Japonisme, the 19th-century fascination for Japanese art, has
generated an enormous body of scholarship since the beginning of
the 21st-first century, but most of it neglects the women who
acquired objects from the Far East and sold them to clients or
displayed them in their homes before bequeathing them to museums.
The stories of women shopkeepers, collectors, and artists rarely
appear in memoirs left by those associated with the japoniste
movement. This volume brings to light the culturally important, yet
largely forgotten activities of women such as Clemence d'Ennery
(1823-98), who began collecting Japanese and Chinese chimeras in
the 1840s, built and decorated a house for them in the 1870s, and
bequeathed the "Musee d'Ennery" to the state as a free public
museum in 1893. A friend of the Goncourt brothers and a 50-year
patron of Parisian dealers of Asian art, d'Ennery's struggles to
gain recognition as a collector and curator serve as a lens through
which to examine the collecting and display practices of other
women of her day. Travelers to Japan such as the Duchesse de
Persigny, Isabella Stewart Gardner, and Laure Durand-Fardel
returned with souvenirs that they shared with friends and family.
Salon hostesses including Juliette Adam, Louise Cahen d'Anvers,
Princesse Mathilde, and Marguerite Charpentier provided venues for
the discussion and examination of Japanese art objects, as did
well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty,
and Madame Langweil. Writers, actresses, and artists-Judith
Gautier, Therese Bentzon, Sarah Bernhardt, and Mary Cassatt, to
name just a few- took inspiration from the Japanese material in
circulation to create their own unique works of art. Largely absent
from the history of Japonisme, these women-and many others-actively
collected Japanese art, interacted with auction houses and art
dealers, and formed collections now at the heart of museums such as
the Louvre, the Musee Guimet, the Musee Cernuschi, the Musee
Unterlinden, and the Metropolitan Museum of Art.
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