000			02018nam a22001817a 4500
003			OSt
005			20210729153108.0
008			210729b ||||| |||| 00| 0 eng d
020			_a9780300214673
082			_a759.95 LIP
100			_aLippit, Yukio.
245			_aThe artist in Edo.
260			_aLondon : _bYale University Press, _c2018.
300			_aviii, 295 p. : _bill. ; _c28 cm.
504			_aIncludes index
520			_aThe Western discovery of Japanese paintings at nineteenth-century world’s fairs and export shops catapulted Japanese art to new levels of international popularity. With that popularity, however, came criticism, as Western writers began to lament a perceived end to pure Japanese art and a rise in westernized cultural hybrids. The Japanese response: nihonga, a traditional style of painting that reframed existing techniques to distinguish them from Western artistic conventions. Making Modern Japanese-Style Painting explores the visual characteristics and social functions of nihonga and traces its relationship to the past, its viewers, and emerging notions of the modern Japanese state. Chelsea Foxwell sheds light on interlinked trends in Japanese nationalist discourse, government art policy, American and European commentary on Japanese art, and the demands of export. The seminal artist Kano Hogai (1828–88) is one telling example: originally a painter for the shogun, his art eventually evolved into novel, eerie images meant to satisfy both Japanese and Western audiences. Rather than simply absorbing Western approaches, nihonga as practiced by Hogai and others broke with pre-Meiji painting even as it worked to neutralize the rupture. By arguing that fundamental changes to audience expectations led to the emergence of nihonga—a traditional interpretation of Japanese art for a contemporary, international market—Making Modern Japanese-Style Painting offers a fresh look at an important aspect of Japan’s development into a modern nation.
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