The taste of the exotic Eastern end of the century
The rich heritage di arte giapponese ed orientale, raccolto in Giappone durante il periodo Meiji da Edoardo Chiossone è ora esposto nella Villetta Di Negro.
Il museo ospita opere giapponesi di varie epoche: pittura (dal XI al XIX sec.), armi e armature, smalti, ceramiche, lacche, porcellane, stampe policrome, strumenti musicali, maschere teatrali, costumi e tessuti, bronzistica, e una ricca collezione di grandi sculture del Giappone, della Cina e del Siam.
In January of 1870, Frederic Bazille began working in the toilet, an important work by the person vaguely exotic. The young painter had great hopes in this work, the Orientalist genre is very fashionable in Paris at the time. The choice of such a person makes him hope in admitting the Salon. But hopes of Bazille soon be disappointed: the jury agrees with surprise that he presented the second canvas _ Summer Scene (1869, Cambridge, Massachusetts, Fogg Art Museum), far more modern in the subject-but not the toilet. Perhaps, as the same suggests Bazille, convinced that the work has been forgotten and has not been subject to review by the jury, but perhaps it has paid the price of a style accents too "to Manet" and a free bill, so far away from the original painting orientalist array accademica.nella scene Bazille you can breathe little of the sensuality that permeates other works of a similar subject, including Renoir's Odalisque: is svelatamente this atmosphere that the general public seeking erotic paintings in Eastern Europe, which allows you to portray voluptuously beautiful naked lying between rich fabrics sumptuous decorations and colors, without any cause for scandal.
1870 -
of Washington National Gallery of Art.
The popular imagination has now adopted the idea of \u200b\u200ban East magical, seductive and erotic, filled with disturbing odalisques, eunuchs and caliphs. Much of the success of the "oriental dream" is due to the spread of the tales, The Thousand and One Nights, Sheherazade of that in the late eighteenth century, widely known throughout Europe. Many ignored the power of many spiritual steps to strike the imagination of Western man are mainly accents svelatamente erotic.
Women of Algiers in their apartment.
1834. Oil on canvas. cm. X2 1.80, 29.
Paris, Louvre
Eugène Delacroix, after harshly judged those painters who felt the need for a trip to the East, preaching to find inspiration at home, will leave for Morocco and will be seduced. His paintings on the theme Return used to manage a full atmosphere Eastern images are solved with great skill, deeply evocative, sensual but not erotic, fascinating. - Its Women of Algiers are the antipodes of the beautiful odalisques of Ingres, the linear classical purity, the exercise of formal perfection and best example of the academic vocation.
In 1832, on the way back from a diplomatic mission to which he belonged, Eugene Delacroix, visiting Tangier and Algiers, here with a Poirel, an engineer of the port, to succeed in the greatest secrecy gain access to the harem of a captain. "After some leads through dark corridors, you enter in the house that is reserved to him, the eye is dazzled by bright light, the fresh faces of women and children, suddenly appearing in front of a pile silk and gold "Delacroix, immediately takes notes, draws sketches in a notebook now in the Louvre and note details and feelings of emotional and spiritual quell'immersione lived in the harem, which then reconstructs the atelier in Paris, by posing models dressed in the fashion of Algeria.
The painter carefully reproduced in this painting, styles and accessories. At the center of the composition, next to the hookah, there is a small brazier almost off the walls a Venetian-style mirror and right panel in ceramic white and blue with a dedication to Allah on the bottom, leaving the door half-closed guess other hidden places of the house. Finally, the slippers of red cloth on top, insert the key all the power
expression of a simple yet full of intimacy, if dresses and jewelry for women, together their serene expression suggests a quiet sensuality. The work marks an almost magical East, wriggling and overwhelming from the voluptuous vision of previous years.
The subject is not limited only to the Orientalist scenes of life in the harem.
In the halls of official exhibitions multiply the paintings that tell of endless deserts, to camps in the Sahara or cudeltà mori.Emblematica of the canvas at the show Gullaumet Gustave-Le-Sahara
A deeply realistic painting of a camel carcass abandoned in a desolate stretch of sand, sun, the artist manages to evoke the idea of \u200b\u200bdeath in all its horror
Le pays de la soif 1869
Musee d ' Orsay, Paris, France
Eugene Fromentin, tells how the desert traps and kills a group of viaggiatori.Ma the East is to withdraw from most formidable Herri Regnault - Execution without trial under the Moorish Kings of Granada
Execution under the Moorish king of Granada, 1870, Musée d'Orsay
monumental work (302 X 146) which emphasizes the large force and brutality of the subject. The refinement and luxury of Moorish architecture, suggested by the refined contrasts with the image of the artist panel terrible execution, in a crescendo of tension, which reached its height in decapidata head that rolls from the steps, tintengiandoli blood.
Regnault open a point of view and in Tangier, where he painted original works and intense, that always arouse a sensation at the Salon. The premature death on the battlefields of the Franco-Prussian War, will contribute to the emergence of a real myth around the figure of the artist.
Japan between phenomenon and fashion
Katsushika Hokusai Katsushika Hokusai
and 'the most' famous painter and Japanese woodcuts, considered the most 'high school named artist of the Ukiyo-e, and, by Hiroshige, the ultimate interpreter of the season' Japanese high engraving. And 'maybe l'artista non solo giapponese, ma asiatico piu' conosciuto nel mondo: Edmond de Goncourt gli dedico' un'ampia e dettagliata monografia gia' nel 1896.
Il lungo isolamento del Giappone si interruppe nel 1853, quando una squadra della marina americana agli ordini del comandante Mattehew Perry penetra nella baia nell'antica citta di Edo (l'odierna Tokio), violando gli editti dello ahogun che negavano l'ingresso degli stranieri nei porti giapponesi.
Negli anni che precedono il 1853 soltanto l'Olanda, sfruttando l'eccezionale autorizazione concessa dalla Compagnia delle Indie Orientali, aveva potuto avvicinarsi alla produzione artistica e artigianale del Giappone: una possibilità che non esita a rendere pubblica nelle sale delle esposizioni di Dublino e New York, entrambe nel 1853.Anche a Parigi, due anni dopo l'Olanda punterà molto sui manufatti giapponesi, presentando in mostra mobili laccati, porcellane e vasi di rame smaltato L'esposizione genera un'ondata di curiosità verso l'arte giapponese, che indurrà molti mercanti ad aprire negozi specializzati.
James McNeill Whistler
Stanza dei pavoni (1876-1877 Washington, freer Art gallery)
Stanza dei pavoni (1876-1877 Washington, freer Art gallery)
particolare della - Stanza dei pavoni-
La tela protagonista della stanza è una delle opere che meglio testimoniano l'approccio all'universo nipponico da parte dell'artista americano. Splendide giovani dalle fisionomie occidentali vestono abiti da geisha, posando in ambienti colmi di japonaiseries. il pavimento, il tappeto, il ventaglio, le stoffe del chimono evocano un Giappone seducente e raffinatissimo, quanto superficiale e immaginario.La stanza decorata da Whistler nel 1876 per il palzzo Frederich Lejland, per una rottura tra i due viene smontata and stored after each step, in Washington - is one of the most extraordinary manifestations of the taste of Japan in the application design and fine arts. +(1887).jpeg.jpg)
Sudden Shower on Ohashi The Van Gogh's work with the Japanese art is very intense and repeatedly stressed in his writings: "All my work is based on giapponeria," he wrote to his brother Theo.nella GGH collect his short life, Van more than four hundred prints Eastern, all works of the great Japanese masters .. In works dated 1887, where the artist chooses color ranges limited to a few very bright colors - especially yellow and red -
addition to an aesthetic model and formal, Japan accounts for Van Gogh is also a social model. " Japanese artists often engaged in trade. " Van Gogh was always willing to swap paintings with other artists, in a spirit of brotherhood and cooperation among artists.
The queue outside the butcher
! 871-Baltimore-The Baltimore Museum of Art
Among the first to carefully study the examples of printed works, originating from Japan and Manet, which mediates the models Nipponese iconographic and stylistic suggestions for your graphics. It offers a beautiful testimony to the etching-tail in front of the butcher, I remember the attack in Paris. The construction of space and the simplification process which subjects the figures clearly descended from Hokusai Manga
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in Japanese clothes Boston 1876 Museum of Fine Arts
Anche Claude Monet con una certa ironia traveste sua moglie da geisha, la ritrae davanti a una pioggia di di ventagli giapponesi.Il sorriso della bionda Camille, il suo suo atteggiamento sbarazzino. la bellezza del ricamo dell'abito e la scelta cromatica rendono l'opera una delle più alte incursioni di Monet nella pittura di figura.Monet acquista ad Anversa le prime incisioni giapponesi, che andranno a formare una collezione che arriverà a comprendere più di duecento esemplari firmati dai più famosi artisti giapponesi dell'ètà moderna
Obsession
pierce the mind astonished
words.
Dig
blades
the meat moist.
tears dripping from the sky
heavy.
Pulsa
in the chest
forgotten instrument. Silent Scream
in deafening silence.
Obsession
me in greenhouse
impalpable
turns.
Obsession
you
not let me.
Van Gogh - Portrait of Pere Tanguy 1887-8
Paris Musée Rodin
The prints are all represented any actual or recognizable to the production of the great Japanese masters. On the left stands the courtesan Tuka, the cherry blossom in the top right-which will offer important insights to the brush of Van Gogh, the artist has a passion for Japanese culture, this is certainly the reason that not only him to enter a series of prints of the portrait of oriental background but also to manage the entire composition and simplifying its formal art nipponica The figure, carved in color, the man in the foreground participates in the atmosphere Proposed from the press behind him. At the top stands the silhouette of Mount Fuji, which symbolically above the head of the protagonist, almost crowning.
Obsession
pierce the mind astonished
words.
Dig
blades
the meat moist.
tears dripping from the sky
heavy.
Pulsa
in the chest
forgotten instrument. Silent Scream
in deafening silence.
Obsession
me in greenhouse
impalpable
turns.
Obsession
you
not let me.
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