Undergraduate Review

Volume 4 Issue 1 Article 7

1991

A Differentiation of Influences of Japanese Culture in Mid- nineteeth Century France

Lisa Krahn '90 Illinois Wesleyan University

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Recommended Citation Krahn '90, Lisa (1991) "A Differentiation of Influences of Japanese Culture in Mid-nineteeth Century France," Undergraduate Review: Vol. 4 : Iss. 1 , Article 7. Available at: https://digitalcommons.iwu.edu/rev/vol4/iss1/7

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A Differentiation of Influences of Japanese Culture in Mid-nineteenth Century France

Lisa Xrafin

Published by Digital Commons @ IWU, 1991 35 1 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 7

Much ink has been spill~

present in mid-nineteenth Cl goods, had a tangible influe the primary vehicles of this

"Art is always the index of social vitality, the culture-the ukiyo-e print. 1 moving finger that records the destiny of a civili­ to meet the demand of Pari! zation. A wise statesman should keep an anx­ study of the ukiyo-e by maj< ious eye on this graph, for it is more significant incorporation of japonisme (1 than a decline in exports or a fall in the value of a of the French Impressionist: nation's currency." quite possible that japonisml ably altered the French aest - Sir :J{er6ert ~atf result, altered the history 01 This world-ehanging art color or black and white w< seventeenth century by cra: peacetime, feudal Japan. A sively to the pleasure-seeki means "floating world" (Be in the Buddhist sense of th. that refers to the whim of f of entertainment and fashi. for inexpensive access to el like that of the Kabuki thee popular Sumo wrestling. I zines, ukiyo-e depicted corr These forms worked to rna https://digitalcommons.iwu.edu/rev/vol4/iss1/7 2 Krahn '90: A Differentiation of Influences of Japanese Culture in Mid-ninete

Much ink has been spilled about whether Japanese culture, present in mid-nineteenth century France in the form of imported goods, had a tangible influence upon French culture and art. One of the primary vehicles of this influence was an object of Japanese of social vitality, the culture-the ukiyo-e print. These artifacts were imported from Japan is the destiny of a civili­ to meet the demand of Parisian fashion, and in addition, careful l should keep an anx- study of the ukiyo-e by major French artists possibly resulted in the Ir it is more significant incorporation of japonisme (formal Japanese aesthetics) into paintings or a fall in the value of a of the French Impressionists and Post-Impressionists. Thus it is quite possible that japonisme transported by Ukiyo-e subtly but invari­ ably altered the French aesthetic through these artists and, as a - Sir J{er6ert ~ad result, altered the history of art. This world-ehanging art piece had humble origins. Ukiyo-e are color or black and white woodblock prints first produced in the mid- seventeenth century by craftsmen in the calm, static environment of peacetime, feudal Japan. A truly popular art, ukiyo-e catered exclu­ sively to the pleasure-seeking middle-to-lower classes. Ukiyo-e means "floating world" (Bazarov 29) or "fleeting world" (Smith 46) in the Buddhist sense of the word, an appropriate term for a medium that refers to the whim of the popular and the transient-the worlds of entertainment and fashion. These prints met the public demand

for inexpensive access to eleganc~, entertainment, and high fashion like that of the Kabuki theater or geisha. The prints also heralded popular Sumo wrestling. Like precursors of today's fashion maga­ zines, ukiyo-e depicted common people as well as idealized forms. These forms worked to maintain postures of grace and elegance at­

Published by Digital Commons @ IWU, 1991 37 3 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 7

tainable in everyday life, including images of actors and courtesans rule, so was a whole new fre sporting the latest robes and hairstyles, and entertainment within conscious, and the craze for interior or street environments. The prints contained stylized two­ Parisians desiring to keep in dimensional shapes bordered as a basic mainstay by expressive painted screens, and ate fror linear outlines or representations, which resulted in the ukiyo-e's the unwanted ukiyo-e were a characteristic flatness-a derivation of Heian period decorative numbers; dealer Hayashi Te

painters of the ninth through twelfth centuries. by Segi Shinichi) imported 1. Ukiyo-e artists never attained recognition from the official court career (1890-1901). Because i painters and academicians of the day who dealt with traditional ment, demand for the ukiyo-c. aesthetic refinements of the past. Shennan E. Lee recognizes that appreciated by artists. although the these artists developed increasing skill and expression The Japanese prints arrive in their small woodblock prints-achieving subtlety and placement painting was ready for inspir worthy of past decorative masters-they were never respected the momentary limit of realiSi artists. Due to the sheer number of prints produced, Japanese Morris had begun to seek ins: consumers of the hundreds of thousands of prints produced between Arts and Crafts movement. [ 1658 and 1858 did not fully appreciate ukiyo-e quality. Availability during a turning point for 00: made the works expendable amusements-not of high art or keep­ novelty of ukiyo-e was quietly sake quality (Lee 497). It took the French Impressionist painters artists who bartered their pail situated half a world away to finally take an authentic interest in the Hayahi's records list custome: fonnal aesthetics presented in these prints, and even this phenome­ Concourt brothers, who invar non was accomplished only after the prints were first filed away as their fellow artists at the Cafe curiosities in import shops. ranked highly among discussi Ukiyo-e were brought to mid-nineteenth century France, among color theories and photograpl1 other objects, to satisfy France's growing penchant for things exotic would later influence their art and oriental. At this time, quali ty chinoiserie for wealthy collectors tom of the artistic search for n was difficult to find in mainland China. Trade with Japan had begun the vapid neoclassicism prescl in the early seventeenth century through the Dutch United East It was a new identity that was India Company at Nagasaki but was limited from 1638 to 1855 by and potentially derived, in paJ the Japanese government. When trade was reopened under Meiji in ukiyo-e. https://digitalcommons.iwu.edu/rev/vol4/iss1/7 4 38 Krahn '90: A Differentiation of Influences of Japanese Culture in Mid-ninete ;images of actors and courtesans rule, so was a whole new frontier of collectibles for the investment­ yles, and entertainment within conscious, and the craze for japonoiserie was unleashed. Trendy Ie prints contained stylized two­ Parisians desiring to keep in vogue soon owned kimonos, fans, and basic mainstay by expressive painted screens, and ate from blue-and-white porcelain. Inevitably, Nhich resulted in the ukiyo-e's the unwanted ukiyo-e were also swept along to the West in large

[l of Heian period decorative numbers; dealer Hayashi Tadamasa alone (remarked upon in depth th centuries. by Segi Shinichi) imported 156,487 ukiyo-e to Paris during his short :ognition from the official court career (1890-1901). Because it was a vehicle of fashion and amuse­ ay who dealt with traditional ment, demand for the ukiyo-e vanished quickly-until it became ,herman E. Lee recognizes that appreciated by artists. d increasing skill and expression The Japanese prints arrived at a time ripe for change when chieving subtlety and placement painting was ready for inspiration. By 1850, Courbet had reached -they were never respected the momentary limit of realism and naturalism, and by 1860 William f prints produced, Japanese Morris had begun to seek inspiration from the medieval past for his lsands of prints produced between Arts and Crafts movement. Discovery of the work of ukiyo-e was iate ukiyo-e quality. Availability during a turning point for both the artists and the art itself. The

~ments-not of high art or keep­ novelty of ukiyo-e was quietly recognized as a legitimate aesthetic by French Impressionist painters artists who bartered their paintings to collect more of them. Iy take an authentic interest in the Hayahi's records list customers including Degas, Monet, and the e prints, and even this phenome­ Goncourt brothers, who invariably discussed the new prints with il.e prints were first filed away as their fellow artists at the Cafe Guerbois. The prints could have ranked highly among discussion of new topics such as new scientific leteenth century France, among color theories and photographic technological advances which )wing penchant for things exotic would later influence their art. Appreciation of ukiyo-e was a symp­ chinoiserie for wealthy collectors tom of the artistic search for new identity, rebelling against that of hina. Trade with Japan had begun the vapid neoclassicism prescribed by the 19th century French Salon. rough the Dutch United East It was a new identity that was less pretentious and more accessible

1S limited from 1638 to 1855 by and potentially derived, in part, from the unique aesthetic presented 'ade was reopened under Meiji in ukiyo-e. Published by Digital Commons @ IWU, 1991 39 5 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 7

The ukiyo-e prints could have served as a point of departure for fully-incorporated japonisme new and now familiar techniques of composition, subject matter, and tion, and vision in these inst representation. It must be noted that there is only circumstantial painting any exotic culture's evidence to support this. Deborah Johnson states in her 1982 article independent of ouvre. VinCi that we "cannot yet postulate with confidence a direct influence of of the Japanese craze, also fa ukiyo-e on Western art early in the nineteenth century" (348). study in oil of Hiroshige's pI Johnson is one of many academicians who cites Japanese influence as Ohashi Bridge" (1886 or 188: possibly one of many sources of the artistic revolution of 1860, with as a japonoiserie. significant regard given to photographic technology and a range of However, van Gogh rnakl other influences. However, I am in agreement with Yamada Chisa­ possibly internalized the uki!

buro, editor of a volume dedicated to japonisme. He remarks that his painting. In the his wor~

stylizations such as birds-eye perspective, linear emphasis on tiously displayed, yet it is WI composition, strong diagonals, and abstract repetition of line and flat fond of Japanese graphics. I­ shape incorporated by Western painters of the period can claim to tion of over 400 ukiyo-e, rnO! have root in Japanese stylization. Chisaburo says: the field: Eisan, Harurnasi, I Van Gogh left Paris for Arle! Impressionist and Post-Impressionist artists... did not 1888, in search of sunlight ar simply imitate. They found hints and suggestions in Japa­ prints. He admired JapaneSi nese prints of methods for expression or expression itself, in a letter: "I wish you couIe and they incorporated these into their own methods of things with an eye more Jap. expression. [16] (Sullivan 233). This identific surfaces is apparent in his p. There is no doubt that Japan directly influenced art in this time which he wrote "here colom period. For instance, Claude Monet painted studies of his kimono­ and shadows cast are suppn

clad wife in "La Japonaise" (1876), and, as seen in his waterlilies Japanese prints" (Sullivan ~ series, put an arched Japanese-style bridge in his backyard pond at Other aspects ofjaponisml Giverny. Both are deliberate attempts to include Oriental motifs. vision are revealed in his let Any obvious Japanese influence in paintings of this era must be which stacks objects atop on classified as japonoiserie, belonging to the fashion of the day, not true sition to the top while reduc https://digitalcommons.iwu.edu/rev/vol4/iss1/740 6 Krahn '90: A Differentiation of Influences of Japanese Culture in Mid-ninete 'ed as a point of departure for fully-incorporated japonisme. Monet's style of painting, composi­ composition, subject matter, and tion, and vision in these instances remains intact-he may as well be t there is only circumstantial painting any exotic culture's objects, for subject matter remains )hnson states in her 1982 article independent of ouvre. Vincent van Gogh, living in Paris in the midst anfidence a direct influence of of the Japanese craze, also followed this trend. He made a careful neteenth century" (348). study in oil of Hiroshige's print entitled "Sudden Shower on the s who cites Japanese influence as Ohashi Bridge" (1886 or 1887)-the former of which can be classified artistic revolution of 1860, with as a japonoiserie. phic technology and a range of However, van Gogh makes a fine example of an artist who igreement with Yamada Chisa­ possibly internalized the ukiyo-e influences and took them to heart in ajaponisme. He remarks that his painting. In the his work after 1888, japonoiserie is less ostenta­ !Ctive, linear emphasis on tiously displayed, yet it is well documented that he remained quite ibstract repetition of line and flat fond of Japanese graphics. He and his brother Theo owned a collec­ ,ters of the period can claim to tion of over 400 ukiyo-e, most by artists recognized as the greatest in rtisaburo says: the field: Eisan, Harumasi, Hiroshige, Kunisada, and Kuniyoshi. Van Gogh left Paris for ArIes in the south of France during February, ressionist artists... did not 1888, in search of sunlight and color like that he saw in ukiyo-e I hints and suggestions in Japa­ prints. He admired Japanese clarity of flat colors, remarking to Theo xpression or expression itself, in a letter: "I wish you could spend some time here... you can see into their own methods of things with an eye more Japanese, you feel colour differently" (Sullivan 233). This identification with a Japanese way of seeing surfaces is apparent in his painting "Bedroom at ArIes" (1888), of :t1y influenced art in this time which he wrote "here colour is to do everything.... the shadows painted studies of his kimono­ and shadows cast are suppressed: it is painted in free flat tints like nd, as seen in his waterlilies Japanese prints" (Sullivan 233). bridge in his backyard pond at Other aspects of japonisme incorporated into van Gogh's artistic ts to include Oriental motifs. vision are revealed in his letters. This includes oriental perspective, 'aintings of this era must be which stacks objects atop one another from the bottom of the compo­ ) the fashion of the day, not true sition to the top while reducing them in size. Van Gogh refers to Published by Digital Commons @ IWU, 1991 41 7

.. - Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 7 such a perspective in his landscape pen drawing "View of La Crau" (1888). Medieval perspective also includes this form of presentation, BIB! but it is clear that van Gogh refers to a bird's-eye oriental perspective Bazarov, Konstantin. "The F through his comment to Theo that this drawing "does not have a 33. August 1978. Japanese look, and yet it is really the most Japanese thing I have Johnson, Deborah. "Japanes done" (van der Wolk 219). Also evident in this drawing is van ton Magazine. 124: 343-8. J Gogh's interest in varied markmaking. Objects and figures are Lee, Sherman E. A History oj simplified to calligraphic, shorthand strokes. The representation is York: Harry N. Abrams, II

stylized, and emotion is internalized to the expressive quality of line. Narasaki, Muneshige. "Wes 'ukiyo-e'." Japonisme in Ar His short, deliberate strokes are precursors to his later paintings that Yamada Chisaburo. Tokyc burst with vigorous color and line. While this may be attributed to 19-25.

van Gogh's connection to Impressionism, Michael Sullivan traces the Schrijver, Elka. [Van Gogh's ton Magazine. 120: 559. 1 tension between line and color that runs through such later paintings as "The Starry Night" (1889) to the visual excitement of the best Segi, Shinichi. "Hayashi Tae the East and West." Japoni prints of Hokusai and Hiroshige (235). Editor Yamada Chisaburo. 1980. 167-172. Not all artists of Monet's generation reacted as much to Japanese influence as van Gogh, but his paintings serve as clear examples for Smith, Lawrence. "Japanese painting." Apollo. 115: 40 both the inclusion of Japanese objects in art as a passing fad, and the Sullivan, Michael. The Meeti potential internalization of Japanese formal principles in later Sixteenth Century to the Pre work-both testaments to the influence of Japanese culture. In the Hudson, Ltd. 1973.

long run, the fad of japonoiserie that affected van Gogh's work van der Wolk, Johannes. "V matured and was soon replaced in favor of a more current vogue. in Art: An International SYi Tokyo: Committee for the But the ukiyo-e print attained an influence that it never reached in Welsh, Bogomila. "van Gog Japan, resulting in a permanently enhanced aesthetic bequeathed to seur 206: 310-315. April 1 art in successive generations. Yamada, Chisaburo. "Exchc: Japan and Europe." Japon­ Editor Yamado Chisaburo 1980. 11-18.

https://digitalcommons.iwu.edu/rev/vol4/iss1/742 8 Krahn '90: A Differentiation of Influences of Japanese Culture in Mid-ninete pen drawing "View of La Crau" Icludes this form of presentation, BIBLIOGRAPHY ) a bird's-eye oriental perspective Bazarov, Konstantin. "The Floating World." Art & Artists. 13: 28­ his drawing "does not have a 33. August 1978. ~ most Japanese thing I have Johnson, Deborah. "Japanese prints in Europe before 1840." Burling­ dent in this drawing is van ton Magazine. 124: 343-8. June 1982. ng. Objects and figures are Lee, Sherman E. A History of Far Eastern Art. Fourth edition. New I strokes. The representation is York: Harry N. Abrams, Inc. 1982

I to the expressive quality of line. Narasaki, Muneshige. ''Western influence and revival of tradition in 'ukiyo-e'." Japonisme in Art: An International Symposium. Editor cursors to his later paintings that Yamada Chisaburo. Tokyo: Committee for the Year 2001. 1980. While this may be attributed to 19-25.

nism, Michael Sullivan traces the Schrijver, Elka. [Van Gogh's collection of Japanese prints.] Burling­ ton Magazine. 120: 559. August 1978. runs through such later paintings risual excitement of the best Segi, Shinichi. "Hayashi Tadamasa: Bridge between the fine arts of the East and West." Japonisme in Art: An International Symposium. i5). Editor Yamada Chisaburo. Tokyo: Committee for the Year 2001. 1980. 167-172. ion reacted as much to Japanese :ings serve as clear examples for Smith, Lawrence. "Japanese prints and their relationship with painting." Apollo. 115: 40-8. January 1982. ts in art as a passing fad, and the Sullivan, Michael. The Meeting of Eastern and Western Art from the ! formal principles in later Sixteenth Century to the Present DaJJ.. London: Thames and !nce of Japanese culture. In the Hudson, Ltd. 1973. affected van Gogh's work van der Wolk, Johannes. "Vincent van Gogh and Japan." Japonisme in Art: An International Symposium. Editor Yamada Chisaburo. 'avor of a more current vogue. Tokyo: Committee for the Year 2001. 1980. 215-223. luence that it never reached in Welsh, Bogomila. "van Gogh and the French avant garde." Connois­ lhanced aesthetic bequeathed to seur 206: 310-315. April 1981.

Yamada, Chisaburo. "Exchange of influence in the fine arts between Japan and Europe." Japonisme in Art: An International Symposium. Editor Yamado Chisaburo. Tokyo: Committee for the Year 2001. 1980. 11-18.

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