on the influence of Japonisme in the city during that time. It mentions that the panels, originally disregarded as mere souvenirs, gained importance after their discovery. It states that these panels reveal the depth of Vienna's engagement with Japanese art, reflecting the broader cultural exchange between East and West during the late 19th and early 20th centuries.

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ever since its inception Japonisme presented a creative tension between local traditions and cross-cultural practices. Adding to this formative relationship was the simultaneous development of Japonisme across Europe, the United States, and Japan itself. This paper focuses on one place of intersection – Limoges – and one medium – ceramics – to identify the local (Limoges's rich ceramic history), the cross-cultural (French and Japanese influences), and the global (similar practices in other regions). A constellation of producers and collectors inextricably connected Limoges, a centuries-old hub of French ceramics, with the increasingly global realm of japoniste ceramics. How did the Limoges tradition blend with a Paris-based Japonisme in Limoges-produced japoniste ceramics? And what was the international reception of these ceramics? Cross-regional and cross-temporal emulation was a driving force bridging Japonisme with the latest experiments in the arts, from early abstractionism to revisions of hierarchies of genre and medium. [ABSTRACT FROM AUTHOR]

Japonisme, like today's Japanese pop culture, is a transcultural phenomenon. In the 'classical phase of Japonisme' individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence. Japanese colored woodblock prints also influenced German expressionist artists of the Blaue Reiter (Blue Rider) before the First World War. While Impressionists aimed to move away from naturalism and history painting, Expressionists used the simplification of artistic expressions according to Japanese models, above all to express strong emotions and experiences. Japanese art helped them to take a decisive step in their search for a new visual language in their bold use of color, and in finding abstract forms. Like many European artists, the painters of the Blaue Reiter collected Japanese woodblock prints. Thanks to the spectacular discovery of Franz Marc's Japanese collection in 2009 and the exhibition The painters of the Blue Rider and Japan in the Schlossmuseum Murnau in 2011, the role of Japanese art in the work of the artists of the Blaue Reiter, as well as the sources of the Japanese pictures in the Blaue Reiter Almanach , edited by Franz Marc and Wassily Kandinsky, can finally be fully examined. This paper will shed light on the reception of Japanese art in the works of this early-twentieth-century modern painters' group. It will focus on Franz Marc, August Macke, and Wassily Kandinsky. The Japonisme of the Blaue Reiter led to abstraction and a revolution in color, and can be termed 'New German Japonisme'. [ABSTRACT FROM AUTHOR]

The shop run by Madame Desoye at 220, rue de Rivoli in Paris is legendary in Japonisme studies thanks to the writings of Edmond de Goncourt and Philippe Burty, yet the identity of the woman hidden behind this married name, like the extent of her participation in Japoniste activities, has long remained a mystery. The present article draws upon new archival research to provide information about the life of Louise Mélina Desoye, née Chopin (1836-1909) and her important contributions to the first wave of French Japonisme. [ABSTRACT FROM AUTHOR]

The article provides information on the writings of Michael Ferrier and his views of Japonism, focusing on trend associated with modernity and aesthetic revolution in architecture and visual art and linked to French literature. Topics include cultural exchange between Japan and France, diplomatic relations and monolingual emphasis.

This chapter presents a series of case studies through which the theme of nature is explored as a new cultural authority in a world of change. The huge variety of forms taken by the international Art Nouveau movement has been regarded as a final, decadent splurge before the disciplining spirit of Modernism. This chapter traces an underlying logic behind the energetic experimentation of the period, in which the natural world was looked to in order to provide modern design with both almost infinite flexibility of forms and, at the same time, enduring validity and authority. [ABSTRACT FROM AUTHOR]

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

В настоящей статье рассматривается вопрос о роли японского искусства в русской модернистской музыке начала XX века на материале «японских романсов» Игоря Стравинского и Артура Лурье, сочиненных в 1910-х годах. Оба композитора-модерниста хотели отказаться от традиционной западной музыки (тональной, конструктивной, с геометрической перспективой). Но в данных произведениях отказывались совершенно противоположным образом. Стравинский обратился к «линеарной перспективе» и «двухмерности», которые нашел в японских стихотворениях и гравюрах. Он воплотил это в музыке с помощью метрико-ритмического приема и других. Лурье же стремился к «внутренней перспективе», «трехмерности» и «рельефности», утверждая в качестве начал для музыки «преодоление линеарности» и «субстанциональность элементов». Он, заимствуя из русского футуристического искусства различные приемы для создания рельефности звуков и увеличения музыкального пространства, воплотил свои основные положения об искусстве в данной сюите. Таким образом, в «японских романсах» двух русских композиторов-модернистов мы обнаружили два противоположных отношения к «перспективе» и «измерениям». Это, возможно, соответствует тому, что в сфере живописи русского авангарда К. Малевич искал беспредметность в двух измерениях, а В. Татлин, наоборот, направлялся к объемности трех измерений.

Copyright of Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In June 2015, a small strange protest erupted in the Boston Museum of Fine Arts, around a sumptuous red kimono, provided to visitors to try on and emulate the 1876 painting La Japonaise , by Claude Monet. Protesters named themselves Decolonize Our Museums and took to the gallery and social media with strident messages condemning the Kimono Wednesdays try-on activity as racist, orientalist appropriation; soon after, counterprotesters faced off, defending the programme for sharing Japanese culture with the community. In this article, I consider the kimono protests as part of a history of kimono, internationally created yet indelibly marked as Japanese. In this context, the kimono protests provide an occasion to consider the ramifications of contemporary debates about cultural appropriation and appreciation. Through a performance-theory inflected analysis I propose a theatrical ethic of 'inappropriation' as a means of moving discourse and public performances of culture beyond the stultifying binaries of right/wrong or appreciation/appropriation. [ABSTRACT FROM AUTHOR]

The private diaries written between 1898 and 1901 by the French jeweler, art collector, and bibliophile Henri Vever (1854-1942) provide fresh evidence about how important late-nineteenth century esthetic 'languages' (japonisme , Symbolism, Art Nouveau) were appropriated by artists committed to renewing the decorative arts; the diaries also address the meaning and status of books. For Vever, his extensive collection of Japanese pattern albums served, above all, a utilitarian function, as design primers and sources of information about printing and engraving techniques for craft modernizers. At the same time, included in the physical space of his 'Japanese library' and in line with Symbolist esthetics, Japanese books were, to Vever, suggestive bibelots, whose evocative powers were enhanced through inclusion in harmonious decors. Vever's experiments in Art Nouveau book design, finally, reveal his additional conception of the book as both surface to be decorated and space of artistic collaboration underscoring the equality of all arts. [ABSTRACT FROM AUTHOR]