‎JAPON]. Galeries Nationales du Grand Palais.‎
‎Le Japonisme.‎

‎JAPONISME IN FIN DE SIECLE ART IN BELGIUM,‎

‎Antwerp, Pandora, 2002 Paperback , wit karton onder blauwe geillustreerde kartonomslag met flappen, 175 x 240mm., 320pp., z/w en kleurillustratie. ISBN 905321448.‎

‎Pandora Cahier 9. Japonisme in its context: how did Japanese art and image enter Belgium? - Belgian public and private collections - A mode of Japanese style and Japanese art dealers - Art criticism; curious similarity between Japanese art and avant-garde works - Neo-Impressionism and Japonisme in the works of Theo Van Rysselberghe - Symbolist Fernand Khnopff and Japonisme - Two-dimensional representations; book illustration by Elskamp, Van de Velde, Lemmen, Khnopff and Van Rysselberghe. Book is in good condition.‎

‎Reframing Japonisme, Women and the Asian Art Market in Nineteenth-Century France, 1853-1914‎

‎Emery, Elizabeth: Reframing Japonisme, Women and the Asian Art Market in Nineteenth-Century France, 1853-1914. London: 2020. 264 pages, 50 black & white illustrations and 13 colour plates. Hardback. 23 x 15cms. Review of the collecting and display practices of European and American women involved in the Japanese and Chinese art market during the nineteenth century. Clémence d'Ennery (1823-1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s and bequeathed the Musée d'Ennery to the state as a free public museum in 1893. 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 art dealers Madame Desoye, Madame Malinet, Madame Hatte and Madame Langweil. Writers, actresses, and artists Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt took inspiration from the Japanese material in circulation to inform their own works. This study explores their role in expanding the Western taste for 'Japonisme' at the turn of the century.‎

‎Review of the collecting and display practices of European and American women involved in the Japanese and Chinese art market during the nineteenth century. Clémence d'Ennery (1823-1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s and bequeathed the Musée d'Ennery to the state as a free public museum in 1893. 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 art dealers Madame Desoye, Madame Malinet, Madame Hatte and Madame Langweil. Writers, actresses, and artists Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt took inspiration from the Japanese material in circulation to inform their own works. This study explores their role in expanding the Western taste for 'Japonisme' at the turn of the century. Text in English‎

‎Mondes flottants. Du Japonisme à l'art contemporain ‎

‎Paris, In Fine Editions, 2024, 24 x 28, 152 pages sous cartonnage éditeur illustré. Iconographie couleurs. Ouvrage publié à l'occasion de l'exposition présentée au Musée Les Franciscaines à Deauville du 22 juin au 22 septembre 2024. "C'est l'histoire d'une influence réciproque entre les artistes Japonais et Français, du temps des impressionnistes et à notre époque contemporaine. En confrontant des oeuvres impressionnistes influencées par le Japonisme à des créations asiatiques contemporaines issues des collections du Mori Art Museum (Tokyo), les Franciscaines propose des regards croisés sur un dialogue artistique fécond. L'ouverture du Japon à l'Occident durant l'ère Meiji (1868-1912) permet la diffusion vers l'Europe de l'Ukiyo-e, image du monde flottant, auquel les impressionnistes sont sensibles. Les peintres s'essaient alors à l'estampe et intègrent des éléments japonisants dans leurs compositions. Aujourd'hui, des artistes asiatiques créent des oeuvres qui ne sont pas sans rappeler celles conçues en Europe à la fin du XIXe siècle, quand ils ne réinterprètent pas directement des tableaux impressionnistes. L'exposition interroge ces paradigmes par des mises en regards d'oeuvres issues de collections normandes, nationales et internationales. Cet ouvrage explore le dialogue entre les arts européens et japonais depuis le XIXe siècle jusqu'à nos jours en mettant en valeur la force de ces échanges par des mises en regard de peintures, sculptures, mobiliers, photographies et vidéos issues de collections normandes, nationales et internationales. A l'influence de Hokusai ou de Hiroshige sur Boudin, Degas, Renoir ou Vallotton, répondent des oeuvres de Mari Katayama, Lee Ufan, Yasumasu Morimura, Tomoko Yoneda..."‎

‎Très bon état.‎

‎Oriental Fascination 1889 - 1915. Le Japonisme en Belgique. Het Japonisme in België. Japonisme in Belgium. REVUE DE PRESSE - PERSOVERZICHT - PRESS REVIEW .‎

‎2. Brussels, organisers of the exhibition Oriental Fascination, 2008, in-4°, ca. 150 nn pp , Off-set and phototstat copies , orig. stiff wrapper. Collection of press reviews ( printed press and internet ) which appeared in Belgium (in French and Dutch) to comment on this exhibition. Curious publication to document the reception in Belgium of a Belgian exhibition which was made to document the reception in Belgium of Japanese art .‎

‎Japonisme in Art. An International Symposium . Edited by '' The Society for the Study of Japonisme ''.‎

‎4. Tokyo, Kodansha International, Committee for the Year 2001, ilarge in-8°, 25,5 cm, 331 pp, publisher's cloth with printed dust wrapper. Some sparse pencil underlinings , still a fine copy. ISBN 0870114557 ..‎