When trade with Japan resumed in 1854 after centuries of isolationism and cultural blockade, a craze for its culture swept across France. But the French concept of Japonisme was not invented until the early 1870s. Art galleries in Paris were showing Oriental work, shops sold porcelain, lacquer ware, screens, fans and prints for homes, and 1878 World’s Fair showed many Far Eastern treasures to visitors.
Van Gogh, Oiran, 105 x 61 cm, 1887.
Vincent van Gogh (1853–1890)’s contact with Japonisme can be seen in his 1884 still-life in which he painted brother Theo’s cloisonné vase. Leaving his parents’ Nuenen home for Antwerp in 1885, Vincent bought his first Japanese prints. Urged by Theo to follow the Impressionist movement to make his art look more modern, Vincent was off and running.
In 1887 he began to make copies of prints: of Hiroshige’s The Residence with Plum Trees at Kameido. Two of the three portraits that he painted of Père Tanguy that year showed the dealer sitting against a backdrop of the Oriental prints that he traded. Kabuki actors showed cherry trees in blossom and Mount Fuji crowned his head.
Van Gogh, The Sower, 1888, 33 x 40 cm.
By 1888 his visual vocabulary, with its decorative planes of garish colour, came literally from the woodcuts that he loved. He admired the bold way that Japanese prints cropped images, made striking use of strong colours and fixed on the beauty of nature. That very year was the pivotal point in the Dutchman’s art, refining his technique.
Vincent enjoyed painting in/near Paris throughout 1886 and it was then that he became openly interested in Japanese art. His palette began to move away from his Dutch-influenced darker, traditional colours, towards more vibrant hues of the Impressionists. The artist amassed a large collection of c600 Japanese woodcut prints (now in the Van Gogh Museum in Amsterdam), and his paintings combined Impressionist colours and distinct Japanese overtones. He wrote “My studio’s quite tolerable mainly because I’ve pinned a set of Japanese prints on the walls that I find very diverting. You know, those little female figures in gardens, horsemen, flowers, gnarled thorn branches.”
Disappointed by his futile efforts to become a priest and no longer believing that harsh suffering was the way to spiritual achievement, van Gogh turned instead what he saw as a cultural primitivism. Gauguin’s Arcadia focused on the tropics while Van Gogh preferred the Far East.
Moving to Arles in 1888, Vincent promoted his Eastern vision on top of colourful and sunny southern France. His drawings, done with a newly adopted reed pen, used the dots, streaks and hatchings, the sharp lines and short dashes of the master Hokusai. With the Japanese model, he began to work with broader brushstrokes to capture their flattened effects and abstracted backgrounds.
If Van Gogh wanted to contribute to modern art, he may have seen Japanese art as a way of doing this. His Japanese dream thrived with flowy peach blossom, a local foil to the Far Eastern cherry. Looking at Millet’s The Sower 1850, he set about modernising it with flat planes of colour and, in a manner adopted directly from Hiroshige, sliced it diagonally across with a tree trunk. The close-ups was re-cast according to an Oriental model, using butterflies and flowers.
The prints planted the seeds of van Gogh’s Japanese dream. He experimented with their stylistic devices: omitting the horizon or playing with abrupt compositional crops, trying forceful diagonals or exaggerating bird’s-eye views.
Two 2018 exhibitions examine Japonisme and van Gogh. In Tokyo’s Metropolitan Art Museum, the Van Gogh & Japan Exhibition (2018) showed how the enthusiastic assimilation of Japanese imagery encouraged bold experimentation for Van Gogh. This exhibition then explored the two-way relationship between Van Gogh and Japan; it presented a lovely symmetry about Van Gogh being inspired by, and in turn inspiring Japanese art in the 1920s and 30s.
van Gogh, Flowering plum tree, 1888, 56cm x 47cm.
But the Van Gogh & Japan Exhibition in the van Gogh Museum Amsterdam (Mar-June 2018) is focusing more narrowly on the artist’s love of Japanese art, especially print making. Among the 60 paintings and drawings on display are special images such as L’Arlésienne; Irises; Orchard in Blossom; Self-Portrait as a Painter (1887) and The Bedroom (1888). The pieces that have been drawn from Van Gogh’s extensive collection are not terribly refined but there are some other great works of Japanese art eg Hokusai’s The Wave.
My most important question to ask in Amsterdam would be: “was van Gogh’s work fundamentally altered, in response to Japan’s exotic, colourful images with their distinctive style?” The curators' answer is clear: once his enchanted world became his main artistic reference point, van Gogh assimilated the prints’ devices and positioned himself as an artist in the Japanese tradition. He thus gained an avant-garde reputation.
The exhibition is accompanied by a scholarly publication collating 25 years of curatorial study; this catalogue assesses the impact Japanese printmaking had on Van Gogh’s creative output. The book details the ways in which the artist constructed his understanding of a Japanese aesthetic and his utopian ideal of a “primitive society”, and incorporated them into his own vision. The size, nature and importance of Van Gogh’s own collection of Japanese prints are analysed, and lavish illustrations of oil paintings and drawings by Van Gogh are included.
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The exhibition is accompanied by a scholarly publication collating 25 years of curatorial study; this catalogue assesses the impact Japanese printmaking had on Van Gogh’s creative output. The book details the ways in which the artist constructed his understanding of a Japanese aesthetic and his utopian ideal of a “primitive society”, and incorporated them into his own vision. The size, nature and importance of Van Gogh’s own collection of Japanese prints are analysed, and lavish illustrations of oil paintings and drawings by Van Gogh are included.
van Gogh, Almond Blossom, Saint-Rémy-de-Provence,
1890, 73cm x 92cm
All images are from the van Gogh Museum in Amsterdam. Many thanks.