A Japanese-inspired guide to living a happier, more fulfilled life.

Japan's door to the outside world was opened in 1858, ending a 200-year period of total isolation. The wealth of superb Japanese traditions of ceramics, metalwork and architecture, as well as printmaking and painting, reached the West and brought with it electrifying new ideas of composition, colour and design. In this book, Siegfried Wichmann, the internationally renowned expert on Japonisme, accompanies his breathtaking illustrations with a text that marshals a wealth of detail and opens up new lines of enquiry.

"Girls can develop counting and sorting skills as they search for the hundreds of hidden things in this engaging, bright and busy Treasure Hunt book."--Page 4 of cover

A broad survey of the West's extraordinary love affair with Japan. From the moment of the very first contact in the sixteenth century, Japan has always possessed an irresistible fascination for the West. The fascination was if anything increased when Japan closed its borders in 1638, and for over 200 years the only contact was through a small colony of Dutch traders who were permitted to live on the tiny island of Deshima in Nagasaki Bay. After 1858, full trade was resumed, and a wave of 'Japanomania' swept across Europe and America. The 1862 Great Exhibition in London was the first to display a wide range of Japanese goods in the west. Visited by hundreds of thousands of people, the prints, ceramics and lacquer work became the height of fashion. Christopher Dresser travelled to Japan in 1876 as an agent for Tiffany & Co. He visited 64 potteries and dozens of other manufacturers. Not only did he take photographs home to spread the word there, but he also advised the Japanese how best to export their trade. This two way dialogue offers a rich synthesis of fine art and the decorative arts, as well as popular culture. Lionel Lambourne tells this remarkable story in a fluent and engaging narrative that focuses on the human drama - often amusing but sometimes tragic - of the individual personalities involved in the two-way dialogue between cultures.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme. This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the 'Glasgow boys' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.

A study of the influence of Japanese Meiji art on the Modern Art movement in the West with superlative examples drawn from the Khalili Collection

Japonisme, the nineteenth-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the twenty-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (1823–1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the “Musée d'Ennery” to the state as a free public museum in 1893. A friend of the Goncourt brothers and a fifty-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand- Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée Unterlinden, and the Metropolitan Museum of Art.

A Little Book of Japanese Contentments is a beautiful book that distills traditional Japanese philosophies intrinsic to wellbeing. A richly illustrated journey through Japanese culture that leads to a more mindful and gratified life: With the longest healthy life spans in the world, Japanese people understand the art of living well. With A Little Book of Japanese Contentments, anyone can explore the timeless philosophies as they relate to almost every aspect of life. • Provides easy-to-follow exercises to inspire those who want to live a happier, more balanced life • Includes sections on kokoro (heart and mind) and karada (body), plus a guide on how to form and nurture good habits. Also includes entries on ikigai (living with purpose), wabi-sabi (the beauty of imperfection and impermanence), shinrinyoku (forest bathing), ikebana (the art of flower arranging), and much more • Features an exquisite layout filled with aesthetically pleasing photographs and illustrations that help capture the culture and bring it to life. "With this book, I want to inspire and provide guidance on ways to enrich and complement your lifestyle through a new lens." — Erin Niimi Longhurst, Author A Little Book of Japanese Contentments is a warm invitation to cultivate happiness in everyday life. Erin Niimi Longhurst is a writer and blogger based in the UK. Ryo Takemasa is an illustrator based in Tokyo, Japan. Makes an excellent and unique gift for friends and loved ones that are interested in Japanese culture and philosophies.

Japonisme, the nineteenth-century fascination for Japanese art, has generated an enormous body of scholarship since the beginning of the twenty-first century, but most of it neglects the women who acquired objects from the Far East and sold them to clients or displayed them in their homes before bequeathing them to museums. The stories of women shopkeepers, collectors, and artists rarely appear in memoirs left by those associated with the japoniste movement. This volume brings to light the culturally important, yet largely forgotten activities of women such as Clémence d'Ennery (1823–1898), who began collecting Japanese and Chinese chimeras in the 1840s, built and decorated a house for them in the 1870s, and bequeathed the “Musée d'Ennery” to the state as a free public museum in 1893. A friend of the Goncourt brothers and a fifty-year patron of Parisian dealers of Asian art, d'Ennery's struggles to gain recognition as a collector and curator serve as a lens through which to examine the collecting and display practices of other women of her day. Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart Gardner, and Laure Durand- Fardel returned with souvenirs that they shared with friends and family. Salon hostesses including Juliette Adam, Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier provided venues for the discussion and examination of Japanese art objects, as did well-known art dealers Madame Desoye, Madame Malinet, Madame Hatty, and Madame Langweil. Writers, actresses, and artists-Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary Cassatt, to name just a few- took inspiration from the Japanese material in circulation to create their own unique works of art. Largely absent from the history of Japonisme, these women-and many others-actively collected Japanese art, interacted with auction houses and art dealers, and formed collections now at the heart of museums such as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée Unterlinden, and the Metropolitan Museum of Art.