2011 Blakemore Freeman Fellowships
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Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Plant Dye Identification in Japanese Woodblock Prints
Plant Dye Identification in Japanese Woodblock Prints Michele Derrick, Joan Wright, Richard Newman oodblock prints were first pro- duced in Japan during the sixth Wto eighth century but it was not until the Edo period (1603–1868) that the full potential of woodblock printing as a means to create popular imagery for mass consumption developed. Known broadly as ukiyo-e, meaning “pictures of the float- ing world,” these prints depicted Kabuki actors, beautiful women, scenes from his- tory or legend, views of Edo, landscapes, and erotica. Prints and printed books, with or without illustrations, became an inte- gral part of daily life during this time of peace and stability. Prints produced from about the 1650s through the 1740s were printed in black line, sometimes with hand-applied color (see figure 1). These col- ors were predominantly mineral (inorganic) pigments supplemented by plant-based (organic) colorants. Since adding colors to a print by hand was costly and slowed pro- duction, the block carvers eventually hit upon a means to create a multicolor print using blocks that contained an “L” shaped groove carved into the corner and a straight groove carved further up its side in order to align the paper to be printed (see figure 2). These guides, called kento, are located Figure 1. Actors Sanjō Kantarō II and Ichimura Takenojō IV, (MFA 11.13273), about 1719 (Kyōho 4), designed by Torii Kiyotada I, and published by in the same location on each block. They Komatsuya (31.1 x 15.3 cm). Example of a beni-e Japanese woodblock ensure consistent alignment as each color print with hand-applied color commonly made from the 1650s to 1740s. -
How to Look at Japanese Art I
HOWTO LOOKAT lAPANESE ART STEPHEN ADDISS with Audrey Yos hi ko Seo lu mgBf 1 mi 1 Aim [ t ^ ' . .. J ' " " n* HOW TO LOOK AT JAPANESE ART I Stephen Addi'ss H with a chapter on gardens by H Audrey Yoshiko Seo Harry N. Abrams, Inc., Publishers ALLSTON BRANCH LIBRARY , To Joseph Seuhert Moore Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- How to look at Japanese art / Stephen Addiss with a chapter on Carnes gardens by Audrey Yoshiko Seo. Lee p. cm. “Ceramics, sculpture and traditional Buddhist art, secular and Zen painting, calligraphy, woodblock prints, gardens.” Includes bibliographical references. ISBN 0-8109-2640-7 (pbk.) 1. Art, Japanese. I. Seo, Audrey Yoshiko. II. Title N7350.A375 1996 709' .52— dc20 95-21879 Front cover: Suzuki Harunobu (1725-1770), Girl Viewing Plum Blossoms at Night (see hgure 50) Back cover, from left to right, above: Ko-kutani Platter, 17th cen- tury (see hgure 7); Otagaki Rengetsu (1791-1875), Sencha Teapot (see hgure 46); Fudo Myoo, c. 839 (see hgure 18). Below: Ryo-gin- tei (Dragon Song Garden), Kyoto, 1964 (see hgure 63). Back- ground: Page of calligraphy from the Ishiyama-gire early 12th century (see hgure 38) On the title page: Ando Hiroshige (1797-1858), Yokkaichi (see hgure 55) Text copyright © 1996 Stephen Addiss Gardens text copyright © 1996 Audrey Yoshiko Seo Illustrations copyright © 1996 Harry N. Abrams, Inc. Published in 1996 by Harry N. Abrams, Incorporated, New York All rights reserv'ed. No part of the contents of this book may be reproduced without the written permission of the publisher Printed and bound in Japan CONTENTS Acknowledgments 6 Introduction 7 Outline of Japanese Historical Periods 12 Pronunciation Guide 13 1. -
Japanese Style/Western Culture
Japonisme in Print Japanese Style/Western Culture lthough part of the Museum’s series on Japanese color woodblock prints, this Aexhibition takes a different approach by recognizing the impact of Japanese images on European and American printmaking in the late-nineteenth and early- twentieth centuries. During that time Japan’s involvement with the Western world was undergoing fundamental changes. From 1867 to 1868, Japanese political rule transitioned from the military dictatorship of the shogunate to the restoration of the authority of the emperor. Under the leadership of Emperor Meiji (r. 1867–1912), Japan experienced major shifts in political and social structures, economics, technology, industry, militarization, and foreign relations, especially with the West. As a signal of its new position in global affairs, Japan sponsored a pavilion at the 1867 Parisian Exposition universelle d’art et d’industrie (Universal Exhibition of Art and Industry), the second ever international showcase of its kind. This pivotal event, along with Japan’s burgeoning global trade, exposed European and American audiences to the distinctive materials and modes of representation of Japanese art, creating a furor for things à la Japonaise. The Western works of art, decorative art, and architecture referencing or imitating Japanese styles have come to be known as Japonisme, a French term that reflects the trend’s flashpoint in Paris in 1867. Japonisme, or Japanism, came to be an essential facet in the development of Modernist aesthetics and idioms, as the European and American prints showcased here demonstrate. Félix Bracquemond (French, 1833–1914) Vanneaux et Sarcelles (Lapwings and Teals), 1862 Etching and drypoint on chine collé Transferred from the University of Missouri (X-85) Félix Bracquemond is among the earliest French artists to have ‘discovered’ Japanese color woodblock prints and to have incorporated their formal qualities into his own art. -
DOMESTIC LIFE and SURROUNDINGS: IMPRESSIONISM: (Degas, Cassatt, Morisot, and Caillebotte) IMPRESSIONISM
DOMESTIC LIFE and SURROUNDINGS: IMPRESSIONISM: (Degas, Cassatt, Morisot, and Caillebotte) IMPRESSIONISM: Online Links: Edgar Degas – Wikipedia Degas' Bellelli Family - The Independent Degas's Bellelli Family - Smarthistory Video Mary Cassatt - Wikipedia Mary Cassatt's Coiffure – Smarthistory Cassatt's Coiffure - National Gallery in Washington, DC Caillebotte's Man at his Bath - Smarthistory video Edgar Degas (1834-1917) was born into a rich aristocratic family and, until he was in his 40s, was not obliged to sell his work in order to live. He entered the Ecole des Beaux Arts in 1855 and spent time in Italy making copies of the works of the great Renaissance masters, acquiring a technical skill that was equal to theirs. Edgar Degas. The Bellelli Family, 1858-60, oil on canvas In this early, life-size group portrait, Degas displays his lifelong fascination with human relationships and his profound sense of human character. In this case, it is the tense domestic situation of his Aunt Laure’s family that serves as his subject. Apart from the aunt’s hand, which is placed limply on her daughter’s shoulder, Degas shows no physical contact between members of the family. The atmosphere is cold and austere. Gennaro, Baron Bellelli, is shown turned toward his family, but he is seated in a corner with his back to the viewer and seems isolated from the other family members. He had been exiled from Naples because of his political activities. Laure Bellelli stares off into the middle distance, significantly refusing to meet the glance of her husband, who is positioned on the opposite side of the painting. -
China's New Social Governance
China’s New Social Governance Ketty A. Loeb A dissertation Submitted in partial fulfilment of the Requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: David Bachman, Chair Tony Gill Karen Litfin Mary Kay Gugerty Program Authorized to Offer Degree: Department of Political Science © Copyright 2014 Ketty A. Loeb University of Washington Abstract China’s New Social Governance Ketty A. Loeb Chair of Supervisory Committee: Professor David Bachman Jackson School of International Studies This dissertation explores the sources and mechanisms of social policy change in China during the reform era. In it, I first argue that, starting in the late 1990s, China’s leadership began shifting social policy away from the neoliberal approach that characterized the first two decades of the reform era towards a New Governance approach. Second, I ask the question why this policy transformation is taking place. I employ a political economy argument to answer this question, which locates the source of China’s New Governance transition in diversifying societal demand for public goods provision. China’s leadership is concerned about the destabilizing impacts of this social transformation, and has embraced the decentralized tools of New Governance in order to improve responsiveness and short up its own legitimacy. Third, I address how China’s leadership is undertaking this policy shift. I argue that China’s version of New Governance is being undertaken in such as way as to protect the Chinese Communist Party’s monopoly over power. This double-edged strategy is aimed at improving the capacity consists of Social Construction, on the one hand, and Social Management Innovation, on the other. -
Marr, Kathryn Masters Thesis.Pdf (4.212Mb)
MIRRORS OF MODERNITY, REPOSITORIES OF TRADITION: CONCEPTIONS OF JAPANESE FEMININE BEAUTY FROM THE SEVENTEENTH TO THE EARLY TWENTIETH CENTURY A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts in Japanese at the University of Canterbury by Kathryn Rebecca Marr University of Canterbury 2015 Table of Contents Acknowledgements ·········································································· 1 Abstract ························································································· 2 Notes to the Text ·············································································· 3 List of Images·················································································· 4 Introduction ···················································································· 10 Literature Review ······································································ 13 Chapter One Tokugawa Period Conceptions of Japanese Feminine Beauty ························· 18 Eyes ······················································································ 20 Eyebrows ················································································ 23 Nose ······················································································ 26 Mouth ···················································································· 28 Skin ······················································································· 34 Physique ················································································· -
What Influence Did Japan and the West Have on Each Other in the Wonderful World of Art During the Edo Period and Beyond?
What influence did Japan and the West have on each other in the wonderful world of art during the Edo Period and beyond? By Alex Thompson The relationship between Japan and countries of the West contains all the elements of true romance. The intrigue, the mystery, the love and lust, and what’s a good romance without suspicion and an execution of some sort? The Ukiyo-e art movement was a major part of the Edo Period in Japan, and was composed of many great woodblock masters. From the first great master of black and white prints, to the last leading artist in landscape, this period of art had a great influence on the Western world. Westerners, especially those in Europe, also inspired ukiyo-e artists and acted as a source of intrigue to the isolated nation of Japan. The rapport between these two cultures had its shortcomings, however it blossomed into a symbiotic relationship in the end. Ukiyo-e, meaning “pictures of the floating world,” depicts the glamorous lifestyle of Japanese townspeople during the pleasure-filled Edo Period (also known as the Tokugawa Period.) This was a lengthy period of peace and prosperity in Edo (present day Tokyo) that lasted between 1603 and 1868. During this stable period, the Japanese were ruled by the Tokugawa shogun, which were established by the almighty Tokugawa leyasu. Foreign trade was encouraged, although leyasu was rather apprehensive when dealing with outsiders. Due to his suspicion of foreigners, trading ports were limited, as were the types of commodities that they were allowed to handle. -
Japanese Prints of the Floating World
James Madison University JMU Scholarly Commons Senior Honors Projects, 2020-current Honors College 5-8-2020 Savoring the moon: Japanese prints of the floating world Madison Dalton James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/honors202029 Part of the Acting Commons, Art Education Commons, Asian Art and Architecture Commons, Buddhist Studies Commons, Fine Arts Commons, History of Religions of Eastern Origins Commons, Japanese Studies Commons, Modern Art and Architecture Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Dalton, Madison, "Savoring the moon: Japanese prints of the floating world" (2020). Senior Honors Projects, 2020-current. 10. https://commons.lib.jmu.edu/honors202029/10 This Thesis is brought to you for free and open access by the Honors College at JMU Scholarly Commons. It has been accepted for inclusion in Senior Honors Projects, 2020-current by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Savoring the Moon: Japanese Prints of the Floating World _______________________ An Honors College Project Presented to the Faculty of the Undergraduate College of Visual and Performing Arts James Madison University _______________________ by Madison Britnell Dalton Accepted by the faculty of the Madison Art Collection, James Madison University, in partial fulfillment of the requirements for the Honors College. FACULTY COMMITTEE: HONORS COLLEGE APPROVAL: Project Advisor: Virginia Soenksen, Bradley R. Newcomer, Ph.D., Director, Madison Art Collection and Lisanby Dean, Honors College Museum Reader: Hu, Yongguang Associate Professor, Department of History Reader: Tanaka, Kimiko Associate Professor, Department of Sociology Reader: , , PUBLIC PRESENTATION This work is accepted for presentation, in part or in full, at Honors Symposium on April 3, 2020. -
Paintings by Streeter Blair (January 12–February 7)
1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio. -
Edo: Art in Japan 1615-1868; Teaching Program
edo teach.qxd4 12/9/98 10:42 AM Page 1 Teaching Program Edo art in japan 1615 – 1868 national gallery of art, washington edo teach.qxd4 12/9/98 10:42 AM Page 2 The exhibition Edo: Art in Japan 1615 – 1868 is made possible by NTT Exhibition dates: 15 November 1998 through 15 February 1999 edo teach.qxd4 12/9/98 10:42 AM Page 1 Edo Art in Japan 1615 – 1868 Teaching Program National Gallery of Art, Washington edo teach.qxd4 12/9/98 10:42 AM Page 2 acknowledgments notes to the reader This teaching program was written for the The Japanese government has designated education division by Christine Guth, an inde- numerous works of art as National Treasures, pendent scholar. Since receiving her Ph.D. in Important Cultural Properties, or Important Art Fine Arts from Harvard University in 1976, she Objects because of their artistic quality, historic has taught at institutions such as Harvard, value, and rarity. Several works with these des- Princeton, and the University of Pennsylvania. ignations are included in this publication. Her recent publications include Art, Tea, and Industry: Masuda Takashi and the Mitsui Circle Dimensions are in centimeters, followed by (Princeton, 1993) and Art of Edo Japan: The Artist inches in parentheses, height preceding width, and the City, 1615Ð1868 (New York, 1996). and width preceding depth. Concept development and teaching activities Cover: Watanabe Shik¿, Mount Yoshino, early by Anne Henderson, Heidi Hinish, and Barbara eighteenth century, detail from a pair of six- Moore. panel screens; ink, color, and gold on paper, Private Collection, Kyoto Thanks to Leo Kasun, Elisa Patterson, Ruth Perlin, Renata Sant’anna, Takahide Tsuchiya, Title page: Dish with radish and waves design, and Susan Witmer for their assistance with c. -
Merchants of War and Peace
Merchants of War and Peace British Knowledge of China in the Making of the Opium War Song-Chuan Chen Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-56-4 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by China Translation & Printing Services Ltd. in Hong Kong, China Contents Prologue viii Map of the Pearl River Delta in the 1830s x 1. Introduction 1 2. Th e Warlike and Pacifi c Parties 11 3. Breaking the Soft Border 38 4. Intellectual Artillery 61 5. A War of Words over ‘Barbarian’ 82 6. Reasoning Britain into a War 103 7. Th e Regret of a Nation 126 8. Conclusions: Profi t Orders of Canton 150 Acknowledgements 161 Notes 163 Glossary 193 Bibliography 196 Index 222 Prologue Th e Opium War’s fi rst shots were fi red on 4 September 1839 by the British navy under orders from Captain Charles Elliot directed at three Qing imperial warships in Kowloon Bay, Hong Kong. With a desire to explain himself, Elliot reported the encounter to Foreign Secretary Lord Palmerston: I opened fi re from the pinnace, the cutter, and the other vessel, upon the three junks.