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< AESTHETICISM and JAPAN: the CULT of the ORIENT > THE THIRD MIND AESTHETICISM AND JAPAN Mary Cassatt, The Letter, 1890–91. Drypoint and aquatint on cream laid paper, 34.4 x 21.1 cm. S.P. Avery Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations < AESTHETICISM AND JAPAN: THE CULT OF THE ORIENT > In 1853 Matthew Perry, an American naval Although best known for her perceptive officer, was sent on a mission to Japan, painted depictions of women and children, a country that had been closed to outsiders Mary Cassatt (1844–1926) was also an since the 17th century. With the intimidating accomplished printmaker. After seeing the threat of a powerful fleet, the Japanese 1890 exhibition of Japanese woodcuts in signed a treaty on March 31, 1854 that Paris, Cassatt decided to create a series of permitted U.S. ships to buy coal in Japan, prints. She adapted the ukiyo-e (the floating and opened Japanese ports to U.S. world) theme of women’s everyday lives to commerce. Perry’s mission ended Japan’s scenes showing a modern French woman, as isolation and began a flood of foreign imports she went about caring for a child, trying on into Western markets in the U.S. and Europe. a dress, and in this work, sealing an envelope. America was rising as a Pacific power, In The Letter, the influence of Japanese invested in expanding trade and influence prints can be seen in the bold patterns in with China and Japan. Many Western artists the wallpaper and dress, strong color blocks, turned to the philosophies and artistic and a sense of flattened, compressed space. practices of “the Orient” as an alternative Cassatt translates these formal elements to European sources of cultural identity into a scene of personal significance. For and creative inspiration and developed an Cassatt, who was an American expatriate appreciation of Asian art and teachings. living in Paris, letter writing would have been Woodblock prints with images of everyday the way she kept in touch with family and life by masters of the ukiyo-e school appealed friends. The drop-leaf desk that is included to many artists of the day and proved to be in this composition still belongs to the artist’s enormously influential. In the 1870s the term family, and it is thought that Cassatt may japonisme was coined to refer to this influence have used it to write letters. of Asian and especially Japanese culture on Western art. VIEW + DISCUSS The Letter Show: Mary Cassatt, , 1890–91 FURTHER EXPLORATIONSEXPLORATIONS ▲ Describe The Letter as carefully as you can. Consider the subject, • As a late 19th century woman from a wealthy family, Cassatt composition, point of view, colors, would have been expected to marry, have a family, and attend to and patterns. running a household. Instead Cassatt defied the expectations of her time, announcing to her family that she wanted to pursue her own ▲ independent career as an artist. Research the role of women in the Some of the qualities that Cassatt late 19th century and how it has changed over the past century. admired in Japanese woodblock What changes and challenges do you think lie ahead for women prints included the unusual angles in the 21st century? Explain your response. and shapes, strong linear outlines, an emphasis on flat planes, • Imagine a meeting between the women in the Cassatt and Utamaro asymmetrical compositions, aerial prints. How might they interact? With a partner, create a dialogue perspective, and decorative motifs. between these two women. You may want to base this conversation How many of these attributes can on research, or solely on the clues that that these two works present. you find in her image? Explain. • In the 1890s correspondence would have consumed a large part of a ▲ woman’s day. She would not only write to friends and acquaintances, Mary Cassatt owned Japanese prints but was also expected to answer invitations and inquiries. What do by Kitagawa Utamaro (1753–1806) you think this letter might be about? Write the letter that might be and displayed them in her home contained in this envelope. Share your letter with your classmates. alongside her own work. Like Did they have similar or different ideas about the subject of this Cassatt, Utamaro was inspired by correspondence? everyday events. Compare and • Because it requires the use of sharp chisels and gouges, woodblock contrast these two prints. In what printing is appropriate only for older students. However, younger ways are they similar? How are they students can create their own relief prints with less resistant materials different from each other? including linoleum, rubber stamps, potato prints, Styrofoam prints, and other commercially available materials designed for safe use in the classroom. Kitagawa Utamaro, Midnight: The student cuts or carves the surface so that some areas remain Mother and Sleepy Child, from the untouched while others are removed and recessed. Then an even series Customs of Women in the Twelve Hours (Fuzoku Bijin Tokei), coating of ink is distributed across the surface, usually with a roller Edo period, 1790. Polychrome called a brayer. A piece of paper is placed over the inked surface and woodblock print, 36.5 x 24.4 cm. The Metropolitan Museum of Art, pressure is applied with a mechanical press, or manually with the back New York, Rogers Fund. Image of a wooden spoon. When the paper is peeled away from the surface, © The Metropolitan Museum of Art the ink has been transferred from the printing surface to the paper, ▲ which is called a print. The print is a reverse image of the printing Some of the daily activities depicted block or plate. in Cassatt’s suite of 10 prints include bathing a child, being fitted for a dress, washing, hugging a child, and socializing at an afternoon tea party. To view all the prints in this series, visit http://www.nga.gov/collection/ gallery/cassatt/cassatt-46723.html. If you were to select 10 activities in the life of a typical 21st century woman, what would they be? THE THIRD MIND LANDSCAPES OF THE MIND RIGHT Georgia O’Keeffe, Abstraction, 1917. Watercolor on paper, 40 x 27.6 cm. Collection of Gerald and Kathleen Peters, Courtesy Gerald Peters Gallery, Santa Fe, New Mexico. © Georgia O’Keeffe Museum, Santa Fe BOTTOM Arthur Wesley Dow, August Moon, ca. 1905. Polychrome woodblock print, 13.5 x 18.5 cm. Collection of Edgar O. Smith, New York. Photo: David Heald/ SRGF, New York < LANDSCAPES OF THE MIND: EARLY MODERN CONCEPTIONS OF NATURE > During the early to mid-twentieth century, landmark textbook Composition: A Series of American artists championed modern and Exercises Selected from a New System of Art abstract art while also looking to Asian Education (1899). A young student in his aesthetics and philosophies that envisioned class, Georgia O’Keeffe (1887–1986), would nature as a site where matter and spirit incorporate his teachings into her personal could be united. From Asian art they distilled style. Dow’s method encouraged students to an aesthetic of weightlessness, silence, and experiment with nonrepresentational shapes rhythmic form. On the West coast increasing and patterns as they learned the concepts of Asian immigration contributed to the composition and balance. In 1917, while teaching dissemination of Buddhist teachings, inspiring art in Canyon, Texas, O’Keeffe spent time some artists to become students and exploring the wide open spaces and watching practitioners of meditation techniques and the changing sky. She began to invent ways East Asian calligraphy. to express her feelings, reducing her pictures to shapes and colors. Most of the time she On the East coast Arthur Wesley Dow worked in watercolor because she lacked (1857–1922), an influential Japanese-art the uninterrupted hours required for oil. But specialist and teacher, would influence a watercolor, it turned out, was ideal for her generation of artists. As head of the Fine Arts subject, the Western sky, since she could let Department at Teachers College, Columbia colors flow into one another. Although some of University, Dow taught that art should express O’Keeffe’s acquaintances in Texas commented an artist’s own feelings and that subject matter that these works did not look like the canyon, could be best realized through the arrangement O’Keeffe responded that she was painting the of line, color, and notan- (the classical Japanese way she felt about the landscape, not the way system of light and dark in painting). His it looked. Later that year O’Keeffe’s first gallery revolutionary methods were set out in his exhibition opened in New York City and included many of these watercolors. Throughout her long career, the spare simplicity of Asian art, a mix of both abstraction and representation, and a love of open landscape would permeate and inspire her work. VIEW + DISCUSS Abstraction Show: Georgia O’Keeffe, , 1917, FURTHER EXPLORATIONSEXPLORATIONS and Arthur Wesley Dow, August Moon, ca. 1905 • At the beginning of the 20th century traditional academic training ▲ What is your initial reaction to each for an artist consisted of copying works by old masters. Student work of these works? was judged by how closely it imitated reality. Arthur Wesley Dow’s influential textbook Composition: A Series of Exercises in Art Structure ▲ Compare Dow’s approach to for the Use of Students and Teachers (1899) changed the focus of landscape with O’Keeffe’s. What are art education by placing the emphasis on the compositional elements of line, color, and notan- (a Japanese word meaning “lightness- the similarities and differences? darkness”) as the basic principles in art. He believed that “art should ▲ be approached through composition rather than through imitative Describe these paintings in as much drawing.” Many of his lessons require in-depth study, but others detail as possible.
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