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''Japonaiserie ((英語:Japanesery))'' was the term the Dutch post-impressionist painter Vincent van Gogh used to express the influence of Japanese art. Before 1854 trade with Japan was confined to a Dutch monopoly and Japanese goods imported into Europe were for the most part confined to porcelain and lacquer ware. The Convention of Kanagawa put an end to the 200-year-old Japanese foreign policy of Seclusion and opened up trade between Japan and the West. Artists such as Manet, Degas and Monet, followed by Van Gogh, began to collect the cheap colour wood-block prints called ''ukiyo-e'' prints. For a while Vincent and his brother Theo dealt in these prints and they eventually amassed hundreds of them (now housed in the Van Gogh Museum, Amsterdam).〔(【引用サイトリンク】title=Japanese prints: Catalogue of the Van Gogh Museum’s collection )〕 In a letter to Theo dated about 5 June 1888 Vincent remarks :About staying in the south, even if it’s more expensive — Look, we love Japanese painting, we’ve experienced its influence — all the Impressionists have that in common — (why not go to Japan ), in other words, to what is the equivalent of Japan, the south? So I believe that the future of the new art still lies in the south after all. A month later he wrote, :All my work is based to some extent on Japanese art... ==Influence of Japanese art on Van Gogh== Van Gogh's interest in Japanese ''ukiyo-e'' prints dates from his time in Arnhem when he was also interesting himself in Delacroix's theory of colour and where he used them to decorate his studio. :One of De Goncourt’s sayings was ‘Japonaiserie for ever’. Well, these docks (Arnhem ) are one huge Japonaiserie, fantastic, singular, strange ... I mean, the figures there are always in motion, one sees them in the most peculiar settings, everything fantastic, and interesting contrasts keep appearing of their own accord. During his subsequent stay in Paris, where ''Japonisme'' had become a fashion influencing the work of the Impressionists, he began to collect ''ukiyo-e'' prints and eventually to deal in them with his brother Theo. At that time he made three copies of ''ukiyo-e'' prints, ''The Courtesan'' and the two studies after Hiroshige. Van Gogh developed an idealised conception of the Japanese artist which led him to the Yellow House at Arles and his attempt to form a utopian art colony there with Paul Gauguin. His enthusiasm for Japanese art had however waned by July 1888 in favour of Impressionism :Fortunately, we know more about the French Japanese, the Impressionists. That’s definitely the essence and the main thing. :So Japanese art, properly speaking, already with its place in collections, already impossible to find in Japan itself, is becoming of secondary interest. Van Gogh's dealing in ''ukiyo-e'' prints brought him into contact with Siegfried Bing who was prominent in the introduction of Japanese art to the West and later in the development of Art Nouveau. Characteristic features of ''ukiyo-e'' woodprints include their ordinary subject matter, the distinctive cropping of their compositions, bold and assertive outlines, absent or unusual perspective, flat regions of uniform colour, uniform lighting, absence of ''chiaroscuro'', and their emphasis on decorative patterns. One or more of these features can be found in numbers of Vincent's paintings from his Antwerp period onwards. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Japonaiserie (Van Gogh)」の詳細全文を読む スポンサード リンク
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