#japonaiserie

[geritsel]

Tsuruoka Kakunen - Golden Gate Bridge in Fog, color woodblock print, 1936.

[ochoislas]

EL SAMURÁI                  Era hombre de dos sables.

Mientras roza al desgaire la biwa sonora, a través del bambú tejido en fina lama, ha visto, por la playa ofuscadora y lisa, marchar el campeón que amorosa soñara.

Es él. Sables en cinto, alto el ventalle, va. El cíngulo escarlata y la bellota grana cortan el fosco arnés, y estalla en las hombreras el blasón de Hizén o de los Tokugawa.

El guerrero vestido de chapas y nudillos —bajo el bronce, la seda y las lacas lustrosas—, parece un gran cangrejo negro y rubicundo.

La ha visto. So la barba de la mentonera sonríe, y con su airoso paso más relumbran las dos antenas de oro que blande su yelmo.

*

LE SAMOURAÏ                 C’était un homme à deux sabres.

D’un doigt distrait frôlant la sonore bîva, À travers les bambous tressés en fine latte, Elle a vu, par la plage éblouissante et plate, S’avancer le vainqueur que son amour rêva.

C’est lui. Sabres au flanc, l’éventail haut, il va. La cordelière rouge et le gland écarlate Coupent l’armure sombre, et, sur l’épaule, éclate Le blason de Hizen ou de Tokungawa.

Ce beau guerrier vêtu de lames et de plaques, Sous le bronze, la soie et les brillantes laques, Semble un crustacé noir, gigantesque et vermeil.

Il l’a vue. Il sourit dans la barbe du masque, Et son pas plus hâtif fait reluire au soleil Les deux antennes d’or qui tremblent à son casque.

José-Maria de Heredia

di-versión©ochoislas

[ellapitr]

avant de 

[ellapitrdrawings]

“La revanche de Kisako” toile

[the-cricket-chirps]

Hiroshige Utagawa, Evening Shower at Atake and the Great Bridge, 1857

Vincent van Gogh, Japonaiserie: Bridge in the Rain (after Hiroshige) 1887

[corallapis]

Edward Poynter, Mary Constance Wyndham (Lady Elcho), 1886

Mary leans back on a chaise, gazing into the distance. She is surrounded by aestheticism's accoutrements: a japonaiserie screen; blue and white ceramic vases. Her hair is fashionably shirred; her waist, in her plain mustard-yellow gown, tiny (the envy of her friends, she said proudly). One hand loosely holds a sketchbook, another book lies unopened before her. She looks deep in thought: a beauty with greater things on her mind. [A]ged twenty-four, a mother of two, [...] just a few months after the death of her beloved friend Laura Tennant and while her relationship with Arthur Balfour was growing ever deeper. Mary's family later criticized this portrait as far too solemn. Yet perhaps in Mary's forlorn expression Poynter had seen some of the turmoil in which Mary found herself at this stage of her life. — Claudia Renton, Those Wild Wyndhams

[donttellmeyourewoke]

JOLIES JAPONAISERIES... Lol

[philoursmars]

Marseille. La Bastide Borély, ses japonaiseries (hélas pas assez expliquées), son mobilier XVIIIe s,...

[geritsel]

Charles William Bartlett - Kobe in the Rain, colr wooblock print, 1916.

[artfoli]

Plum Park in Kameido, 1857, by Hiroshige (1797-1858), and Flowering Plum Tree, 1887, by Vincent Van Gogh (1853-1890).

Van Gogh was heavily influenced by Japanese artists, particularly ukiyo-e woodblock prints, even using the term “Japonaiserie.”

[ellapitr]

Tintin au Japon

[ellapitrdrawings]

“vive le vent” toile

[angelheartcottage]

At the Van Gogh Immersive Exhibit, part of the fun was how the creative geniuses there manipulated & morphed Vincent’s paintings. Before Vincent became obsessed with Impressionism & post-Impressionism, he was fascinated by Japanese painting & coined the term Japonaiserie, or how Japanese art influenced his works. The first two images are of a geisha he painted. The figure is a detail of a larger painting & here, the figure has been cut apart. The idea is perspective & dimension. The figure reaches out in three dimensions & even though cut apart, with layers added, the figure appears three dimensional rather than flat & one dimensional. I show you just how they did that in the second shot as I photographed from the side. The last photo is Vincent’s painting of the entrance to St Rémy, the institution where he spent a lot of time dealing with mental issues. Bless his heart. The image has been enlarged, cut away & separated, moving the farthest points in the painting away from you giving the appearance of dimension & depth. Magic. Please see my stories for the magic makers showing Vincent’s starry nights. More magic. #thechroniclesoffarnia #thingssoamazeme #magic #wonder #vincentvangogh #vangoghimmersiveexperience #art #painting #color #beautiful #brushstrokes #ilovehim #gasp #japonaiserie #impressionism #postimpressionism #amazing https://www.instagram.com/p/CY3LCMyLvwz/?utm_medium=tumblr

[dejavisiteart]

Art Deco

Acrylic, Watercolor & Digital Art

2020

See More Like This

[theelephantstrip]

Vincent van Gogh Japonaiserie: Bridge in the Rain (after Hiroshige). 1887 Oil on canvas. 28.25 X 21.25 in. (73 X 54cm)

Current location: Vincent van Gogh Museum, Amsterdam

La escritura japonesa, concretamente los kanjis, han sido considerados una escritura poética por su forma y por la expresión de cada trazo. En muchos de ellos se puede ver la intención de capturar el movimiento de aquello que quieren expresar en tan solo unas pinceladas (para ver un ejemplo busca la palabra río o montaña y te darás cuenta de su similitud con la realidad). Esta idea de capturar el presente en unas pocas pinceladas es justamente lo que los impresionistas les causo agrado y por eso podemos ver antiguas estampas japonesas, sobretodo de Hiroshige (1797-1858), copiadas por Van Gogh ya que ambos, aunque con unas decenas de años de diferencia y una distancia considerable, tenían en común capturar la impresión del momento.