Imparting elements from other fields of study, especially in the art world, can lead to several newfound characteristics that the artist had never thought of previously. Taking cues from other cultures serves to be highly influential in the art community, the outcomes would not be the same otherwise. For instance, the Impressionists looked toward Japanese art to enhance their own. The “appreciation of all things Japanese was stimulated by the Paris Exposition Universelle (1867) which brought many Japanese visitors to the city; it increased during the 1870’s as Western artists in printmaking, decorative arts, and painting were affected by the vogue,” (Weisberg, Cate and Needham xi). A plethora of Japanese goods such as bronzes and porcelains were being imported to the West over the course of the period with woodcut prints following suit shortly after (Ives 11).
With the heavy accumulation of these materials from Japan, it is easy to discern why several of the Impressionists’ were so infatuated with the Japanese and
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Bracquemond later shared his findings with a group of his friends, including Manet, consequently commencing the crux of influence. By 1868 “Japanese prints were well enough admired and circulated that the Goncourt brothers, Jules and Edmond, forever flaunting their connoisseurship, recorded the phenomenon,” (Ives 12). Slowly, artists and critics alike began gravitating towards these mysterious treasures that the Japanese had presented. Colta Feller Ives points out that “Whistler discovered Japanese prints in a Chinese tearoom near London Bridge and that Monet first came upon them in a spice shop in Holland where they were used as wrapping paper,” (Ives 13). These sightings further pushed artists of the time to push the boundaries of what art could potentially
Fenimore Cooper. His Country and His Art, The State University of New York College at Oneonta, Hugh C. MacDougall, Ed. 21 Nov. 2001 <http://www.Oneonta.edu/external/cooper/articles/1999suny-zhang.html>
Just two years before, Japan had reopened its boarders with Europe, unleashing waves of foreign imports. Silks, fans, kimonos and more sparked the wonder and imagination of Westerners and Europeans alike. According to the Brooklyn Museum of Art, “ the opening of the boarders not only reestablished diplomatic and mercantile relations between Japan and Europe, but also opened floodgates for cultural exchanges that would profoundly affect Western and European art.”
Pages 30-31 “The two young men had little in…the art contrived by Honolulu and Yokohama masters.”
My friends, after traveling through the Asian continent and Japan, I continued on to the Americas. The art in the Americas has three regions, North America, Central America, and South America. Each region has a very distinct aspect to their forms of art. All cultures have some kind of art. Being curious about art, I have collected samples from five different areas. The following works of art are very different from European art, but there are still some similarities. The similarities of the human spirit are evident in the following images.
As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
Swann, Peter C. Art of China, Korea and Japan. Frederick A. Praeger, Inc., New York; 1963.
...d pleasures: orientalism in America, 1870-1930. Princeton, N.J.: Princeton University Press in association with the Sterling and Francine Clark Art Institute, 2000. Print.
This paper will explore what it is about anime that makes it so appealing to even a Western audience, creating an international fan base. Although manga can be traced to American origins, the comics that the Americans brought over have been intensely modified to create essentially a new form of media. Manga and anime have become a significant component of Japanese culture, and often times they integrate Japanese culture and society. Yet, regardless of its Japanese origin, anime is still viewed on the other side of the planet. The question then becomes what is it that makes it so appealing to a foreign audience? This paper will rely heavily on Susan Napier’s book, From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the
Fujita Tsuguharu was a pivotal character in the promotion and innovation of Japan as a country. As a diverse and popular individual in Paris, he gained fame and wealth while he developed his painterly style in the 1920s. He sought to reinvent and the “European nude” to sate the hunger of both the narcissistic European cultures and to uplift the Japanese style of painting. This was to evolve Japan’s culture and help to attain a national identity. The Second World War, however, brought about a change that attributed to a diversion in Fujita’s style in paintings. A transformation into a dark, graphic, realism was the focus, yet there was always that lingering attempt to solidify Japan’s identity. It is certainly reflective of the sacrifice of one for the benefit of the whole.
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The impact felt by the art world in the final decade of the century would emphasize the activities of artists in Paris. Impressionism and post-impressionism featured Color arrangement and attention to emphasizing reality as opposed to portraying objects in a direct way. These, and other attributes, were the affectations that Charles Rollo Peters and Gottardo Piazzoni would develop in their sparse display and heavy tones. The styles of work that were being created during this time would often be hazy and the techniques being utilized were often radically different than those that were being used in an academic setting. The widespread popularity of Plen-aire painting would become advantageous to the painters who enjoyed representing landscapes and painting in the evening. Often this powerful symbolism and the capturing of natural subjects were compared to the wood prints of Japan.
In this essay, I will contrast and compare the two art movements, Impressionism, and Post-Impressionism. I will be concentrating on the works of the two leading artists of these styles Claude Monet and Vincent van Gogh.
Trans. By Donald Richie. Yale University Press, 1972. Kincaid, Mrs. Paul, Japanese Garden and Floral Art. New York: Hearthside Press, Inc., 1966.
The different art movements are created as a reflection of the type of response to the existing or older art movement. It does not necessarily mean scrapping the old to make way for the new. In art, the new movement always takes with it part of the past, but what makes it distinct is the new and fresh perspective that it brings to the table that wasn't present or appreciated before. If anything, the chronology of art movements is testament to the growth process of the world of art, proof of how the art has been evolving ever since. Impressionism and Post-Impressionism are two art movements that happened in succession, and the characteristics of and existence of Post Impressionism reflects how Post Impressionism is a reaction to the earlier Impressionism and how Post Impressionism, despite its efforts to introduce something new still retained many important characteristics found in Impressionism.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.