Titre
Vincent van Gogh and Japan
Auteur
De Leeuw, Ronald (voorwoord)
Langue
Meertalig
Éditeur
Kyoto : National Museum of Modern Art, 1992
Prix
€ 30,00
Détails
Grote paperback, 269 pp. In goede staat.
Plus d'informations
Leesvouw rug, enkele pp. voorin wat lichte vouwen. Klein vlekje op snee. Omslag wat lichte schade.
Zonder inscripties e.d.
18 February - 29 March 1992. The National Museum of Modern Art, Kyoto. 4 April - 24 May 1992, Setagaya Art Museum, Tokyo. Text in English and Japanese.
Japonaiserie (English: Japanesery) was the term used by Dutch Post-Impressionist painter Vincent van Gogh to express the influence of Japanese art on his works.
Background
Before 1854, trade with Japan was limited to a Dutch monopoly, and Japanese goods imported into Europe primarily comprised porcelain and lacquer ware. The Convention of Kanagawa ended the 200-year Japanese foreign policy of Seclusion and opened up trade between Japan and the West. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.
Van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands of Antwerp, later incorporating elements of their style into the background of some of his paintings. Vincent possessed twelve prints from Hiroshige's series One Hundred Famous Views of Edo, and he also had bought Two Girls Bathing by Kunisada II, 1868. These prints were influential to his artistic development.
He shared his collection with his contemporaries and organized a Japanese print exhibition in Paris in 1887. He and his brother Theo van Gogh dealt in these prints for some time, eventually amassing hundreds of them, which are now housed in the Van Gogh Museum in Amsterdam.
A month later he wrote,
All my work is based to some extent on Japanese art...
Van Gogh made three copies of ukiyo-e prints: The Courtesan and the two studies after Hiroshige.
Van Gogh's dealing in ukiyo-e prints brought him into contact with Siegfried Bing, who was prominent in the introduction of Japanese art to the West and later in the development of Art Nouveau. Van Gogh developed an idealised conception of the Japanese artist which led him to the Yellow House at Arles and his attempt to form a utopian art colony there with Paul Gauguin.
Style
Van Gogh admired the techniques of Japanese artists.
Characteristic features of ukiyo-e prints include their ordinary subject matter, the distinctive cropping of their compositions, bold and assertive outlines, absent or unusual perspective, flat regions of uniform colour, uniform lighting, absence of chiaroscuro, and their emphasis on decorative patterns. One or more of these features can be found in numbers of Vincent's paintings from his Antwerp period onwards.
Japonaiserie and Impressionism
In a letter to Theo dated 5 June 1888, Vincent remarked,
About staying in the south, even if it’s more expensive—Look, we love Japanese painting, we’ve experienced its influence—all the Impressionists have that in common—[so why not go to Japan], in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all.
In a letter of July 1888 he referred to the Impressionists as the "French Japanese".
(Wikipedia)
Zonder inscripties e.d.
18 February - 29 March 1992. The National Museum of Modern Art, Kyoto. 4 April - 24 May 1992, Setagaya Art Museum, Tokyo. Text in English and Japanese.
Japonaiserie (English: Japanesery) was the term used by Dutch Post-Impressionist painter Vincent van Gogh to express the influence of Japanese art on his works.
Background
Before 1854, trade with Japan was limited to a Dutch monopoly, and Japanese goods imported into Europe primarily comprised porcelain and lacquer ware. The Convention of Kanagawa ended the 200-year Japanese foreign policy of Seclusion and opened up trade between Japan and the West. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.
Van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. Van Gogh bought Japanese ukiyo-e woodcuts in the docklands of Antwerp, later incorporating elements of their style into the background of some of his paintings. Vincent possessed twelve prints from Hiroshige's series One Hundred Famous Views of Edo, and he also had bought Two Girls Bathing by Kunisada II, 1868. These prints were influential to his artistic development.
He shared his collection with his contemporaries and organized a Japanese print exhibition in Paris in 1887. He and his brother Theo van Gogh dealt in these prints for some time, eventually amassing hundreds of them, which are now housed in the Van Gogh Museum in Amsterdam.
A month later he wrote,
All my work is based to some extent on Japanese art...
Van Gogh made three copies of ukiyo-e prints: The Courtesan and the two studies after Hiroshige.
Van Gogh's dealing in ukiyo-e prints brought him into contact with Siegfried Bing, who was prominent in the introduction of Japanese art to the West and later in the development of Art Nouveau. Van Gogh developed an idealised conception of the Japanese artist which led him to the Yellow House at Arles and his attempt to form a utopian art colony there with Paul Gauguin.
Style
Van Gogh admired the techniques of Japanese artists.
Characteristic features of ukiyo-e prints include their ordinary subject matter, the distinctive cropping of their compositions, bold and assertive outlines, absent or unusual perspective, flat regions of uniform colour, uniform lighting, absence of chiaroscuro, and their emphasis on decorative patterns. One or more of these features can be found in numbers of Vincent's paintings from his Antwerp period onwards.
Japonaiserie and Impressionism
In a letter to Theo dated 5 June 1888, Vincent remarked,
About staying in the south, even if it’s more expensive—Look, we love Japanese painting, we’ve experienced its influence—all the Impressionists have that in common—[so why not go to Japan], in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all.
In a letter of July 1888 he referred to the Impressionists as the "French Japanese".
(Wikipedia)
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