Late 19th Century Japanese Influence in the West

Unlike art in the 18th century, mid to late 19th century art in France and other western countries was heavily influenced by Japan content, technique, and style. Prior to the 1800s, Japan was independent from the rest of the world. Following the acceptance of Commodore Matthew Perry, which resulted in opening Japanese ports and allowing trade with the west, Japanese art began to sweep through the western and developed world, particularly France. This was achieved partially through the London International Exhibition and the Paris Universal Exposition. One of the artists in France at this time, Vincent van Gogh was influenced by Japonisme. He strove to reach a place of serenity and unity in his paintings and used many Japanese tactics in order to do so, including large sweeping strokes and an emphasis on color and nature. In a letter to his brother Theo, van Gogh is quoted saying, “we wouldn’t be able to study Japanese art, it seems to me, without becoming much happier and more cheerful, and it makes us return  to nature, despite our education and our work in a world of convention.” Friends and enemies alike, from different areas of France began to collect Japanese art and prints which in turn began to influence their own work. In addition to van Gogh, Post-Impressionist artists, like Monet, Manet, and Gauguin, were strongly influenced by Japonisme art, specifically printing, including both lithograph and woodcut printing. Van Gogh said that “After some time your vision changes, you see with a more Japanese eye, you feel colour differently.” These artists used splendid colors, simple but bold outlines, flat, two- dimensional planes, physical features, and sometimes included their own print collections in their paintings. Japanese art was reflected by these western artists in content, style, and technique. 

Vincent van Gogh, Oleanders, 1888, Oil on Canvas, 23 ¾ x 29 in. (60.3 x 73.7 cm), The MET

Van Gogh’s Oleander is painted with robust colors, sweeping, layered, paint strokes, but without any sense of depth or dimensions. The majority of lines used by van Gogh in this painting are curved and bold, outlining each flower and leaf individually. The dark green leaves strongly contrast the light green, yellowish backdrop. While the table stretches back, there are no shadows or depth which is consistent with the Japanese use of flat and two dimensional planes. Although this is a flat painting, van Gogh pays special attention to detail with the shadows cast by the flowers and vase through his layered and sweeping brushes on the table.

Vincent van Gogh, Irises, 1890, Oil on canvas, 92.7 cm x 73.9 cm, Van Gogh Museum, Amsterdam

Van Gogh’s Irises is part of a series of paintings that Van Gogh created following his admittance to a psychiatric hospital in Saint-Rémy. Along with paintings of Oleanders, Sunflowers and other Irises, nature was a major point of focus in his artwork. This painting elicits many of the same techniques that Van Gogh used in his painting, Oleanders. The bold blue of the irises and the bold outlines of the leaves contrast against the pale, empty, yellow background. The lack of depth of the vase creates a flat and two-dimensional painting, consistent with the two-dimensional planes in Japanese art.

Vincent van Gogh, Père Tanguy, 1887, Oil on canvas, H. 92 cm ; W. 75 cm, Musée Rodin 

Van Gogh’s Père Tanguy is a portrait of one of Van Gogh’s closest friends, Julien-François Tanguy. Tanguy was an art collector, dealer, and owner of a paint supply shop in Paris in the mid-19th century. In this painting, van Gogh exhibits Japanese style and use of color. The subject’s stiff posture, blue coat, and bright expressive background are all influenced by Japanese painting. The background is made of Japanese woodprints from van Gogh’s own collection including two figures clearly styled with Japanese facial features and wearing Japanese clothing, like those seen in pieces by  Kitagawa Utamaro and Utagawa Toyokuni. On top of Tanguy’s hat sits Mount Fuji, a mountain and active volcano located in Japan.

Claude Monet, La Japonaise (Camille Monet in Japanese Costume), 1876, Oil on Canvas, 142.3 x 231.8 cm, Museum of Fine Arts, Boston, Wikiart

Claude Monet’s La Japonaise (Camille Monet in Japanese Costume) is a portrait of his wife, Camille. This painting is a demonstration of the mix of western and Japanese cultures. Camille’s blond, stylized hair contrasts her kimono and the presence of fans. Like the background in Manet’s Père Tanguy, one of the fans in the background includes the figure of a Japanese woman. When looked at closely, the other fans include landscape, animals, and figures in boats. Monet pays close attention to detail and choice of color. Camille’s kimono is bright red and intricately designed, including leaves and designs that look embroidered. The center of the kimono is covered in a large man with a clear face, but swirled body and clothes. The only other discernible part of the man is his arm and hands.

Edouard Manet, Emile Zola,1868, Oil on Canvas, H. 146.5 ; W. 114 cm, Paris, Musee d’Orsay

Edouard Manet’s Emile Zola pays special attention to intricate detail, as do many Japanese artists. Emile Zola himself was a critic of Manet and an artist influenced by Japanese style. One aspect of Japanese art is the inclusion of everyday objects. In the background of this painting, there are many everyday objects that are also specifically influenced by Japan. The desk is full of papers, books, and a Japanese folding screen is placed directly to the left of Emile. There are three Japanese images, one of them being Manet’s own Olympia. The other two are prints also influenced by Japanese art. Emile’s seat is lined with golden studs and his seat is covered in flowers. 

Edouard Manet, Olympia.1863, Oil on canvas, H. 130; W. 190 cm, Paris, Musee d’Orsay

Edouard Manet’s Olympia is specifically influenced by the Japanese style Ukiyo-e painting and prints. Opposed to previous pieces, the colors used by Manet are more simple and subtle but still strongly contrast the dark background. Manet puts more of an emphasis on the general subject. Ukiyo-e subjects were often erotic women and in this painting, Manet alludes to a Japanese “geisha.” A "geisha" was a woman in Japanese culture who was trained to entertain and engage with men in a sexual way. A geisha would be compared to a contemporary prostitute. In this painting, Olympia is set up in a stiff posture and lures men in, while also taunting them with of the placement of her hand.