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Spawski, Piotr (2013) Japonisme in Polish Pictorial Arts (1885 1939). Phd Thesis, University of the Arts London

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Spawski, Piotr (2013) Japonisme in Polish Pictorial Arts (1885 1939). Phd Thesis, University of the Arts London Spawski, Piotr (2013) Japonisme in Polish Pictorial Arts (1885 1939). PhD thesis, University of the Arts London. [European Languages, Literature and related subjects i Polish Society and Culture Eastern, Asiatic, African, American and Australasian Languages, Literature and related subjects i Japanese studies Creative Arts and Design i Painting Creative Arts and Design i Design studies] Downloaded from: http://ualresearchonline.arts.ac.uk/6205/ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alter- natively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Japonisme in Polish Pictorial Arts (1885 – 1939) Piotr Spławski Submitted as a partial requirement for the degree of doctor of philosophy awarded by the University of the Arts London Research Centre for Transnational Art, Identity and Nation (TrAIN) Chelsea College of Art and Design University of the Arts London July 2013 Volume 1 – Thesis 1 Abstract This thesis chronicles the development of Polish Japonisme between 1885 and 1939. It focuses mainly on painting and graphic arts, and selected aspects of photography, design and architecture. Appropriation from Japanese sources triggered the articulation of new visual and conceptual languages which helped forge new art and art educational paradigms that would define the modern age. Starting with Polish fin-de-siècle Japonisme, it examines the role of Western European artistic centres, mainly Paris, in the initial dissemination of Japonisme in Poland, and considers the exceptional case of Julian Fałat, who had first-hand experience of Japan. The second phase of Polish Japonisme (1901-1918) was nourished on local, mostly Cracovian, infrastructure put in place by the ‘godfather’ of Polish Japonisme Feliks Manggha Jasieński. His pro-Japonisme agency is discussed at length. Considerable attention is given to the political incentive provided by the outbreak of the Russo-Japanese war in 1904, which rendered Japan as Poland’s ally against its Russian oppressor. The first two decades of the 20th century are regarded as the ‘Renaissance’ of Japonisme in Poland, and it is this part of the thesis that explores Japanese inspirations as manifested in the genres of portraiture, still life, landscape, representations of flora and fauna, erotic imagery, and caricature. Japonisme in graphic and applied graphic arts, including the poster, is also discussed. The existence of the taste for Japanese art in the West after 1918 is less readily acknowledged than that of the preceding decades. The third phase of Polish Japonisme (1919-1939) helps challenge the tacit conviction that Japanese art stopped functioning as an inspirational force around 1918. This part of the thesis examines the nationalisation of heretofore private resources of Japanese art in Cracow and Warsaw, and the inauguration of official cultural exchange between Poland and Japan. Polish Japonisme within École de Paris, both before 1918 and thereafter, inspired mainly by the painting of Foujita Tsuguharu, is an entirely new contribution to the field. Although Japanese inspirations frequently appeared in Polish painting of the interwar period, it was the graphic arts that became most receptive to the Japanese aesthetic at that time. The thesis includes a case study of Leon Wyczółkowski’s interbellum Japonisme, and interprets it as patriotic transpositions of the work of Hiroshige and the Japanese genre of meisho-e. Japonisme in Polish design and architecture is addressed only in the context of the creation of Polish national style in design (1901-1939). Art schools in Britain and America became important centres for Japonisme at the beginning of the 20th century. The thesis considers the case of Cracow Academy of Fine Arts, which due to radical changes introduced by its new director Julian Fałat, became an important centre for the dissemination of the taste for Japanese art in Poland. 2 Acknowledgements For supervision, guidance and direction in this research I should like to thank: my Director of Studies, Professor Toshio Watanabe, my Second Supervisor, Dr Yuko Kikuchi, and my former Third Supervisor Ms Rebecca Salter. I am indebted to them for their invaluable advice, constructive criticism, and availability, but also for including me in the AHRC research project Forgotten Japonisme: The Taste for Japanese Art in Britain and America, 1920s-1950s, which provided me with the tremendous opportunity to interact with accomplished scholars in the field, and to test my findings on the forums of the project’s workshops, conferences and other stimulating events. I have also benefited immensely from participating in the seminars and lectures organised by the Research Centre for Transnational Art, Identity and Nation (TrAIN). I should also like to express my gratitude to the Arts and Humanities Research Council (AHRC) for financing my research, and The University of the Arts London (UAL) for enabling me to study on a full-time basis. I would like to mention that it was my MA research supervisor, Dr John Carpenter of the School of Oriental and African Studies (SOAS), who drew my attention to the subject of Polish Japonisme and who generously supported my application for the PhD course. For directing me to the ideal supervisors at Chelsea College of Art and Design, I remain grateful to Professor Craig Clunas and Professor Timon Screech. This research would have never been conducted without the assistance and encouragement of many people in Poland, Japan, Britain, Canada and the USA: Professor Stanley Abe, Eva Broer, Dr Kendall Brown, Anna Budzałek, Teresa Dudek-Bujarek, Emily Eastgate-Brink, Sabina Frankowicz, Dr Zofia Gołubiew, Aleksandra Görlich, Joanna Grabowska, Dr Christine Guth, Agnieszka Janczyk, Kinga Kawczak, Agnieszka Kluczewska-Wójcik, Anna Król, Professor Lidia Kuchtówna, Krystyna Kulig-Janarek, Professor Jerzy Malinowski, Halina Marcinkowska, Donald McGillivray, Wojciech Musiał, Professor Toshiharu Omuka, Beata Pacana, Beata Romanowicz, Regina Spławska, Dr Sarah Teasley, Izolda Świtała, Joanna Wasilewska, Renata Weiss, and Dr Michał Woźniak. For access to their collections and databases, I thank the staff of the following institutions: The National Museum in Cracow, The manggha Museum of Japanese Art and Technology in Cracow, The National Museum in Warsaw, The Archive of Cracow Academy of Fine Arts, Wojciech Weiss Foundation Museum in Cracow, The Jagiellonian Library in Cracow, The Library of The National Museum in Cracow, The Museum of The History of Cracow, Leon Wyczółkowski Museum in Bydgoszcz, Bielsko-Biała Museum, The Princes Czartoryskis Library in Cracow, The Theatre Museum in Warsaw, Chelsea College of Art and Design Library, Victoria & Albert Museum, The British Library, and School of Oriental and African Studies. 3 Contents Abstract......................................................................................................................................2 Acknowledgements…………………………………………………………….......................3 Introduction…………………………………………………………………………………...7 The Definition of Japonisme and Related Terminology……………………………..7 Methodology and Theory………………………………………………………….....9 Japonisme versus Orientalism……………………………………………………….16 Poland, Orientalism and Japonisme………………………………………………….19 Self-orientalisation as a Subversive Strategy of Identity Building…………………..25 Chapter I – The Historiography of Polish Japonisme…………………………………….33 Chapter II – Foreign Models: Fin-de-Siècle Japonisme in Poland 1885-1900…………..46 Chinese and Japanese Art in Poland 16th -19th Century……………………………...46 Heralds and Forerunners: Laying the Groundwork for Japonisme…………………..51 The Patriarch of Modernism: Stanisław Witkiewicz and Japan…………….51 First Encounters: Paris, Munich, Vienna and St Petersburg………………...55 Early Manifestations in Painting……………………………………………56 Julian Fałat’s Journey to East Asia and his Japonisme……………………...57 Under the Auspices of Gauguin: Władysław Ślewiński…………………….64 Józef Chełmoński’s Landscape and its Relation to Japanese Art…………...68 Olga Boznańska’s Early Japonisme: The Cracow and Munich Years……...69 From Paris and Vienna to Cracow: Wojciech Weiss’s First Responses to Japanese Art………………………………………………………...74 The Landscape Paves the Way: Appropriations of Japan in Landscape Painting before 1900………………………………………………..82 Chapter III – Home-grown Polish Japonisme 1901-1918………………………………...89 The Godfather of Polish Japonisme: Feliks Manggha Jasieński…………………….89 Jasieński’s Japanese Art Collection…………………………………………90 Negative Varsovian Reception……………………………………………...92 The Move to Cracow………………………………………………………..93 The Infrastructure and Geography of Polish Japonisme……………………………..94 Cracow Academy of Fine Arts…………………………………………..….95 The Association of Polish Artists Sztuka………………………………..…102 Michalik’s Den Café and the Green Balloon Cabaret……………………..103 The Cradle of Warsaw Japonisme: Chimera…………………………..…..104 Collections of Japanese Art…………………………………………..……105 Exhibitions of Japanese Art……………………………………………......108 Japonisme and Politics: The Artistic Response to the Russo-Japanese War……….110 The Russo-Japanese War and the Polish Question………………………...110 Józef Piłsudski and Roman Dmowski in Japan……………………………111 4 The Boom in Literature on Japan………………………………………….112 Political Satire and the Grotesque: the Japonisme of Witold Wojtkiewicz..114 Kościuszko Mound as Mt Fuji: Stanisław Wyspiański’s Landscapes…..…117 Jasieński’s
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