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One of the covers (Madrid Comico) showed Luna dressed in a Japanese kimono, betraying the European art-world vogue of Japonisme in the late 19th century.
His work captivated Western artists and provided seminal inspiration to the Japonisme movement.
The colour of this cut and pierced Loetz vase, circa 1890, merges from peach to creamy white and is enamelled and gilded with a stylised Japonisme look with butterflies and cherry blossom
Attention to the aesthetics of book design intensified as a response to mass production in the later decades of the nineteenth century, from general perceptions about books as art, to the influence of Japonisme on book illustrations, page design, and decorated bindings.
The rise of Japonisme in the West from around 1872 had a great impact on modern art movements like Impressionism, Art Nouveau and Aestheticism.
Group One scorer Japonisme (Chris Waller - also entered in the Diamond Jubilee) heads three Australian contenders, while Breeders' Cup Turf Sprint scorer Mongolian Saturday (Enebish Ganbat USA - also entered in the Diamond Jubilee) is among eight entries from the USA.
A Shin Hikari is confirmed for the Prince of Wales's stakes and there are lots of other Aussies in the mix, such as Japonisme, Press Statement, The Quarterback and Exosphere.
Europe's long interest in Chinoiserie was joined in mid-century by Japonisme, which became an important influence on Western art.
Noriko Kubota's contribution is also particularly compelling, detailing how Woolf's encounter with Japonisme against the backdrop of the Japan-British Exposition in 1910 (which on one day attracted 460,200 people) enabled her to consider new ways of perceiving, and to consider the more impactful power of illusion over realism (37).
The Havemeyer Collection partly reflects the aesthetic sensibilities of French Japonisme, which no doubt was nurtured by Louisine's friendship with painter Mary Cassatt (18441926) and their collecting interest in Impressionist artists who themselves were inspired by Japanese art.
Klaus Berger, in his study Japonisme in Western Painting: from Whistler to Matisse (1980), points out that the "Japanesey effect" sought out by the West was in fact an interpretation of many different sources--and sometimes, indeed, a fabrication: "What counted was not the culture of Japan, or even an objective history of Japanese art, but purely and simply those things that artists in Paris (as well as London) wanted to, and were capable of, seeing".
I wanted to, first of all, give the venue a new feeling of harmony, and to emphasize the sense of space in this large structure, playing with an almost abstract idea of Japonisme," Armani says.
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