Toulouse-Lautrec, Mary Cassatt, Edgar Degas, Auguste Renoir, James McNeill Whistler (Rose and silver: La princesse du pays de porcelaine, 1863–64), Claude Monet, Vincent van Gogh, Camille Pissarro, Paul Gauguin, Bertha Lum, William Bradley, Aubrey Beardsley, Alphonse Mucha, Gustav Klimt, and the sisters Frances and Margaret Macdonald.
http://en.wikipedia.org/wiki/Japonism
From the 1860s, ukiyo-e, Japanese wood-block prints, became a source of inspiration for many European impressionist painters in France and elsewhere, and eventually for Art Nouveau and Cubism.
http://en.wikipedia.org/wiki/Japonism
The Courtesan (Oiran)
by Keisai Eisen
nishiki-e (multicoloured woodcuts)
circa 1820
Title page of Paris Illustré: Le Japon
vol. 4: May 1886 no. 45-46
The May 1886 edition of Paris Illustré was devoted to Japan with text by Tadamasa Hayashi.
The cover carried a reverse image of a colour woodblock by Keisai Eisen depicting a Japanese courtesan or Oiran. Vincent traced this and enlarged it to produce his painting.
Vincent van Gogh's tracing from Paris Illustré
The Courtesan illustrates Van Gogh’s interest in Japan and Japanese prints. He based his painting on a work by the Japanese artist Kesai Eisen, which had been used for the cover of a special number of Paris Illustré. He copied and enlarged the Japanese figure by tracing on a grid, giving her a colorful kimono and placing her against a bright yellow background.
http://www.vangoghmuseum.nl/vgm/index.jsp?page=2122&lang=en
The Courtesan (after Keisai Eisan), 1887
Vincent van Gogh (1853-1890)
oil on canvas
105.5 x 60.5 cm
Van Gogh Museum, Amsterdam
The Courtesan illustrates Van Gogh’s interest in Japan and Japanese prints. He based his painting on a work by the Japanese artist Kesai Eisen, which had been used for the cover of a special number of Paris Illustré. He copied and enlarged the Japanese figure by tracing on a grid, giving her a colorful kimono and placing her against a bright yellow background.
The border around the figure is a unified whole. The watery landscape with bamboo canes, water lilies, frogs, cranes and, in the distance, a little boat – are all motifs Van Gogh borrowed from other Japanese prints. The choice of animals was certainly not accidental: in 19th century France, prostitutes were often referred to as grues (cranes) or grenouilles (frogs); they are a reference to the woman’s “profession.”
http://www.vangoghmuseum.nl/vgm/index.jsp?page=2122&lang=en
The Bridge in the Rain (after Hiroshige), 1887
Vincent van Gogh (1853-1890)
oil on canvas
73 x 54 cm
Van Gogh Museum, Amsterdam
Hiroshige (left) / Van Gogh (right)
The Bridge in the Rain and Flowering Plum Tree illustrates Van Gogh’s interest in Japanese art. Van Gogh painted these scenes after a woodcuts by Utagawa Hiroshige, which he had in his own collection. The borders are filled with calligraphic figures borrowed from other Japanese prints. One distinction with regard to the originals is the use of color: Van Gogh used different, brighter colors, or enhanced the color contrasts.
The influence of Japanese prints remains visible in Van Gogh’s later works, especially in his strong outlines and color contrasts, and in the way he cropped his compositions.
http://www.vangoghmuseum.nl/vgm/index.jsp?page=3713&lang=en
Flowering Plum Tree (after Hiroshige), 1887
Vincent van Gogh (1853-1890)
oil on canvas
73 x 54 cm
Van Gogh Museum, Amsterdam
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