Tout feu, tout femme (French Edition)
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His comments on the fine detail in the metalwork of sword-guards and the loving tenderness with which Japanese artists depicted even the most humble animals praised qualities opposed to the monumental and the noble advocated by the academy.
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The differences Edmond identified between Europe and Japan participated therefore in his broader goal of delegitimizing academic values. We are left with an unstable picture of Japanese art, both like and unlike French art. What remained constant was the denigration of academic values and the tendency to extrapolate national character from the evidence of artworks.
Comparison, we might say, cannot exist without contrast, and studying the dialectical movement between the two permits the rhetorical nature of such exercises to rise to the surface. In his writings, Goncourt presented an unstable vision of Japanese art in support of aesthetic positions in debates taking place in France.
The study of Japanese people and art provided him with arguments in his critique of a French system that was moving increasingly away from the values of aristocratic refinement and eroticized elegance that he cherished in the eighteenth century. His articulations of similarity and difference—and indeed, the co-existence of both analogies and contrasts in much Japoniste discourse—should alert us to the constructed nature of each, and cause us to question the rhetorical or ideological goals behind their implementation.
My research was generously supported by a faculty development grant of the University of Rhode Island Foundation. Gabriel P. Weisberg and Yvonne M. Weisberg provided a priceless and time-saving study on the history of publications about Japan and Japanese art: Japonisme: An Annotated Bibliography New York: Garland, Alterity has become a dominant theme of interdisciplinary cultural studies for the past thirty years, with psychoanalytic, linguistic, sociological, philosophical, literary, post-colonial and art historical iterations.
For a summary of these inquiries and pertinent bibliography, see Pierre Ouellet, Quel autre? Surprisingly, little of this body of thought has been used to study the discourses of Japonisme. I am currently preparing another article on the relationship between Edmond de Goncourt and Hayashi Tadamasa which explores how post-colonial theory can help us understand the cross-cultural exchanges experienced by these two men. The literature on the Goncourt brothers is vast and growing as the Goncourts undergo a revival, especially in France. All of these scholars stress the cross-cultural interaction between Japan and France.
Critical accounts of Japonisme will also need to consider that the phenomenon was not limited to fine and decorative arts, but had economic, horticultural, spiritual, philosophical, gastronomical, and military implications as well.
Nor was it the sole domain of the French: Japonisme in its myriad forms can be found to varying degrees in many European countries and the United States both before and after the arrival of Commodore Perry. Reservations were expressed as early as ; see Weisberg and Weisberg, Japonisme: An Annotated Bibliography , 70—71 and — Paris: Charpentier, All references will be to these editions unless otherwise noted.
Both authors gave broad and detailed overviews of the history of Japanese art across many centuries. In this, the monographs on Utamaro and Hokusai reproduced an epistemological move he and his brother Jules had made for eighteenth-century French artists in the s, when many art history books focused on national schools. Hayashi dont la vente aura lieu du lundi 2 juin au vendredi 6 juin Paris: Chez S.
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Bing, This term was first used by Philippe Burty, who began signing letters and writing inscriptions in books with this word after his name during the Franco-Prussian War, that is, sometime in — The Asian objects were sold over six days, from March 8—13, , and the auction was accompanied by a catalogue: Collection des Goncourt. Goncourt may not have been able to afford the trip, in addition to whatever other reasons kept him from going, but he later declared that it was not necessary to travel to Japan to speak intelligently about its art and culture.
See Journal April 4, Koyama-Richard, 46— See February 17, ; May 3, ; September 22, ; —3 Oct 31, ; November 6, , an especially wonderful entry where Edmond recounts eating sushi for the first time ; and November 28, See Akiyoshi Watanabe, ed.
When referring to the Goncourt brothers and Japonisme , one must contend with the untimely death of Jules de Goncourt in , which interrupted the work they had begun together in the s and 60s. Only rarely will I make a reference to something the brothers said together about Japanese art in the s, in which case I will again use the plural.
I hope to make a trip to Leiden in June to work in their archives. Goncourt made many more analogies between Japanese art and French eighteenth-century art. This European view was quickly translated into Japanese writing.
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Chelsea Foxwell argued that Japanese historians had absorbed it when they traced a similar trajectory, wherein the period of the Meiji Restoration and Western influence was often seen as one of decadence and decline, when the Japanese lost an essentialized, authentic, and native form of their culture that flourished prior to contact with the United States and Europe.
She pointed out, however, that Edmond did not use the term decadence in his writing on Japanese art, see page 28, note Their history books and salon reviews in the s marked a frontal attack on the academy. In this long passage, they characterized the academicians as first insolent, vengeful, and punishing, then desperate, and finally discredited and impotent. It typically features accumulations of poetic adjectival phrases, nominalized verbs, unusual grammatical constructions, and neologisms that defamiliarize common words and phrases.
Julie Nelson Davis expertly unpacked the problematic documentary status of Japanese prints in Utamaro and the Spectacle of Beauty , 22—23 and — This characterization dominates the Journal, which includes numerous attacks on academicians.
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The Journal also contains a number of comparisons between eighteenth-century French and Japanese art, including in addition to those already mentioned : November 1, ; January 22, ; and —50 May 9, Paul Getty Trust, , Marc Bayard, ed. Thus his long discussion that details how to tell the difference between early, high quality impressions and later prints—when the wood had been beaten down somewhat by the press—as well as the varying qualities of ink and paper; Goncourt, Outamaro , — French 1.
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