FERRETTI BOCQUILLON Marina, WUHRMANN Sylvie, CURRAT Corinne.
Vuillard and the art of Japan.
Snoeck
Regular price
€49,90
| N° d'inventaire | 29549 |
| Format | 24 x 29 |
| Détails | 255 p., illustrated, paperback |
| Publication | Ghent, 2023 |
| Etat | Nine |
| ISBN | 9789461617859 |
Among the Nabis, Edouard Vuillard (1868-1940), "the red-bearded Nabi", is certainly the one who owned the largest number of ukiyo-e prints. He collected up to one hundred and eighty. Inspired by Japanese landscapes, geishas or kabuki actors, they are signed by the masters of wood engraving. It was probably the great exhibition devoted to the art of Japan by the École des Beaux-Arts in 1890 that decided Vuillard to take an interest in an aesthetic that had until then been neglected by academic circuits.
Like the masters of ukiyo-e, Vuillard claimed to deliver no message other than the celebration of everyday life and nature. From 1890 to the First World War, references to Japanese art deeply permeated his work as a painter, draftsman, and lithographer. Without making concessions to a much-overused exoticism, he enriched his art by freely adopting the codes honored in the Land of the Rising Sun.
Like the masters of ukiyo-e, Vuillard claimed to deliver no message other than the celebration of everyday life and nature. From 1890 to the First World War, references to Japanese art deeply permeated his work as a painter, draftsman, and lithographer. Without making concessions to a much-overused exoticism, he enriched his art by freely adopting the codes honored in the Land of the Rising Sun.
Like the masters of ukiyo-e, Vuillard claimed to deliver no message other than the celebration of everyday life and nature. From 1890 to the First World War, references to Japanese art deeply permeated his work as a painter, draftsman, and lithographer. Without making concessions to a much-overused exoticism, he enriched his art by freely adopting the codes honored in the Land of the Rising Sun.