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Essay / Research Paper Abstract
An 8-page paper that examines the influence of Japonisme, a trend stemming from the work of Japanese ukiyo-e artists, on the works of French artists during the latter half of the nineteenth century. Discussed are Japanese master painters Hokusai Katsushika and Hiroshige Ando and the manner in which they influenced the works of French Impressionist artists Edgar Degas and Claude Monet. Bibliography lists 5 sources.
Page Count:
8 pages (~225 words per page)
File: D0_LCImpres.doc
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Unformatted sample text from the term paper:
when the colors and the asymmetry of something entirely new first caught the eyes of the young artists of France, artists who had yet to define their own personal methods
and styles (Seattle Art Museum http://www.seattleartmuseum.org/Exhibitions/ Impressionism/teachimpress/browse/aboutimpress.htm). Or perhaps it was not until The Paris Exposition Universelle of 1867 that these young artists first glimpsed the detailed serenity or
intricate delicacy of the works of the Japanese ukiyo-e, or "floating world" (Aehl 1F). Whenever and wherever these burgeoning young artists first glimpsed the works of the Japanese masters,
it was a glimpse that was to change individual lives, individual styles, and the entire French art world forever. What had so impressed the artistic sons and daughters of Paris
in the second half of the 1800s had for centuries been confined within the boundaries of Japan, closely monitored and guarded by the Tokugawa Shogun. After a ruling span
of over two hundred and fifty years, however, the Tokugawa Shogun was overthrown, and in 1854 the ports of Japan were finally opened to foreign trade (Flynn http:// www.cis.yale.edu/ynhti/curriculum/units/1982/4/82.04.03.x. html).
And from those ports flowed a stream of art unlike any seen before in France or throughout the collective Western world. II. The Appeal of Ukiyo-e The allure
of any type of outstanding art, be it painting, sculpture or any other form, is the ability to hold the viewers gaze, to cause the viewer to desire a longer
look, and to evoke from that viewer some sort of aesthetic or emotional response. A painting, regardless of the subject, captures that subject in a moment of existence.
A good painting, regardless of the subject, brings that subject to life. That is the quality that first captured the attention and the imagination of nineteenth century French artists
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