Anglo-Japanese style
Eastlake Furniture in the United States; Liberty style in Italy |
The Anglo-Japanese style developed in the
The first use of the term "Anglo-Japanese" occurs in 1851,
Notable British designers working in the Anglo-Japanese style include Christopher Dresser, Edward William Godwin, James Lamb, Philip Webb and the decorative arts wall painting of James Abbott McNeill Whistler. Further influence can be found in works from the Arts and Crafts movement; and in British designs in Scotland, seen in the works of Charles Rennie Mackintosh.
Design principles
Design features such as
Interior design
In the design of furniture, the most common and characteristic features are refined lines and nature motifs such as '
Dresser noted that the 'Mons' of Japanese Art also have their similarities in Celtic 'rudimentary art'.[7]
Architecture
Many British designers of the Victorian period were taught the
Pottery and porcelain
When designing pottery and ceramics, early influences on the style came from 'japonaiserie' influence and early influences show how Dresser working with Minton's incorporated the superficial exterior of Japanese pottery techniques and colour in porcelain, but not its design principles or aesthetical practices. Dresser turned to designing a number of direct Japanese-influenced pieces such as his wave ceramic (pictured in gallery), and later drew from the direct influence of Japanese aesthetics, which he took from his time learning from artisans in his visit to the country in the 1870s. This in turn became in the 1880–1889 period known as 'Art Pottery', under the Aesthetic branch of the style, and was practiced by a number of other potters and ceramicists, particularly stoneware pots. Common motifs included prunus blossom, pine branches, storks and roundels.[10]
Metalwork
Metalwork in the 1880s also drew from a blend of 'Gothic Revival, naturalism and a Western interpretation of the arts of Japan'.[11]
Furniture
Many Anglo-Japanese pieces of furniture were made, but the furniture designed by Godwin for William Watt is the most definitive of its kind. Godwin never travelled to Japan, but collected Japanese art objects circa 1863, and designed his furniture based on replicating adapted forms from these objects, creating a distinctive English style of Japanese inspired furniture in the 1870s, dubbing it the 'Anglo-Japanese Style'. Japanese illustration, woodblock prints, Japanese family crests and the Manga series inspired many of his furniture designs 'curved lintels and geometric grille patterns'.[12] Furniture in Godwin's image was refined, sparse of ornament and asymmetrical in its design, often in ebonized woods with simple decoration using Japanese paper or minute wood carved detailing. In the White House in Chelsea, he organised the furniture to be distributed asymmetrically, and the walls to covered in gold leaf inspired by Japanese design and interiors.[13]
England
Whilst Japanese trade with England had first commenced in 1613–1623, under the policy of Sakoku the import and export market of Japan had been limited to smuggled contraband and was only available once again 150 years later when the Ansei Treaties opened Japan to British trade once more, after the opening of Japan in 1853.
1850–1859: Early exchange
The Museum of Ornamental Art, later the
In 1858, a 'series of roller printed cottons' with direct Japanese influence were made by Daniel Lee of Manchester.[14]
1860–1869: Import influx
With
Alcock noted that of the 1862 exhibition: "I occupied myself in collecting, for the gratification of the cultured and the instruction of the working and industrial classes of England, evidence of what Art had done for the Japanese and their industries".[17]
When the exhibit closed, interest began around Japanese objects and Japan itself, and collectors, artists and merchants such as
In 1863 John Leighton (artist) gave a lecture on 'Japanese art' to the Royal Society and Alcock gave another at the Leeds Philosophical Society in the same year.[25] The rise of Yokohama Shashin (Yokohama photography) from early photographers such as Felice Beato also introduced the pictorial arts to Britain, and alongside the imports of new woodblock prints, became fashionable objects to own and discuss in artistic and academic circles.[26]
Glass ware was also influenced by Japanese art and the 'Frog decanter' exhibited by Thomas Webb at the International Exhibition in Paris 1867 is in its subject, simplicity and asymmetry the earliest example of Japanese influence on English glass identified to date.
Certainly by 1867, Edward William Godwin and Christopher Dresser had become aware of Japanese art objects, particularly Japanese woodblock printing styles, forms and colour schemes.
Influenced by Whistler and a love of historical painting styles, Moore blended the aesthetical vernacular of Greek and Japanese using the Art for Art's sake Japanese decorative and aesthetical style, seen in Moore's 1868 painting Azaleas, which 'reconciled the arts of Japan and Greece, and the aesthetic and classical, in a new Victorian combination'.[29] Whilst Whistler certainly influenced the popularity of Japanese art, he often butted heads with other collectors on Japanese art, frequently butting heads with the Rosetti Brothers on the collection of Ukiyo-e and Japanese woodblock prints.[20][30] Dante saw the refinement of line in Japanese arts as having "nothing to ask of European attainment or models; it is an integral organism ... [being in its accuracy and finesse] more instinctive than the artists of other races."[31] Whereas Whistler drew on the French ideal of l'art pour l'art, and that Japanese art d'object where simply there with 'no social message, no commitment, no reason to exist except to be beautiful'.[14]
By 1869, Godwin, not only having involved living with Japanese intereriors in his home in Harpenden with Ellen Terry, had begun to design in the early incarnation of Anglo-Japanese design at Dromore Castle in Limerick, Ireland in the Gothic and Japanese style.[27]
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Whistler, La Princesse du pays de la porcelaine (1863–1865), an example of the Art for art's sakestyle
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Solomon, The Japanese Fan (1865)
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Whistler's London Studio (1865)
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Nesfield Japanese Screen (1867)
1870–1879: Influence and imitation
Early in the decade, the
Japan took part in the 1874 International Exhibition.
In 1877, Godwin designed the white house for Whistler in Chelsea. He also made his William Watt Anglo Japanese Style furniture, and his Japanese Mon inspired wallpapers. Thomas Jeckyll also then designed the
In 1879, Dresser was in partnership with Charles Holme (1848–1923) as Dresser & Holme, wholesale importers of Oriental goods, with a warehouse at 7 Farringdon Road, London.
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Cottier Cabinet
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Crane, The Frog Prince (1874)
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Godwin Anglo-Japanese Wallpaper (c. 1874)
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Godwin, Anglo Japanese Furniture (1875)
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Dresser, Staffordshire Ceramic tile (c. 1875)
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Bowes, Keramic art of Japan Plate IV (1875)
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Bowes, Awagi Keramic Ware (1875)
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Jeckyll, Sunflower railing for the Japanese Pavilion (1876)
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Edward William Godwin, Sideboard for William Watt (1876)
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Martin Brothers, Japanese bird motif Vase (1876)
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Godwin, Art Furniture (1877)
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Peacock Room(1877; image taken in 1890)
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Dresser, Teapot, (1879)
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Dresser, Linthorpe Art Pottery Vase (1879–1882)
1880–1889: Aesthetical art
By the 1880s, the style had become a major influence on the art and decoration of the time, particularly Aestheticism. When the aesthetes began to incorporate Japanese styles into their movement, they took on common motifs such as the sunflower, butterfly, peacock and Japanese fan.[47][11] Particularly in 1880, Bruce James Talbert produced a number of ebonised Anglo-Japanese siedeboards and chairs using the sunflower motif throughout. He also produced a number of aesthetical wallpapers in the style for Warner and Ramm, notably 'characteristic [using] Japanese simplicity of line and colour' drawn from the aesthetial practices taught in the works of Dresser and Godwin.[48] Another popular fabric employed in the Aesthetics were the tussore silks of 'Liberty Colours'.[49] As aestheticism began to grow more popular, designers found the 'cult of personality, particularly when it involved creators of art, fundamentally conflicted with Ruskin's and Morris's emphasis upon the importance of traditional craftsman and artisans.' Liberty in particular, who sided with the ideals of William Morris; rejected early aestheticism, reflected later in what became the Liberty style.[50]
Stevens & Williams then in 1884 began to make their 'Matsu-no-Kee' decorative glass and fairy bowls, which took on the simplified nature so prominent amongst the Anglo-Japanese style and from the bright colour schemes seen in contemporary woodblock prints.[53] Arthur Heygate Mackmurdo also began designing furniture inspired by Ikebana, as was noted further by many periodicals in the time on the subject of Japanese flower arrangement.[54]
In 1887, Charles Holmes founder of The Studio Magazine, travels to Japan with Arthur Liberty. In the same year, Mortimer Menpes also presents his first Japanese inspired exhibition in London; rousing the ire of Whistler.[55]
Alfred East is commissioned by the Fine Art Society to paint in Japan for six months in 1888, and Frank Morley Fletcher becomes introduced to Japanese woodcuts, helping through the next 22 years to teach about them in London and Reading, Yorkshire. In 1889, Oscar Wilde noted on The Decay of Lying how "In fact the whole of Japan is pure invention. ... The Japanese people are ... simply a mode of style, an exquisite fancy of art." Also see Whistler's paintings and designs (principally in The Peacock Room and his nocturnes series).
Arthur Morrison begins his 'collecting' of Japanese paintings (culminating in his 1911 publication) and woodblock prints, buying wares in Wapping and Limehouse and bought through his friend Harold George Parlett (1869–1945), a British Japanese diplomat and writer on Buddhism; this eventually became the Arthur Morrison collection in the British Museum.[56]
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Anonymous, Aesthetic Wallpaper (1880)
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Aesthetic Wallpaper (c1880)
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Dresser, 'Wave bowl' (c. 1880)
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Cottier, Ebonised Cabinet (1880)
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Talbert, Nagasaki design (1880)
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Jeckyll, Butterfly motif (c. 1880–1881)
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Steven & Williams, 'Matsu-no-Kee' Style Art-Glass (c. 1884)
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Roussel, Reading Girl (1886)
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Museum of the Home, Aesthetical Interior (1882–1888)
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East, Steps to Maruyama (1888)
1890–1899: Class consciousness
During the 1890s, the Anglo-Japanese was at the height of its popularity, with the middle classes in Victorian Britain also began to begin collecting and buying Japanese imports and Anglo-Japanese style designs and pieces.
Two years prior, the painter Mortimer Menpes had travelled to Japan. Whilst there, Menpes developed a fascination with the architectural and decorative arts and upon return to London in 1889, had his home 'decorated in the Japanese style' by the architect Arthur Heygate Mackmurdo at 25 Cadogan Gardens, London by 1890.[59] Menpes issued an Osaka-based Japanese company to furnish his home with stained curved wood panelling, traditionally seen in Shiro interiors or cornicing with gold detailing; based on Japanese lacquer, installed Kunmiko Ramma (decorative latticed ventilation screens), double-sided Anglo-Japanese window frames and employed typical minimal decoration. Furniture was also imported from Europe and Japan, with European chairs, sofa's and woven tapestries, simplistic 'Japanese character' drawers and cabinets, bronze and paper lanterns and lighting fixtures and porcelain jars which Menpes collaborated with Japanese potters on whilst in Japan.
- "Mr. Menpes, by his free application of gold and colours and by his display in European fashion of numerous ornaments, has rather gone beyond Japanese custom in domestic interiors, ... as he has wished to adapt from rather than slavishly imitate the prototype. ... there is a growing feeling in the minds of many, and especially among those to whom the question of expense is not of paramount importance, that a house, to be in the highest sense an artistic house, should contain no decorations but those made by the hands of man, and especially adapted to their surroundings. Let ornament be used as sparingly as may be desired, but whatever there is of it, let it be of the best. Plain structural forms and plain surfaces add to rather than detract from the beauty of a house, provided their proportions are duly considered and that they are so placed that they relieve in effect some object of consummate decorative value." The Studio #17 (1899)[59]
In 1891, the
One notable example from the decade of the move into the modern style includes Aubrey Beardsley, who intertwined the influence of what was termed in England the Modern Style with Japanese woodblock prints (such as Hokusai's Manga, made from 1814 to 1878) to form an English adaptation of the 'grotesque effects which the Japanese convention allowed' of presenting illustration in the Salome (1893) and The Yellow Book (1894–1897), particularly his 'Bon-Mots of Sydney Smith' (1893) illustrations. He was known to have received a copy of shunga by the artist Utamaro from William Rothenstein which heavily influenced Beardsley's own erotic imagery, being first introduced to Japanese woodblock prints during his lunch hours working in Frederick Evan's Holborn bookstore circa 1889. Beardsley was drawn to the Japanese sensibility of depicting the nude human body by being open to nudity and depicting this humorously, rejecting Victorian notions of how the body should be depicted in art.[65] As well as the 'asymmetrical distribution of masses, ... absence of compactness, space, or light and shadow' amongst the 'curved lines' of the Peacock skirt.[18]
Charles Ricketts also showcased the influence of Japanese line art in Wilde's 1891 House of Pomegranates which used Peacock and crocus blooms which 'appear in uniform rows like a repeated wallpaper pattern' (such as in the aesthetical merit of Voysey) and the 'asymmetrical construction of the page [, bookcover and illustration]' design; drawing also from nature; and in his proportions for the 1894 Wilde publication of the Sphinx which also predated the early form of English-Japanese influences of the Modern Style.[66] The forms of waves in House of Pomegranates is also heavily reminiscent of Hokusai's woodblock prints.
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Menpes, London 'Japanese-House' Interior (c. 1890)
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Ricketts Pomegranate frontispiece design (1891)
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Beardsley, Peacock-skirt Illustration (1892)
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Tuer, Katagami wallpaper stencil (1893)
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Ricketts, Sphinx design (1894)
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Voysey, Liberty Wallpaper (1893–95)
1900–1925: Modernism and bilateral exchange
In 1902, with the signing of the Anglo-Japanese Alliance, Japan gained great power status in the eyes of British foreign policy-makers and along with 'progressive' industrialisation, Japanese influence became more pronounced, particularly with regard to the ship building industry in Glasgow.[67] As such, British society began to exchange further with this fellow industrialised nation, exchanging ideas on Art, Aesthetics (particularly compositional) and academic bilateral exchange so that by the end of the 1910s, with this industrial, educational and academically driven shift, bilateral cultural exchange replaced the one-way Anglo-Japanese Style by way of greater cultural understanding of Japanese Art and its history, certainly among academics and publicly available national museums, and notable Japanese art figures, scholars and critics.
Liberty's and the Modern Style; 1900–1915
By 1901, Liberty Style began to flourish in
Otto Eckmann noted in the period that 'only England knew how to assimilate and transform this wealth of new ideas and to adapt them to its innate national character, thus deriving real profit from the Japanese style' in his preface to a series on Jugendstil; these decorative Japanese influenced Liberty textiles had thus become extremely popular in Germany; in Italy the style was known as Stile Liberty after the fabric designs of Liberty's, and seen in the Turin 1902 Exhibition and work of Carlo Bugatti. So in England, the Modern Style thus emerged in this melding of cultural motif, and also emerged in the works Ricketts for Wilde and of Beardsley in the last years of his life, inspired by Utamaro prints.[71][72]
Japanese interior design is also heavily prominent in the works of Charles Voysey, and shared with Mackintosh for their 'abastraction ... of new and individual approaches to the design of interior space'. Seen most heavily in his wallpaper designs which reduced ornamental and decorative elements, Voysey declared he wished in his design to start by 'getting rid of useless ornament and burning the modish finery which disfigures our furniture and our household utensils ... [and] to cut down the number of patterns and [colours] in one room.' The influence on his interiors can be seen in Horniman House from 1906 to 1907.[73]
Garden design; 1901–1910
With this appreciation of Japan came an influx of interest also in the appreciation of Japanese garden design. The first acclaimed Japanese garden is often cited as having popularised the style was
Bilateral artisanal exchange; 1901–1923
The 1902 Japanese Whitechapel Exhibition was favourably reviewed by Charles Lewis Hind, however
In 1905,
In particular, painting and illustration were further elaborated on at this time. Japanese art critic Seiichi Taki (1873–1945) noted in Studio Magazine; how Occidental and Oriental painting regarded the subject matter of painting in expressing an idea to an audience as important; but that they differed in their outcomes and execution by how the western style of painting lays 'stress on [the] objective, and the other [(Japanese)] on subjective ideas'. Taki noted that in Western painting focused heavily on a singular object, such as framing the human body to be the sole focal point of attention in a painting, 'in Japanese pictures, flowers, birds, landscapes, even withered trees and lifeless rocks' are given these points of focal interest; such that the execution of for example a Byobu screen is not draw the eye to one part of the painting, but to all parts of it such it created in the picture as a whole as 'microcosmically complete.'[82] Roger Fry also noted how European artists had begun to forget Chiaroscuro in favour of the Eastern style of what Binyon termed sensuosness; or the 'rejection of light and shade'. Fry noted in 1910 how Chinese and Japanese art "rejected light and shade as belonging primarily to the sculptor's art" concluding "certain broad effects of lighted and shaded atmosphere, effects of mist, of night, and of twilight, they have for six centuries shown the way which only quite modern European art has begun to follow."[83]
The Japan–British Exhibition occurred in 1910, where Japan loaned a number of its art and industrial objects to the UK. During this decade though, the style would come to a close as academics and public museums had begun to fully appreciate and exchange more fully with living artisans and the Japanese community in the UK (between 500 and 1000 people at this time) who had arrived for the 1910 exhibition. Harry Allen (fl. 1910–1925) also designed a number of blue Titianian Vases decorated in Anglo-Japanese motifs such as the Red-crowned crane or Peacock and Matsu pine leaves for Royal Doulton.[84]
In 1913, when Binyon took over the Japanese section of the Oriental Department at the British Museum, he along with Rothenstein, Morrison, Ricketts and Sazlewood had formed a literary and arts based circle of collectors of Japanese prints. Binyon radically helped to improve the quality of the department, and thus helped the general understanding of the depth and variety of Japanese painting styles known by the general public. Ricketts particularly enjoyed the Korin or Rinpa style of painting.[85] Binyon's published works also helped to showcase a new Oriental based worldview, rather than espousing a eurocentric one;[86] for example Binyon explains how the 'Japanese look to China as we look to Italy and Greece : [that] for them it is the classic land, the source from which their art has drawn not only methods, materials, and principles of design, but an endless variety of theme and motive.'[87]
My chief concern has been, not to discuss questions of authorship or archaeology, but to inquire what aesthetic value and significance these Eastern paintings possess for us in the West – Binyon (1913)
With the advent of the further academic understanding of Japanese aesthetics, the Anglo-Japanese style ended, morphing into Modernism with the death of the 'Japan Craze' and Japanese art objects having become permanent parts of European and American Museum collections. Particularly this is noticeable in the sparsity or plain backgrounds in the work of Charles Rennie Mackintosh and the stage and costume design of Edward Gordon Craig.[88] Bernard Leach also helped to inspire a return to more traditional craftsmanship in Japan with the Mingei movement in Japan and on pottery in England for William Staite Murray in his choice of materials.[89][90]
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Dresser; Side-wallpaper Design (c. 1880–1904)
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Sime, The Dirge of Shimono Kani (1906)
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Tatton's Tatton Park, built in the Anglo-Japanese style (c. 1910–1911)
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Kramer, A Japanese Girl (1918)
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Hamada ShojiMashiko stoneware with iron glaze bottles (1950-1960)
The Japanese enclave
Part of the new bilateral cultural exchange which replaced the one-way Anglo-Japanese style by way of greater cultural understanding of Japanese art and its history, came from the Japanese community itself in London.
For example, in 1900,
In 1911, Frank Brangwyn had begun to collaborate with various Japanese artists such as Ryuson Chuzo Matsuyama working in Edwardian England on woodblock printing techniques. Then in 1915, the Yamanaka gallery in London hosted the British Red Cross Loan Exhibition. These businessmen, taking advantage of improved international relations, set up shop in Europe and America. Dealers such as Tonying, C. T. Loo (q.v.) and Yamanaka all began to sell East Asian objects directly to Western collectors.[92]
Artist | Start of activity in the UK | End of activity in the UK |
---|---|---|
Busho Hara | 1907 | 1912 |
Ryuson Chuzo Matsuyama | 1911 | 1947 |
Ishibashi Kazunori | 1903 | 1924 |
Urushibara Mokuchu | 1908 | 1940 |
Kamisaka Sekka | 1901 | 1908 |
Yoshio Markino | 1897 | 1942 |
Wakana Utagawa | 1907 | 1910 |
Scotland
1870–1879: Glasgow Exhibition
In Glasgow, the November 1878 Glasgow Japan Exchange occurs where art goods are traded bilaterally, including 1000 various 'architectural pieces, furniture, wood and lacquer ware, musical instruments, ceramics, metalwork, textiles and costume and paper samples' publicly shown between 1881 and 1882.[93] Bruce James Talbert is also inspired to make Japanese inspired furniture and wallpapers and furnishing fabrics.
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Yesso furnishing fabric (1870)
1880–1889
In December 1881, the Oriental Art Loan Exhibition opened at the Corporation Galleries, showcasing 1,000 art objects from Japan in Glasgow alongside other objects from Liberty & Co and artifacts from the South Kensington Museum, and was seen by 30,000 spectators. Christopher Dresser gave a lecture on Japanese art at an art gallery in Glasgow in 1882 and Liberty became the investor for Art Furnishers' Alliance established by Dresser. In 1883, Frank Dillon (1823–1909); who had visited Japan in 1876; exhibited The Festival of the Cherry Blossom, Osaka, Japan at the Glasgow Institute. In March 1883, Dresser also visited Glasgow to give a lecture on 'Japanese Art Workmanship'.
1890–1899: School of Art
George Henry and E. A. Hornel, both graduates of Glasgow School of Art, went on a trip funded by Reid to Japan from 1893 to 1894. Upon their return, they held a lecture and exhibition about the paintings produced as a result of their visit to Japan at the Art Club. The Art Club had just been renovated by Mackintosh in 1893 and had become an important social space for artists in Glasgow. Hornel being a good friend of John Keppie, a partner of Mackintosh being colleagues at the Glasgow School of Art, that Mackintosh may have attended this exhibition and lecture.[96] Henry's lectures thus in 1895 furthered the western interest and narrative in Japanese arts as decorative.
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Henry, The Japanese Baby (1893)
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Henry, Japanese woman with a fan (1893–1894)
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Hornel, – Street Scene (1894)
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Hornel, Two Geisha Girls (1894)
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Henry, The Hour-Glass (c. 1899)
1900–1909: Glasgow and the Modern Style
Glasgow International Exhibition in 1901 included a Japan Exhibition.
Mackintosh and Japan
Mackintosh first became acquainted with Japanese design in 1884 at the Glasgow school of Art, producing a Japanese inspired work in Part Seen, Part Imagined in 1896 shown in the kimono style garment portrayed, and also submitting architectural designs to the Glasgow School of Art inspired by the Mon crests based on 'Kinuo Tanaka's I-Ro-Ha Mon-Cho' (or 1881 edition Catalogue of Mon) and on the 'temporary nature of Japanese
United States
In the United States, early appreciation of the Anglo-Japanese style was also transferred over in the posthumous publications of
When I look into the windows of a fashionable establishment devoted to decorative art, and see the monstrosities which are daily offered to the public in the name of taste ... which pass for ornament in the nineteenth century – I cannot help thinking how much we might learn from those nations whose art it has long been our custom to despise[, such as] from the half-civilised craftsmen of Japan[100]
The Aesthetics brought Japanese influences to the United States.[101] Some of the glass and silverwork by Louis Comfort Tiffany, textiles and wallpaper by Candace Wheeler, and the furniture of Kimbel & Cabus, Daniel Pabst, Nimura & Sato, and the Herter Brothers (particularly that produced after 1870) shows influence of the Anglo-Japanese style. The Herter Brothers drew heavily from the furniture of Godwin and Dresser in their motifs and asymmetrical design, but American Anglo-Japanese styles lent towards the older more favoured heavily decorative and ornamental Victorian styles.[102]
Beginning in 1877, Godwin began publishing his Art Furniture Catalogue, which popularised Japanese motifs in the United States until the late 1880s, and Dresser became the first designer to visit and design using Japanese decorative art styles, influencing the style in the Occident. Oscar Wilde also reported and commented upon the progress of the style, referring to "the influence which Eastern art is having on us in Europe, and the fascination of all Japanese work" in a lecture he gave in the United States in 1882 (The English Renaissance of Art).
By 1893 however the 'Japan Craze, despite its intensity, never amounted to more than dilettantish fascination in the quest for the artful [aesthetical] interior and the identity it imbued.'[103]
Anglo-Japanese works in the United States
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Fall-front desk, Herter Brothers (c. 1865–1905)
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American Wallpaper, (c.1885)
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Silver plate withTiffany & Company(1879)
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Cabinet by Herter Brothers (c. 1880)
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Stencil for wallpaper with Japanese carp motif, by Candace Wheeler (c. 1885–1905)
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Chest of drawers, by Nimura & Sato, 1905
Further reading
Contemporary Reading:
- The Keramic Art of Japan, George Ashdown Audsley and James Lord Bowes (1875)
- Marks and monograms on pottery & porcelain of the renaissance and modern periods, with historical notices of each manufactory, preceded by an introductory essay on the vasa fictilia of the Greek, Romano-British, and mediæval eras; and an appendix containing a brief history of the country of Japan and its keramic manufactures, William Chaffers (1876)
- Art and Art Industries in Japan, Rutherford Alcock (1878)
- Japanese Pottery, Augustus Wollaston Franks, (1880)
- Sixth Reading for Lantern Exhibitions of Travels in the Eastern Island World, China, Loo-Choo, and Japan : Japan, Seventh Reading for Lantern Exhibitions of Travels in the Eastern Island World, China, Loo-Choo, and Japan : Old and New Japan, Frederick William Sutton (1882) in the British Library
- Japan : its architecture, art, and art manufactures, Christopher Dresser, (1882)
- The ornamental arts of Japan, George Ashdown Audsley (1882)
- Descriptive and historical account of a collection of Japanese and Chinese paintings in the British Museum, William Anderson, (1886)
- Pictorial arts of Japan, William Anderson, (1886)
- Things Japanese, Basil Hall Chamberlain, (1890)
- The Industrial Arts and Manufactures of Japan, Arthur Lasenby Liberty, (1890)
- Japan and Its Art, Marcus Bourne Huish, (1892)
- The book of delightful and strange designs; being one hundred facsimile illustrations of the art of the Japanese stencil-cutter, Andrew White Tuer, (1892)
- A List of Japanese Books and Albums of Prints of Colour in the National Library of South Kensington, Edward Fairbrother Strange (1893)
- Notes on shippo : a sequel to Japanese enamels, James Lord Bowes, (1895)
- Japanese illustration; a history of the arts of wood-cutting and colour printing in Japan, Edward Fairbrother Strange (1897)
- The wooblock prints of Utagawa Hiroshige, Charles Holmes (1897)
- Japan, A Record in Colour, Mortimer Menpes, (1901)
- The Japanese Fairy Book, Yei Theodora Ozaki, (1903)
- Japan: Its History and Literature Series, particularly Vol. VII (Pictorial and Applied Arts) & Vol. VIII (Keramic Art), Frank Brinkley(1904)
- Arts and Crafts of Old Japan, Stewart Dick, (1904)
- The Colour-prints of Japan: An Appreciation and History, Edward Fairbrother Strange (1904)
- Hokusai, the old man mad with painting, Edward Fairbrother Strange (1906)
- Pictures by Japanese artists, Laurence Binyon, (1908)
- Painting in the Far East : an introduction to the history of pictorial art in Asia, especially China and Japan, Laurence Binyon, (1908)
- A Japanese Artist in London, Yoshio Markino, (1910)
- Japan Fairy Tales, Grace James (1910)
- In Lotus-Land Japan, Herbert George Ponting, (1910, illustrated edition)
- Three essays on Oriental painting, Seiichi Taki, (1910)
- The flight of the dragon : an essay on the theory and practice of art in China and Japan, based on original sources, Laurence Binyon (1911)
- The Painters of Japan, Arthur Morrison, (1911)
- Pages on Art, Charles Ricketts, (1913)
- Painting in the Far East : an introduction to the history of pictorial art in Asia especially China and Japan, Laurence Binyon (1913)
- Exhibition of Japanese screens decorated by the old masters, held at the galleries of the Royal Society of British artists, January 26th to February 26th, 1914, Arthur Morrison, (1914)
- Japanese Colour Prints by Utagawa Toyokuni I, Edward Fairbrother Strange, (1920)
- Japanese Colour Prints, Laurence Binyon (1923)
- Colour Printing with Linoleum and Wood Blocks, Allen William Seaby, (1925)
Academic Reading
- In Pursuit of Beauty: Americans and the Aesthetic Movement, Doreen Bolger Burke, Alice Cooney Frelinghuysen (1986)
- Halen, Widar. Christopher Dresser, a Pioneer of Modern Design. Phaidon: 1990. ISBN 0-7148-2952-8.
- Snodin, Michael and John Styles. Design & The Decorative Arts, Britain 1500–1900. V&A Publications: 2001. ISBN 1-85177-338-X.
- Japan and Britain After 1859: Creating Cultural Bridges, Olive Checkland, (2003)
- Morley, Christopher.Dresser's Decorative Design 2010.
See also
- Lafcadio Hearn, Author
- Charles Rennie Mackintosh, Designer (see the Kimono Cabinet, circa 1906)
- Molly Verney, 17th century Japanner
- Japanophile
- Orientalism
References
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner , John T. Carpenter, 2011, p. 17, Brill
- ^ Christopher Dresser, Widar Halen, 1990, p. 33
- ^ Art nouveau, Robert Schmutzler, 1978, p. 14
- ^ Oshinsky, Authors: Sara J. "Christopher Dresser (1834–1904) | Essay | The Metropolitan Museum of Art | Heilbrunn Timeline of Art History". The Met’s Heilbrunn Timeline of Art History. Retrieved 2024-03-13.
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 84, Gibbs Smith
- ^ Tradition in Relation to Modern Art. In Problems of Reconstruction : Lectures and Addresses Delivered at the Summer Meeting at the Hampstead Garden Suburb August, 1917, C F A Voysey, 1918, pp225–232, London: T Fisher Unwin, see [1]
- ^ The British Architect and Northern Engineer: A Record of Accessory Arts and Summary of Mining News., Volume XI Jan-June 1879, April 18, 1879, p. 161, see [2]
- ^ The British Architect and Northern Engineer: A Record of Accessory Arts and Summary of Mining News., Volume XI Jan-June 1879, January 17, 1879, p. 25, see [3]
- ^ The British Architect and Northern Engineer: A Record of Accessory Arts and Summary of Mining News., Volume XI Jan-June 1879, April 25, 1879, pp. 172–173, see [4]
- ^ a b c "The Aesthetic Movement, Victorian Ceramics, and the Cult of Japan". victorianweb.org. Retrieved 2024-03-13.
- ^ a b c "Furnishing the aesthetic home · V&A". Victoria and Albert Museum. Retrieved 2024-03-13.
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 85, Gibbs Smith
- ^ Art Nouveau, Robert Schmutzler, 1978, p. 25
- ^ a b Liberty's : a biography of a shop, Alison Adburgham, 1975, p. 14
- ^ Christopher Dresser, Widar Halen, 1990, p. 34
- ^ Christopher Dresser, Widar Halen, 1990, p. 119
- ^ Art and Art Industries in Japan, Rutherford Alcock, 1878, p. 10, London
- ^ a b Art nouveau, Robert Schmutzler, 1978, p. 21
- ^ a b Japantastic: Japanese-inspired patterns for British homes, 1880–1930, Zoë Hendon, 2010, p. 4, Middlesex University London, Museum of Domestic Design & Architecture
- ^ a b "Dante Gabriel Rossetti. His Family-Letters with a Memoir (Volume One)". www.rossettiarchive.org. Retrieved 2024-03-13.
- ^ FORD MADOX BROWN: WORKS ON PAPER AND ARCHIVE MATERIAL AT BIRMINGHAM MUSEUMS AND ART GALLERY VOLUME ONE: TEXT, Laura MacCulloch, 2009, pp. 188–189, University of Birmingham, see [5]
- ^ a b "Japonisme in Britain: Burne-Jones, Beardsley, Sime". victorianweb.org. Retrieved 2024-03-13.
- ^ "'Blossoms', Albert Moore, 1881". Tate. Retrieved 2024-03-13.
- ^ "Japan for Mackintosh | Ks Architects". www.ks-architects.com. Retrieved 2024-03-13.
- ^ Art and Art Industries in Japan 1878 p. 4
- ^ Capturing Japan in Nineteenth-century New England Photography Collections, Eleanor M. Hight, 2011, pp. 56–59
- ^ a b In Pursuit of Beauty: Americans and the Aesthetic Movement, Doreen Bolger Burke, Alice Cooney Frelinghuysen, 1986, p. 149, Metropolitan Museum of Art – New York, Rizzoli
- ^ http://www.vam.ac.uk/content/journals/conservation-journal/issue–15/the-parkes-collection-of-japanese-paper/ (Accessed 22 November 2020)
- ^ "Albert Joseph Moore — Beautifully Purposeless". victorianweb.org. Retrieved 2024-03-13.
- ^ Japan and Britain After 1859: Creating Cultural Bridges, Olive Checkland, 2003, p. 207, London, RoutledgeCurzon
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, 2011, p. 21, Brill
- ^ "Home". Victorian Collections. Retrieved 2024-03-13.
- ^ Art and Art Industries in Japan, Rutherford Alcock, 1878, p. 5, London
- ^ The Greenwood Encyclopedia of Folktales and Fairy Tales, Donald Haase, 2008, p. 239, Greenwood Press
- ^ Markino book page 16
- ^ https://collections.vam.ac.uk/item/O92670/small-syringa-furnishing-fabric-godwin-edward-william/ (Accessed 23 October 2020)
- ^ https://collections.vam.ac.uk/item/O15295/daliah-furnishing-fabric-godwin-edward-william/ (Accessed 23 October 2020)
- ^ The arts & crafts companion, Pamela Todd, 2004, p. 255
- ^ In Pursuit of Beauty: Americans and the Aesthetic Movement, Doreen Bolger Burke, Alice Cooney Frelinghuysen, 1986, p. 412, Metropolitan Museum of Art – New York, Rizzoli
- ^ British Architect, Edwin William Godwin, 1876, in London in Liberty's : a biography of a shop, Alison Adburgham, 1975, pp. 22–25
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 136, Gibbs Smith
- ^ Creating the Artful Home: The Aesthetic Movement, Karen Zukowski, 2006, pp. 73–79, Gibbs Smith
- ^ Towards post-modernism, Micheal Collins, 1994, p. 33, British Museum Press
- ^ https://www.moma.org/m/explore/collection/art_terms/1616/0/0.iphone_ajax?klass=artist (Accessed 8 December 2014)
- ^ The British Architect and Northern Engineer: A Record of Accessory Arts and Summary of Mining News., Volume XI Jan-June 1879, June 20, 1879, p. 255, see [6]
- ^ http://collections.vam.ac.uk/item/O15376/vase-martin-brothers/ (Accessed 23 October 2020)
- ^ Japantastic: Japanese-inspired patterns for British homes, 1880–1930, Zoë Hendon, 2010, p. 2, Middlesex University London, Museum of Domestic Design & Architecture, See [7]
- ^ http://collections.vam.ac.uk/item/O87511/nagasaki-furnishing-fabric-talbert-bruce-james/ (Accessed 30 October 2020)
- ^ Liberty's : a biography of a shop, Alison Adburgham, 1975, p. 25
- ^ http://www.victorianweb.org/art/design/liberty/lstyle.html (Accessed 1 November 2020)
- ^ https://www.guimet-photo-japon.fr/collection/biographie-sutton.php (in French, Accessed 22 October 2020)
- ^ Photography in Japan 1853–1912, Terry Bennett, 2006, Periplus Editions, Hong Kong
- ^ https://theantiquarian.us/Ma-Su-No-Ke%20Info.htm (Accessed 23 October 2020)
- ^ Art Nouveau, Robert Schmutzler, 1978, p. 31
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, 2011, p. 18, Brill
- ^ Japan and Britain After 1859: Creating Cultural Bridges, Olive Checkland, 2003, pp. 126–127, London, RoutledgeCurzon
- ^ https://www.britishmuseum.org/collection/term/BIOG371 (Accessed 22 October 2020)
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, 2011, p. 24, Brill
- ^ a b c http://www.victorianweb.org/art/design/japan/menpes.html (Accessed 23 October 2020)
- ^ Also see Transactions and proceedings Vol III by Japan Society, London (1893–1895)
- ^ https://www.britishmuseum.org/collection/term/BIOG139059 (Accessed 7 November 2020)
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, John T. Carpenter, 2011, p. 23, Brill
- ^ https://figshare.com/projects/Katagami_in_practice_Japanese_stencils_in_the_art_school/24037 (Accessed 23 October 2020)
- ^ "International Textile Collection | Special Collections | Library | University of Leeds". library.leeds.ac.uk.
- ^ Aubrey Beardsley's "Japanese" Grotesques, Linda Gertner Zatlin, 1997, Cambridge University Press in Victorian Literature and Culture , Vol. 25, No. 1 (1997), pp. 87–108
- ^ Art nouveau, Robert Schmutzler, 1978, p. 28, p. 124
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, John T. Carpenter, 2011, p. 21, Brill
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 83, Gibbs Smith
- ^ Also see Liberty: a biography of a shop, Chapter 9 – Art Nouveau, Jewellery, Silver and Pewter
- ^ Art nouveau, Robert Schmutzler, 1978, p. 31
- ^ Art nouveau, Robert Schmutzler, 1978, pp. 21–27,p. 153
- ^ https://senses-artnouveau.com/biography.php?artist=LIB (Accessed 8 November 2020)
- ^ History of modern furniture, Karl Mang, 1979 p. 69
- ^ https://www.timetravel-britain.com/articles/history/japan.shtml (Accessed 21 November 2020)
- ^ "Alan de Tatton's Japanese Garden".
- ^ "Japanese Garden". www.tattonpark.org.uk.
- ^ Anderton, Stephen. "Step into a rarity: An Anglo Japanese garden that works".
- ^ The art and architecture of English gardens : designs for the garden from the collection of the Royal Institute of British Architects, 1609 to the present day, Jane Brown, 1989, p. 180, London
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner , John T. Carpenter, 2011, p. 18, Brill
- ^ The world of Charles Ricketts, Joseph Darracott, 1980, p. 108
- ^ https://www.annexgalleries.com/artists/biography/2158/Shannon/Charles (Accessed 6 November 2020)
- ^ Three essays on Oriental painting, Seiichi Taki, 1910, pp. 3–4, London
- ^ Quarterly Review 212 (1910); see [8]; (Accessed 6 November 2020)
- ^ artnet.de/künstler/harry-allen/ (Accessed 23 October 2020)
- ^ The world of Charles Ricketts, Joseph Darracott, 1980, pp. 136–151
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, 2011, p. 20, Brill
- ^ Painting in the Far East: : an introduction to the history of pictorial art in Asia especially China and Japan, Laurence Binyon, 1913, p. 6, Brill
- ^ Edward Gordon Craig, Denis Bablet, 1966, p. 47, Heinemann
- ^ International arts & crafts, Michael Robinson, 2005, p. 240
- ^ Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, Yūko Kikuchi–有子·菊地, 2004, pp. 233–237, RoutledgeCurzon
- ^ Edwardian London Through Japanese Eyes : The Art and Writings of Yoshio Markino, 1897–1915, William S. Rodner, 2011, p. 1, Brill
- ^ https://www.britishmuseum.org/collection/term/BIOG15784 (Accessed 29 October 2020)
- ^ http://textileconservation.academicblogs.co.uk/textiles-from-the-glasgow-japan-exchange-of–1878-how-a-cultural-exchange-led-to-an-academic-one/ (Accessed 29 October 2020)
- ^ Found in translation: Mackintosh, Muthesius and Japan, Neil Jackson, 2013, 18:2, p. 198, The Journal of Architecture, DOI: 10.1080/13602365.2013.790835
- ^ Edwardian Painter in London; Markino, p. 16
- ^ a b http://www.ks-architects.com/en/column/contents.php?id=7 (Accessed 27 October 2020)
- ^ "McQuarie Erin" (PDF).
- ^ Found in translation: Mackintosh, Muthesius and Japan, Neil Jackson, 2013, 18:2, p. 211, The Journal of Architecture, DOI: 10.1080/13602365.2013.790835
- ^ "Mackintosh and Moderism – Welcome to J Black Design".
- ^ "Hints on Household Taste" (PDF).
- ^ https://www.newportmansions.org/exhibitions/past-exhibitions/bohemian-beauty/the-aesthetic-movement (Accessed 1 November 2020), also see In Pursuit of Beauty: Americans and the Aesthetic Movement
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 116, Gibbs Smith
- ^ The Influence of Japanese Art on Design, Hannah Sigur, 2008, p. 117, Gibbs Smith
External links
Media related to Anglo-Japanese style at Wikimedia Commons
- Angro-Japanese Style of Naturalistic Spoon
- Display Cabinet by Edward William Godwin, 1833–1886
- oldhouseonline.com for Anglo-Japanese Aesthetic Interiors (1872–1889)