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The Influence of Japonisme in Claude Monet's Impression THE INFLUENCE OF JAPONISME IN CLAUDE MONET’S IMPRESSION, SUNRISE A thesis submitted to the College of Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Chelsea N. Cooper May 2020 Thesis written by Chelsea Cooper B.A., Kent State University, 2016 M.A., Kent State University, 2020 Approved by _________________________________________ Shana Klein, Ph.D., Advisor _________________________________________ Marie Bukowski, M.F.A., Director, School of Art _________________________________________ John R Crawford-Spinelli, Ed.D., Dean, College of Arts ii TABLE OF CONTENTS Page LIST OF FIGURES………………………………………………………….........…….…….iv ACKNOWLEDGMENTS……………………………………………………….........………vi CHAPTER I. THE PIONEERING CLAUDE MONET 1 Introduction………………………………………………………………..........……..1 Monet’s Life and Career Leading to Impression, Sunrise.............................................2 Before the Birth of Impression, Sunrise…………………………………....…............5 II. ENDING SECLUSION- JAPANESE IMPORTING 10 History of the Trade………………………………………………………........…….10 Japonisme: A Cultural Exploitation……………..…………………………........…...12 The Great Masters: Hiroshige, Hokusai, and Utamaro……………………........…....14 Monet’s Obsession with Japonisme…………………………………………........….17 The Prevalent Influence of Ukiyo-e on Nineteenth Century Artists…………............21 III. IMPRESSION, SUNRISE: A PAINTING FIT FOR WOODBLOCK 27 The Beginnings of Impressionism...............................................................................27 A Widespread Craze…………....................................................................................29 IV. CONCLUSION 34 The Aftermath of Monet.............................................................................................34 Concluding Observations............................................................................................36 REFERENCES……………………………………………………………………......…….68 iii LIST OF FIGURES Figure Page 1. Claude Monet, Impression, Sunrise, 1872…………………………………………...........…39 2. Claude Monet, Rufus Croutinelli, 1859…………………………………………...........……40 3. Claude Monet, Hunting Trophies, 1862…………………………………………............…...41 4. Claude Monet, Road in Chailly, 1865…………………………………………............……..42 5. Claude Monet, Luncheon on the Grass, 1865....………………………..................................43 6. Claude Monet, La Grenouillère, 1869……………………………………………............….44 7. Joseph Mallord William Turner, The Scarlet Sunset, 1830-40................................................45 8. Claude Monet, Regatta in Argenteuil, 1872……………………………………..........……...46 9. Claude Monet, Bridge Over a Pond of Water Lilies, 1899…………………………..............47 10. Utagawa Hiroshige, Precincts of Kameido Tenjin Shrine, 1856…………………...........…48 11. Claude Monet, The Japanese Footbridge, 1920-22……………………………...........…...49 12. Claude Monet, La Japonaise, 1876…………………………………………….......…....…50 13. Claude Monet, The Terrace at Sainte-Adresse, 1867……………………….......….....…....51 14. Katsushika Hokusai, Sazai Hall at the Temple of the Five Hundred Arhats (Gohyaku Rakanji Sazaidō) from the series Thirty-six Views of Mount Fuji, 1820-33……….................................52 15. Katsushika Hokusai, Maisaka, 1804……………………………………………............…..53 16. James Abbott McNeill Whistler, The Balcony, 1864-1879…………………..................….54 17. Suzuki Harunobu, Ladies on a Balcony…………………………………………...........….55 18. James Abbott McNeill Whistler, Nocturne: Blue and Gold- Battersea Bridge, 1872-75....56 iv 19. Utagawa Hiroshige, Bamboo Yards, Kyobashi Bridge, No. 76 from One Hundred Famous Views of Edo, 1857…………………………………………………………….............…….57 20. Edgar Degas, Winding River, 1890………………………………………….......….......……58 21. Utagawa Hiroshige, Asuma Shrine and the Entwined Camphor, 1857…………..............….59 22. Mary Cassatt, The Letter, 1890-91..........................................................................................60 23. Kitagawa Utamaro, Hinazuru of the Keizetsuro, from the series Comparing the Charms of Beauties, 1789-1800......................................................................................................................61 24. Paul Cézanne, Mont Sainte-Victoire at the Viaduct of the Arc River Valley, 1882-85……...62 25. Katsushika Hokusai, The Mishima Pass in Kai Province, 1830-32………………................63 26. Utagawa Hiroshige, Meisho Edo Hyakkei-Shiba Ura no Fukei, 1856....................................64 27. Utagawa Hiroshige, Mouth of the Aji River in Settsu Province, from the series Wrestling Matches between Mountains and Seas, 1858..........................................................................65 28. Katsushika Hokusai, Moonlight on the Yodo River, from the series Snow, Moon, and Flowers, 1833.........................................................................................................................66 29. Kitagawa Utamaro, Girls Gathering Shells on the Seashore, 1790........................................67 v ACKNOWLEDGMENTS I would like to think my fiancé for encouraging me to finish this project and my parents for watching my children so I could work on my research. I’d like to thank my daughters, Serenity and Emma, for giving me the strength and willpower to graduate so I could be an inspiration to them. I’d like to thank my thesis committee for their help in leading me in the right direction and giving me feedback to make a better paper. Lastly, I’d like to thank my thesis advisor, Shana, for giving me direction, helping this thesis come together, and encouraging me to finish and graduate when I didn’t believe I was ever going to do so. Thank you all so much vi 1 1. The Pioneering Claude Monet Introduction It is no secret that artists throughout the ages have looked to previous artistic masters for inspiration in creating their own works. Claude Monet was no exception. While he certainly had his own style that broke away from his predecessors, he was greatly influenced in his career by previous influences abroad, such as “Japonisme,” which had arrived in France in the late 1850s. This movement included the import of Japanese items, clothing, and woodblock prints throughout Europe and the United States. This inspired a new focus in French artworks and led artists to construct their paintings, photographs, and prints in a manner that resembled Japanese prints from the eighteenth century. Many contemporary artists working in the 1860s followed this trend, including Edgar Degas, Monet, James Abbott McNeill Whistler, and Mary Cassatt, as well as Post-Impressionist painter, Paul Cézanne. In fact, Monet had a collection of two hundred and thirty-one Japanese woodblock prints, among other Japanese items, which are now on display in his home in Giverny, France. It is believed that he began acquiring prints when he went to Holland in 1871.1 However, late in life, Monet claimed that he had purchased his first Japanese prints in 1856, which is not impossible, however scholar John House states that it is more likely he began purchasing them in the mid-1860s; the late 1890s being the height of his buying.2 These prints influenced the creation of his water lily paintings and paintings of Japanese bridges. How, then, could Impression, Sunrise from 1872 (Figure 1) also have been influenced by the same sources? Many Impressionist scholars have not investigated this theory. Based upon 1 “Giverny: Collection of Japanese Prints of Claude Monet,” Giverny Village, March 18, 2014, accessed March 20, 2020, https://www.giverny.fr/en/information/cultural-information/giverny-collection-of-japanese-prints-of-claude- monet/. 2 John House, Monet: Nature Into Art (New Haven, Connecticut: Yale University Press, 1986), 47. 2 clear stylistic similarities, it is possible to conceive that Monet’s earlier works were influenced by his collection of Japanese prints by Utamaro, Hokusai, and Hiroshige. It is indeed possible that Monet’s inspiration from Japanese prints during the 1860s entered not only his Water Lilies series, but also his earlier, groundbreaking piece Impression, Sunrise, which helped foreground the Impressionist movement during the 1870s. Monet’s Life and Career Leading to Impression, Sunrise Claude Monet was born on November 14th, 1840 to his father Claude Adolphe Monet and his mother Louise Justine Aubrée in Paris, France during a time of stability and peace. Years later, the family was forced to move to Le Havre on the coast of Normandy, while Monet was still a young child, as a result of the economic crisis of the mid-forties which left his father’s shop keeping business in ruin. Here, Adolphe joined his brother-in-law, Jacques Lecadre, in his successful wholesale grocery and ship chandlers business so that the family would be more financially stable.3 This was also where Monet learned to love one of his most famously painted subjects, the Seine River, which he and his family would visit while at the summer house of his uncle. His artistic interest came from his mother’s love of the arts, but after her death in 1857, he began to seek guidance from his aunt, Madame Lecadre, who had her own studio where she painted as a hobby and had a connection to Parisian painter Armand Gautier. Monet was welcome to visit her studio whenever he pleased, and he did so as often as possible.4 His love of art, however, did not only materialize from these events, but from drawing caricatures of his schoolteachers in his notebooks. He kept a sketchbook in which he drew 3 Michael J. Call, Claude
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