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Ono examines cross-cultural artistic exchange between the West and
Japan from the late nineteenth century to the early twentieth
century. Studies of Japonisme have been dominated by searching out
relationships of influence between artworks–trying to identify
which specific works influenced a particular artist. Ono argues
that a more holistic understanding of 'spillover effects' is
necessary in fully comprehending the nuances of these
relationships. She bases this argument on documents and works of
art in the context of globalisation, looking at the relationships
between James McNeill Whistler and others with their contemporaries
in the Japanese artistic and literary worlds. This was a more
complex two-way exchange than is often appreciated, with Western
artists taking inspiration from (to them) new Japanese styles,
while Japanese artists and writers were trying to craft a 'modern',
more western-influences style to reflect the modern nation of Japan
emerging onto the world stage after centuries of relative
isolation. A fascinating analysis of the role of globalisation and
cultural exchange in the development of new and hybrid artforms,
that will be essential reading for scholars of this fascinating
period in international art history.
Japan held a profound fascination for western artists in the latter
half of the nineteenth century and the influence of Japonisme on
western art was pervasive. Paradoxically, just as western artists
were beginning to find inspiration in Japan and Japanese art, Japan
was opening to the western world and beginning a process of
thorough modernisation, some have said westernisation. The mastery
of western art was included in the programme. This book examines
the nineteenth century art world against this background and
explores Japanese influences on four artists working in Britain in
particular: the American James McNeill Whistler, the Australian
Mortimer Menpes, and the 'Glasgow boys' George Henry and Edward
Atkinson Hornel. Japonisme in Britian is richly illustrated
throughout.
Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme. This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the 'Glasgow boys' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.
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