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Don Gibson
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Don Gibson
Don Gibson in 1970
Background information
Birth name
Donald Eugene Gibson
Born
(1928-04-03)April 3, 1928
Shelby, North Carolina
Died
November 17, 2003(2003-11-17) (aged 75)
Nashville, Tennessee
Genres
Country
Occupation(s)
Singer-songwriter
Instruments
Guitar
Years active
1948–2003
Labels
RCA Victor, Hickory
Associated acts
Dottie West, Sue Thompson
Donald Eugene Gibson (April 3, 1928 – November 17, 2003) was an American songwriter and country musician. A Country Music Hall of Fame inductee, Gibson wrote such country standards as "Sweet Dreams" and "I Can't Stop Loving You", and enjoyed a string of country hits ("Oh Lonesome Me") from 1957 into the mid-1970s.
Contents
1 Biography
2 The Don Gibson Theater
3 Discography
3.1 Albums
3.2 Singles
3.3 Singles from collaboration albums
4 References
5 External links
Biography[edit]
Don Gibson was born in Shelby, North Carolina, into a poor working-class family, and he dropped out of school in the second grade.
His first band was called Sons of the Soil, with whom he made his first recording in 1948.
In 1957, he journeyed to Nashville to work with producer Chet Atkins and record his self-penned songs "Oh Lonesome Me"[1] and "I Can't Stop Loving You" for RCA Victor. The afternoon session resulted in a double-sided hit on both the country and pop charts.
"Oh Lonesome Me" set the pattern for a long series of other RCA hits. "Blue Blue Day", recorded prior to "Oh, Lonesome Me" was a number 1 hit in 1958. Later singles included "Look Who's Blue" (1958), "Don't Tell Me Your Troubles" (1959), "Sea of Heartbreak" (1961); "Lonesome No. 1", "I Can Mend Your Broken Heart" (1962), and "Woman (Sensuous Woman)", a number one country hit in 1972.
Gibson recorded a series of successful duets with Dottie West in the late 1960s and early 1970s, the most successful of which were the Number two country hit "Rings of Gold" (1969) and the top 10 hit "There's a Story Goin' Round" (1970). West and Gibson released an album together in 1969, titled Dottie and Don. He also recorded several duets with Sue Thompson among these being the Top 40 hits, "I Think They Call It Love" (1972), "Good Old Fashioned Country Love" (1974) and "Oh, How Love Changes" (1975).
Gibson was nicknamed "The Sad Poet" because he frequently wrote songs that told of loneliness and lost love. His song "I Can't Stop Loving You", has been recorded by over 700 artists, most notably by Ray Charles in 1962. He also wrote and recorded "Sweet Dreams", a song that would become a major 1963 crossover hit for Patsy Cline. Roy Orbison was a great fan of Gibson's songwriting, and in 1967, he recorded an album of his songs simply titled Roy Orbison Sings Don Gibson. Gibson's wide appeal was also shown in Neil Young's recorded version of "Oh Lonesome Me" on his 1970 album After the Gold Rush, which is one of the few songs Young has recorded that he did not write.
Gibson was inducted into the Nashville Songwriters Hall of Fame in 1973. In 2001 he was inducted into the Country Music Hall of Fame, and the North Carolina Music Hall of Fame in 2010.[2]
Following his death from natural causes on November 17, 2003, he was buried in the Sunset Cemetery in his hometown of Shelby, North Carolina.
The Don Gibson Theater[edit]
Located in Cleveland County, North Carolina, the Don Gibson Theater opened on November 2009 in historic uptown Shelby. Originally constructed in 1939, the renovated art deco gem features an exhibit of the life and accomplishments of singer/songwriter Don Gibson, an intimate 400-seat music hall, and adjoining function space that can accommodate up to 275 people.
The theater showcases a busy schedule of premier musical performances. Past performers have included Marty Stuart, Pam Tillis, Tom Paxton, Ralph Stanley, Vince Gill, Ricky Skaggs, John Oates and Gene Watson. For more information: http://dongibsontheatre.com/
Discography[edit]
Albums[edit]
Year
Album
Chart Positions
Label
US Country
US
1958 Songs by Don Gibson — — Lion
Oh Lonesome Me — — RCA
1959 No One Stands Alone — —
That Gibson Boy — —
1960 Look Who's Blue — —
Sweet Dreams — —
1961 Girls, Guitars and Gibson — —
1962 Some Favorites of Mine — —
1964 I Wrote a Song 14 134
God Walks These Hills — —
1965 A Blue Million Tears — —
The Best of Don Gibson — —
Too Much Hurt 13 —
1966 Don Gibson with Spanish Guitars 4 —
Great Country Songs 14 —
1967 All My Love 19 —
1968 The King of Country Soul 21 —
More Country Soul 26 —
1969 Dottie and Don (with Dottie West) 21 —
Don Gibson Sings All-Time Country Gold 17 —
1970 The Best of Don Gibson 2 — —
Hits, The Don Gibson Way 39 — Hickory
A Perfect Mountain — —
1971 Hank Williams as Sung by Don Gibson — —
Country Green 17 —
1972 Woman (Sensuous Woman) 16 —
The Two of Us Together (with Sue Thompson) — —
1973 Touch the Morning / That's What I'll Do 26 — Hickory/MGM
1974 Snap Your Fingers 21 —
The Very Best of Don Gibson 30 —
Bring Back Your Love to Me 38 —
1975 I'm the Loneliest Man 47 —
Oh, How Love Changes (with Sue Thompson) 43 —
Don't Stop Loving Me — —
1977 I'm All Wrapped Up in You — —
If You Ever Get to Houston — —
1978 Starting All Over Again — —
Look Who's Blue — —
Singles[edit]
Year
Single
Chart Positions
Album
US Country
US
[3]
CAN Country
1956 "Sweet Dreams" 9 — — single only
1958 "Oh Lonesome Me" 1 7 — Oh Lonesome Me
"I Can't Stop Lovin' You" 7 81 —
"Blue Blue Day" 1 20 —
"Give Myself a Party" 5 46 — I Wrote a Song
"Look Who's Blue" 8 58 — singles only
1959 "Who Cares" 3 43 —
"A Stranger to Me" 27 — —
"Lonesome Old House" 11 71 —
"Don't Tell Me Your Troubles" 5 85 — I Wrote a Song
"Heartbreak Avenue" — — — Oh, Lonesome Me
"I'm Movin' On" 14 — — single only
1960 "Big Hearted Me" 29 — — Look Who's Blue
"Just One Time" 2 29 —
"Far, Far Away" 11 72 — Sweet Dreams
"Sweet Dreams" (re-recording) 6 93 —
1961 "What About Me" 22 100 —
"The World Is Waiting for the Sunrise" — 108 —
"Sea of Heartbreak" 2 21 — The Best of Don Gibson
"I Think It's Best" — — — Girls, Guitars and Gibson
"Lonesome Number One" 2 59 — I Wrote a Song
"The Same Old Trouble" — — — singles only
1962 "I Can Mend Your Broken Heart" 5 105 —
"So How Come (No One Loves Me)" 22 — —
1963 "Head Over Heels in Love with You" 12 — —
"It Was Worth It" — — —
"Anything New Gets Old (Except My Love for You)" 22 — — I Wrote a Song
1964 "Oh Such a Stranger" — — —
"Cause I Believe in You" 23 — — singles only
1965 "Again" 19 — —
"Watch Where You're Going" 10 — —
1966 "A Born Loser" 12 — — Great Country Songs
"(Yes) I'm Hurting" 6 — —
"Funny, Familiar, Forgotten, Feelings" 8 — — More Country Soul
1967 "A Lost Highway" 51 — — Great Country Songs
"All My Love" 23 — — All My Love
1968 "Ashes of Love" 37 — — The King of Country Soul
"Good Morning, Dear" 71 — —
"It's a Long, Long Way to Georgia" 12 — 20 More Country Soul
"Ever Changing Mind" 30 — — The King of Country Soul
1969 "Solitary" 28 — — The Best of Don Gibson 2
"I Will Always" 21 — — singles only
"There's a Story (Goin' 'Round)" (with Dottie West) 7 — —
1970 "Don't Take All Your Loving" 17 — 31 A Perfect Mountain
"A Perfect Mountain" 16 — —
"Someway" 37 — 31 Country Green
1971 "Guess Away the Blues" 19 — 4
"(I Heard That) Lonesome Whistle" 29 — 29 Hank Williams as Sung by Don Gibson
"Country Green" 5 — 7 Country Green
1972 "Far, Far Away" (re-recording) 12 — 6 Woman (Sensuous Woman)
"Woman (Sensuous Woman)" 1 — 1
"Is This the Best I'm Gonna Feel" 11 — 3
1973 "If You're Goin' Girl" 26 — 9 Touch the Morning / That's What I'll Do
"Touch the Morning" 6 — 5
"That's What I'll Do" 30 — 83
"Snap Your Fingers" 12 — 23 Snap Your Fingers
1974 "One Day at a Time" 8 — 30
"Good Old Fashioned Country Love" (with Sue Thompson) 31 — 29 single only
"Bring Back Your Love to Me" 9 — 14 Bring Back Your Love to Me
1975 "I'll Sing for You" 27 — —
"(There She Goes) I Wish Her Well" 24 — 48 I'm the Loneliest Man
"Don't Stop Loving Me" 43 — — Don't Stop Loving Me
"I Don't Think I'll Ever (Get Over You)" 76 — —
1976 "You've Got to Stop Hurting Me Darling" 79 — —
"Doing My Time" 39 — — I'm All Wrapped Up in You
"I'm All Wrapped Up in You" 23 — —
1977 "Fan the Flame, Feed the Fire" 30 — — If You Ever Get to Houston
"If You Ever Get to Houston (Look Me Down)" 16 — —
"When Do We Stop Starting Over" 67 — —
1978 "Starting All Over Again" 16 — — Starting All Over Again
"The Fool" 22 — —
"Oh, Such a Stranger" 61 — — Look Who's Blue
"I Love You Because" flip — —
"Any Day Now" 26 — 31
1979 "Forever One Day at a Time" 37 — 33 singles only
1980 "Sweet Sensuous Sensations" 42 — —
"I'd Be Crazy Over You" — — —
"Love Fires" 80 — —
Singles from collaboration albums[edit]
Year
Single
Artist
Chart Positions
Album
US Country
CAN Country
1969 "Rings of Gold" Dottie West 2 1 Dottie & Don
"Sweet Memories" 32 —
1970 "Till I Can't Take It Anymore" 46 —
1971 "The Two of Us Together" Sue Thompson 50 — The Two of Us Together
1972 "Did You Ever Think" 71 —
"I Think They Call It Love" 37 —
"Cause I Love You" 64 —
1973 "Go with Me" 52 49
"Warm Love" 53 52
1975 "No One Will Ever Know" — — Oh, How Love Changes
"Oh, How Love Changes" 36 —
"Maybe Tomorrow" — —
1976 "Get Ready-Here I Come" 98 —
"Let's Get Together" — —
References[edit]
Jump up ^ Gilliland, John (1969). "Show 10 - Tennessee Firebird: American country music before and after Elvis. [Part 2]" (audio). Pop Chronicles. University of North Texas Libraries.
Jump up ^ "2010 Inductees". North Carolina Music Hall of Fame. Retrieved September 10, 2012.
Jump up ^ Whitburn, Joel (2011). Top Pop Singles 1955–2010. Record Research, Inc. p. 356. ISBN 0-89820-188-8.
Wolfe, Stacey (1998). "Don Gibson". In The Encyclopedia of Country Music. Paul Kingsbury, Editor. New York: Oxford University Press. p. 199.
External links[edit]
Gibson discography at Emory Law
Gibson in the Country Music Hall of Fame
Gibson at the Nashville Songwriters Foundation
Allmusic Don Gibson with Biography, Discography, Charts
Website for the Don Gibson Theater
show
v
t
e
Don Gibson
Studio albums
Oh Lonesome Me
No One Stands Alone
That Gibson Boy
Collaboration albums
Dottie and Don
Notable singles
"Sweet Dreams"
"Oh Lonesome Me"
"I Can't Stop Loving You"
"Blue Blue Day"
"I'm Movin' On"
"Just One Time"
"Sea of Heartbreak"
"Woman (Sensuous Woman)"
"Snap Your Fingers"
"The Fool"
Collaboration singles
"Rings of Gold"
"Till I Can't Take It Anymore"
Related articles
Roy Orbison Sings Don Gibson
show
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Authority control
WorldCat Identities
BIBSYS: 90546648
BNE: XX1535436
BNF: cb13894448w (data)
GND: 134384660
ISNI: 0000 0001 0792 4001
LCCN: nb2007012778
MusicBrainz: 870ab832-904b-4b49-ab72-7e6b0e0da65f
SNAC: w6hh6xtv
SUDOC: 079490344
VIAF: 100245393
Retrieved from "https://en.wikipedia.org/w/index.php?title=Don_Gibson&oldid=856292203"
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1928 births
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Unilever House
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Unilever House
Unilever House seen from Blackfriars Bridge
Wikimedia | © OpenStreetMap
Former names
Lever House
General information
Architectural style
Neoclassical Art Deco
Location
Blackfriars
London, EC4
United Kingdom
Address
100 Victoria Embankment
Coordinates
51°30′42″N 0°06′17″W / 51.511654°N 0.104671°W / 51.511654; -0.104671Coordinates: 51°30′42″N 0°06′17″W / 51.511654°N 0.104671°W / 51.511654; -0.104671
Current tenants
Unilever, Bristows, Royal Mail
Construction started
1929
Completed
1933; 85 years ago (1933)
Renovated
1977–83; 2004–07
Owner
Unilever
Technical details
Floor area
385,500ft²
Design and construction
Architect
James Lomax-Simpson
Architecture firm
Sir John Burnet & Partners
Other designers
Thomas S. Tait
Sculptures:
William Reid Dick
Gilbert Ledward
Walter Gilbert
Eric Gill
Renovating team
Renovating firm
Kohn Pedersen Fox Associates
Other designers
Pringle Brandon
Unilever House is a Grade II listed office building in the Neoclassical Art Deco style, located on New Bridge Street, Victoria Embankment in Blackfriars, London. The building has a tall, curving frontage which overlooks Blackfriars Bridge on the north bank of the River Thames.[1]
The site of Unilever House was previously occupied by Bridewell Palace, a residence of Henry VIII, which later became a poorhouse and prison. These buildings were destroyed in 1864 making way for De Keyser's Royal Hotel.[2][3] In 1920, Lord Leverhulme leased the site to build the London headquarters of his soap manufacturing company Lever Brothers, which became Unilever in 1930. Construction did not commence until 1929.
Contents
1 Construction
2 Architecture
3 Renovation
4 Gallery
5 References
Construction[edit]
The building design and construction is thought to be a collaboration between James Lomax-Simpson, a member of the Unilever Board, and John James Burnet and Thomas S. Tait, partners in the firm of Sir John Burnet and Partners. However, there is some uncertainty over the credit for the design; a note by Simpson claims exclusive credit, suggesting that Burnet and Tait only approved the final design. Burnet and Tait exhibited the design as a joint work with Simpson at the Royal Academy, and the drawings held at the City of London Record Office are signed by Burnet and Tait alone.[4]
John James Burnet, although active in this project, was retiring around this time due to ill health, and Tait, a leading practitioner of modern architecture, worked on aspects of the building design.[5][6]
The main contractor for the construction of the building was Holland, Hannen & Cubitts.[7]
Architecture[edit]
The most striking aspect of the building is its enormous curving frontage along the Victoria Embankment, with its giant Ionic columns between the fourth and sixth floors. The heavily rusticated ground floor is windowless to reduce traffic noise inside the building. The corners are marked by entrances surmounted by large plinths on which are placed sculptures of human figures restraining horses (called Controlled Energy[8]) by Sir William Reid Dick. Merman and mermaid figures are by Gilbert Ledward. The original lift cars were lined with art deco pewter panels designed by Eric Gill.
Renovation[edit]
A refurbishment of 1977–83 saw the addition of parapet figures by Nicholas Munro and a new north entrance lobby in a Neo Art Deco style, by Theo Crosby of Pentagram.[9] The building has been extended along Tudor Street.[4]
In 2004, the firm Kohn Pedersen Fox Associates began renovation work in consultation with English Heritage and the City of London to make alterations to the interior work space. As part of the renovations, original fittings were retained or re-used, such as parquet flooring or Eric Gill's pewter lift car panels, but Crosby's distinctive and historically-important additions were removed.[10] A roof garden was created on top of the building.[11]
Gallery[edit]
The curved Neoclassic front
Unilever monogram
Decorative detailing
The front door
Sculpture of a man and horse, Sir William Reid Dick RA, "Controlled Energy"
Counterpart, Woman and Horse, Unilever House, Sir William Reid Dick RA, "Controlled Energy"
Unilever Building, Thames and Blackfriars Bridge, London, at night
Unilever Building, Thames and Blackfriars Bridge, London, at night
Interior of Unilever House. The sculpture is "The Space Trumpet" by Conrad Shawcross[12]
References[edit]
Jump up ^ Sutcliffe, Anthony (2006). "The Modern Breaks Through, 1914–1939". London: An Architectural History. Yale University Press. ISBN 978-0-300-11006-7.
Jump up ^ Howgego, James L. (1977). The Victorian and Edwardian City of London from Old Photographs. Batsford. ISBN 978-0-7134-0598-9.
Jump up ^ De Keyser's Royal Hotel, Victoria Embankment, London[1]
^ Jump up to: a b Pevsner, Nikolaus; Bradley, Simon (1997). the Buildings of England. London 1: the City of London. Penguin. ISBN 978-0-300-09652-1.
Jump up ^ "Unilever Building". Dictionary of Scottish Architects. Retrieved 2008-11-16.
Jump up ^ "Unilever House" (PDF). Open Site 2005. 2005. Retrieved 2008-11-17.
Jump up ^ "London landmarks built by Cubitts" (PDF). Thamesmead. Archived from the original (PDF) on 5 January 2009. Retrieved 4 June 2012.
Jump up ^ Philip Ward-Jackson: Public Sculpture of the City of London (Public Sculpture of Britain). Liverpool University Press, Liverpool 2003, ISBN 978-0-85323-977-2, p. 278. Retrieved 2010-08-30
Jump up ^ Crosby was the Design Consultant on the job. The design team was headed by Frank Bex, working with Unilever's chief architect Roy Ashworth
Jump up ^ These additions are illustrated in No.9 Unilever House: Towards A New Ornament. In Pentagram Partners (Author), Delphine Hirasuna (Editor): Pentagram Papers. Chronicle Books, 2006, ISBN 978-0-8118-5563-1. In this Paper, Crosby argues that his work on Unilever House was part of a necessary "change of emphasis" in building; to reduce the scale at which buildings are contemplated, and to "revive the responsible craftsman".
Jump up ^ "Unilever House, London, United Kingdom". Design Build Network. Retrieved 2008-11-16.
Jump up ^ "100 Victoria Embankment - 'Unilever House' - Building Details". Open House London. Retrieved 2016-04-24.
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Japonism
From Wikipedia, the free encyclopedia
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"Japonesque" redirects here. For the Koda Kumi album, see Japonesque (album). For the Arashi album, see Japonism (Arashi album).
Young Ladies Looking at Japanese Objects by the painter James Tissot in 1869 is a representation of the popular curiosity about all Japanese items that started with the opening of the country in the Meiji Restoration of the 1860s. Large number of artifacts came to the West and were exhibited and sold to an eager audience.
First described by French art critic and collector Philippe Burty in 1872, Japonism, from the French Japonisme, is the study of Japanese art and artistic talent.[1] Japonism affected fine arts, sculpture, architecture, performing arts and decorative arts throughout Western culture.[1] The term is used particularly to refer to Japanese influence on European art, especially in impressionism.[2]
Contents
[hide]
1 Ukiyo-e
2 History
2.1 Seclusion (1639–1858)
2.1.1 Seclusion era porcelain
2.2 Nineteenth century re-opening
3 Artists and movements
3.1 Vincent van Gogh and woodblock color palettes
3.2 Edgar Degas and Japanese prints
3.3 James McNeill Whistler and British Japonism
3.4 Gustav Klimt
3.5 Artists influenced by Japanese art and culture
4 Japanese gardens
5 Museums
6 Gallery
7 See also
8 References and sources
9 External links
Ukiyo-e[edit]
From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists.[3] Ukiyo-e began as a Japanese painting school developed in the 17th century.[4] Ukiyo-e woodblock prints were created to fit a demand for inexpensive, souvenir images.[3] Although the prints were inexpensive, they were innovative and technical which gave each one value.[5] These prints were rarely created with a single patron in mind, rather they were created for the commercial market in Japan.[3] Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe.[3] Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions.[6]
History[edit]
Seclusion (1639–1858)[edit]
Further information: Orientalism in early modern France
Chantilly porcelain pot, painted with bamboo and prunus and two birds. 1730–1735
During the Edo period (1639–1858), Japan was in a period of seclusion and only one international port remained active.[7] Tokugawa Iemitsu, ordered that an island, Dejima, be built off the shores of Nagasaki from which Japan could receive imports.[7] The Dutch were the only country able to engage in trade with the Japanese, however, this small amount of contact still allowed for Japanese art to influence the West.[8] Every year the Dutch arrived in Japan with fleets of ships filled with Western goods for trade.[9] In the cargoes arrived many Dutch treatises on painting and a number of Dutch prints.[9] Shiba Kōkan (1747–1818) was one of the notable Japanese artists that studied the Dutch imports.[9] Kōkan created one of the first etchings in Japan which was a technique he had learned from one of the imported treatises.[9] Kōkan would combine the technique of linear perspective, which he learned from a treatise, with his own ukiyo-e styled paintings.
Seclusion era porcelain[edit]
Through the seclusion era, Japanese goods remained a sought after luxury by European monarchs.[10] Japanese porcelain manufacturing began in the seventeenth century after the unearthing of kaolin clay near Nagasaki.[10] Japanese manufacturers were aware of the popularity of porcelain in Europe, therefore, some products were specifically produced for the Dutch trade.[10] Porcelain and lacquerware became the main exports from Japan to Europe.[11] Porcelain was used to decorate the homes of monarchs in the Baroque and Rococo style.[11] A popular way to display porcelain in a home was to create a porcelain room. Shelves would be placed throughout the room to display the exotic decorations.[11]
Nineteenth century re-opening[edit]
Carp Vase designed by Eugène Rousseau and made by Appert Frères, 1878–84
During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London.[12]
Japonism began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were to be seen in Paris.[13] In about 1856 the French artist Félix Bracquemond first came across a copy of the sketch book Hokusai Manga at the workshop of his printer, Auguste Delâtre.[14] The sketchbook had arrived in Delâtre's workshop shortly after Japanese ports had opened to the global economy in 1854; therefore, Japanese artwork had not yet gained popularity in the West.[15] In the years following this discovery, there was an increase of interest in Japanese prints. They were sold in curiosity shops, tea warehouses, and larger shops.[14] Shops such as La Porte Chinoise specialized in the sale of Japanese and Chinese imports.[14] La Porte Chinoise, in particular, attracted artists James Abbott McNeill Whistler, Édouard Manet and Edgar Degas who drew inspiration from the prints.[16]
Edward William Godwin designed a number of Japanese-inspired pieces, including this sideboard, 1867–70
European artists at this time were seeking an alternative style to the strict academic methodologies.[17] Gatherings organized by shops like La Porte Chinoise facilitated the spread of information regarding Japanese art and techniques.[17]
Artists and movements[edit]
Advertising poster for the comic opera The Mikado, which was set in Japan (1885)
Ukiyo-e was one of the main Japanese influences on Western art. Western artists were attracted to the colorful backgrounds, realistic interior and exterior scenes, and idealized figures.[18] Emphasis was placed on diagonals, perspective, and asymmetry in ukiyo-e, all of which can be seen in the Western artists who adapted this style.[19] It is necessary to study each artist as an individual who made unique innovations.[20]
Portrait of Père Tanguy by Vincent van Gogh, an example of Ukiyo-e influence in Western art (1887)
Vincent van Gogh and woodblock color palettes[edit]
Vincent van Gogh began his deep interest in Japanese prints when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré.[21] Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life.[21] Van Gogh used Régamey as a reliable source for the artistic practices and everyday life scenes of the Japanese. Beginning in 1885, van Gogh switched from collecting magazine illustrations, such as Régamey, to collection ukiyo-e prints that could be bought in small Parisian shops.[21] Van Gogh shared these prints with his contemporaries and organized a Japanese print exhibition in Paris in 1887.[21] Van Gogh's Portrait of Pere Tanguy (1887) is a portrait of his color merchant, Julien Tanguy. Van Gogh created two versions of this portrait, which both feature a backdrop of Japanese prints.[22] Many of the prints behind Tanguy can be identified, with artists such as Hiroshige and Kunisada featured. Van Gogh filled the portrait with vibrant colors. He believed that buyers were no longer interested in grey-toned Dutch paintings, rather paintings with many colors were seen as modern and were sought after.[23] He was inspired by Japanese woodblock prints and their colorful palettes. Van Gogh included into his own works the vibrancy of color in the foreground and the background of paintings that he observed in Japanese woodblock prints and made use of light to clarify.[23]
Edgar Degas and Japanese prints[edit]
Edgar Degas, Mary Cassatt at the Louvre: The Etruscan Gallery, 1879-1880. Aquatint, drypoint, soft-ground etching, and etching with burnishing, 26.8 x 23.6 cm.
In the 1860s, Edgar Degas began to collect Japanese prints from La Porte Chinoise and other small print shops in Paris.[24] Degas’ contemporaries had begun to collect prints as well which gave him a large collection for inspiration.[24] Among the prints shown to Degas was a copy of Hokusai's Random Sketches which had been purchased by Bracquemond after seeing it in Delâtre's workshop.[17] The estimated date of Degas’ adoption of Japonism into his prints is 1875.[24] The Japanese print style can be seen in Degas’ choice to divide individual scenes by placing barriers vertically, diagonally and horizontally.[24] Similar to many Japanese artists, Degas’ prints focus on women and their daily routines.[25] The atypical positioning of his female figures and the dedication to reality in Degas’ prints aligned him with Japanese printmakers such as Hokusai, Utamaro, and Sukenobu.[25] In Degas' print Mary Cassatt at the Louvre: The Etruscan Gallery (1879-1880), the commonalities between Japanese prints and Degas' work can be found in the two figures: one that stands and one that sits.[26] The composition of the figures was familiar in Japanese prints. Degas also continues the use of lines to create depth and separate space within the scene.[26] Degas' most clear appropriation is of the woman leaning on a closed umbrella which is borrowed directly from Hokusai's Random Sketches.[27]
James McNeill Whistler and British Japonism[edit]
Japanese art was exhibited in Britain beginning in the early 1850s.[28] These exhibitions featured a variation of Japanese objects, including maps, letters, textiles and objects from everyday life.[29] These exhibitions served as a source of national pride for Britain and served to create a separate Japanese identity apart from the generalized "orient" cultural identity.[30] James Abbott McNeill Whistler was an American artist who worked primarily in Britain. During the late 19th century, Whistler began to reject the Realist style of painting that his contemporaries favored. Instead, Whistler found simplicity and technicality in the Japanese aesthetic.[31] Rather than copying specific Japanese artists and artworks, Whistler was influence by general Japanese methods of articulation and composition which he integrated into his works.[31] Therefore, Whistler refrained from depicting Japanese objects in his paintings; instead, he used compositional aspects to infuse a sense of exoticism.[32] Whistler's The Punt (1861) displayed his interest in asymmetrical compositions and dramatic uses of foreshortening. This composition style would not be popular among his contemporaries for another ten years, however it was a characteristic of earlier Ukiyo-e art.[6]
Gustav Klimt[edit]
The most well-known japonised painting of Gustav Klimt is The Second Portrait of Adele Bloch-Bauer. In the last style of Klimt, he was influenced by a Norwegian fuavist.
Artists influenced by Japanese art and culture[edit]
Artist
Date of Birth
Date of Death
Nationality
Style
James Tissot 1836 1902 French Genre Art, Realism
James McNeill Whistler 1834 1903 American Tonalism, Realism, Impressionism
Édouard Manet 1832 1883 French Realism, Impressionism
Claude Monet 1840 1926 French Impressionism
Vincent van Gogh 1853 1890 Dutch Post-Impressionism
Edgar Degas 1834 1917 French Impressionism
Pierre-Auguste Renoir 1841 1919 French Impressionism
Camille Pissarro 1830 1903 Danish-French Impressionism, Post-Impressionism
Paul Gauguin 1848 1903 French Post-Impressionism, Primitivism
Henri de Toulouse-Lautrec 1864 1901 French Post-Impressionism, Art Nouveau
Mary Cassatt 1844 1926 American Impressionism
Bertha Lum 1869 1954 American Japanese Styled Prints
William Bradley 1801 1857 British Portrait
Aubrey Beardsley 1872 1898 British Art Nouveau, Aestheticism
Arthur Wesley Dow 1857 1922 American Arts and Crafts Revival, Japanese Styled Prints
Alphonse Mucha 1860 1939 Czech Art Nouveau
Gustav Klimt 1862 1918 Austrian Art Nouveau, Symbolism
Pierre Bonnard 1867 1947 French Post-Impressionism
Frank Lloyd Wright 1867 1959 American Prairie School
Charles Rennie Mackintosh 1868 1928 Scottish Symbolism, Arts and Crafts, Art Nouveau, Glasgow Style
Louis Comfort Tiffany 1848 1933 American Jewelry and glass designer
Helen Hyde 1868 1919 American Japanese Styled Prints
Georges Ferdinand Bigot 1860 1927 French Cartoon
Japanese gardens[edit]
Claude Monet's garden in Giverny with the Japanese footbridge and the water lily pool (1899)
The aesthetic of Japanese gardens was introduced to the English-speaking world by Josiah Conder's Landscape Gardening in Japan (Kelly & Walsh, 1893). It sparked the first Japanese gardens in the West. A second edition was required in 1912.[33] Conder's principles have sometimes proved hard to follow:
Robbed of its local garb and mannerisms, the Japanese method reveals aesthetic principles applicable to the gardens of any country, teaching, as it does, how to convert into a poem or picture a composition, which, with all its variety of detail, otherwise lacks unity and intent[34]
Samuel Newsom's Japanese Garden Construction (1939) offered Japanese aesthetic as a corrective in the construction of rock gardens, which owed their quite separate origins in the West to the mid-19th century desire to grow alpines in an approximation of Alpine scree. According to the Garden History Society, the Japanese landscape gardener Seyemon Kusumoto was involved in the development of around 200 gardens in the UK. In 1937 he exhibited a rock garden at the Chelsea Flower Show, and worked on the Burngreave Estate at Bognor Regis, a Japanese garden at Cottered in Hertfordshire, and courtyards at Du Cane Court in London.
The impressionist painter Claude Monet modeled parts of his garden in Giverny after Japanese elements, such as the bridge over the lily pond, which he painted numerous times. By detailing just on a few select points such as the bridge or the lilies, he was influenced by traditional Japanese visual methods found in ukiyo-e prints, of which he had a large collection.[35][36][37] He also planted a large number of native Japanese species to give it a more exotic feeling.
Museums[edit]
In the United States, the fascination with Japanese art extended to collectors and museums creating significant collections which still exist and have influenced many generations of artist. The epicenter was Boston in no small part due to Isabella Stewart Gardner, a pioneering collector of Asian art.[38] As a consequence, the Museum of Fine Arts, Boston now houses the finest collection of Japanese art outside Japan.[39] The Freer Gallery of Art and the Arthur M. Sackler Gallery house the largest Asian art research library in the United States and house Japanese art together with the Japanese influenced works of Whistler.
Gallery[edit]
James McNeill Whistler, The Princess from the Land of Porcelain, 1863–1865
James Tissot, La Japonaise au bain, 1864
Félix Bracquemond, Service Rousseau, 1867
Édouard Manet, Portrait of Émile Zola, 1868
Gustave Léonard de Jonghe, The Japanese Fan, c. 1865
James McNeill Whistler, Nocturne in Blue and Gold: Old Battersea Bridge, 1872–1875
Claude Monet, Madame Monet en costume Japonais, 1875
James McNeill Whistler, The Peacock Room, 1876–1877
Vincent van Gogh, La courtisane (after Keisai Eisen), 1887
Vincent van Gogh, The Blooming Plum Tree (after Hiroshige's Plum Park in Kameido), 1887
Henri de Toulouse-Lautrec lithograph poster of 1892
George Hendrik Breitner - Girl in a White Kimono, oil on canvas, 1894[40]
Odilon Redon, The Buddha, 1906
Gustav Klimt, Lady with fan, 1917/18
Miss Finney dancing, Montreal, Quebec, 1923
See also[edit]
Anglo-Japanese style
Arabist – "Arab" style
Chinoiserie – the collecting of art objects from China
Occidentalism – for Eastern Views of the West
Orientalism – Western pictures depicting Near Eastern scenes
Woodblock printing in Japan
Woodcut
References and sources[edit]
References
^ Jump up to: a b Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 1.
Jump up ^ "Japonism". The Free Dictionary. Retrieved 7 June 2013.
^ Jump up to: a b c d Bickford, Lawrence (1993). "Ukiyo-e Print History". Impressions: 1. JSTOR 42597774.
Jump up ^ "Defining Ukiyo-e". Impressions. Japanese Art Society of America. 1: 6. 1976. JSTOR 42597582.
Jump up ^ Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 23.
^ Jump up to: a b Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 45.
^ Jump up to: a b Phaidon (2005). Japonisme: Cultural Crossings Between Japan and the West. New York: Phaidon Press. p. 13.
Jump up ^ Gianfreda, Sandra. “Introduction.” In Monet, Gauguin, Van Gogh… Japanese Inspirations, edited by Museum Folkwang, Essen, 14. Gottingen: Folkwang/Steidl, 2014.
^ Jump up to: a b c d Phaidon (2005). Japonisme: Cultural Crossings Between Japan and the West. New York: Phaidon Press. p. 14.
^ Jump up to: a b c Phaidon (2005). Japonisme: Cultural Crossings Between Japan and the West. New York: Phaidon Press. p. 16.
^ Jump up to: a b c Chisaburo, Yamada. "Exchange of Influences in the Fine Arts between Japan and Europe." Japonisme in Art: An International Symposium (1980): 14.
Jump up ^ Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 1.
Jump up ^ Yvonne Thirion, "Le japonisme en France dans la seconde moitié du XIXe siècle à la faveur de la diffusion de l'estampe japonaise", 1961, Cahiers de l'Association internationale des études francaises, Volume 13, Numéro 13, pp. 117–130, www.persee.fr
^ Jump up to: a b c Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 3.
Jump up ^ Breuer, Karin (2010). The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 67.
Jump up ^ Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 4.
^ Jump up to: a b c Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 68.
Jump up ^ Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 5.
Jump up ^ Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 41.
Jump up ^ Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 14.
^ Jump up to: a b c d Thomson, Belinda. “Japonisme in the Works of Van Gogh, Gaugin, Bernard and Anquetin.” In Monet, Gauguin, Van Gogh… Japanese Inspirations, edited by Museum Folkwang, Essen, 70. Gottingen: Folkwang/Steidl, 2014.
Jump up ^ Thomson, Belinda. “Japonisme in the Works of Van Gogh, Gaugin, Bernard and Anquetin.” In Monet, Gauguin, Van Gogh… Japanese Inspirations, edited by Museum Folkwang, Essen, 71. Gottingen: Folkwang/Steidl, 2014.
^ Jump up to: a b Thomson, Belinda. “Japonisme in the Works of Van Gogh, Gaugin, Bernard and Anquetin.” In Monet, Gauguin, Van Gogh… Japanese Inspirations, edited by Museum Folkwang, Essen, 72. Gottingen: Folkwang/Steidl, 2014.
^ Jump up to: a b c d Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 12.
^ Jump up to: a b Cate, Phillip Dennis; Eidelberg, Martin; Johnston, William R.; Needham, Gerald; Weisberg, Gabriel P. (1975). Japonisme: Japanese Influence on French Art 1854-1910. Kent: Kent State University Press. p. 13.
^ Jump up to: a b Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 75.
Jump up ^ Breuer, Karin (2010). Japanesque: The Japanese Print in the Era of Impressionism. New York: Prestel Publishing. p. 78.
Jump up ^ Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 5.
Jump up ^ Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 8.
Jump up ^ Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 6.
^ Jump up to: a b Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 42.
Jump up ^ Ono, Ayako (2003). Japonisme in Britain: Whistler, Menpes, Henry, Hornel and nineteenth-century Japan. New York: Routledge Curzon. p. 44.
Jump up ^ Slawson 1987:15 and note2.
Jump up ^ Conder quoted in Slawson 1987:15.
Jump up ^ http://www.giverny.fr/en/information/cultural-information/giverny-collection-of-japanese-prints-of-claude-monet/
Jump up ^ http://fondation-monet.com/en/giverny-2/the-japanese-prints/
Jump up ^ Genevieve Aitken, Marianne Delafond. La collection d'estampes Japonaises de Claude Monet. La Bibliotheque des Arts. 2003. ISBN 978-2884531092
Jump up ^ 1957-, Chong, Alan, (2009). Journeys east : Isabella Stewart Gardner and Asia. Murai, Noriko., Guth, Christine., Isabella Stewart Gardner Museum. [Boston]: Isabella Stewart Gardner Museum. ISBN 1934772755. OCLC 294884928.
Jump up ^ "Art of Asia". Museum of Fine Arts, Boston. 2010-10-15. Retrieved 2017-09-27.
Jump up ^ "George Hendrik Breitner - Girl in White Kimono". Rijksmuseum, Amsterdam. Retrieved 12 May 2012.
Sources
Slawson, David A. Secret Teachings in the Art of Japanese Gardens (New York/Tokyo: Kodansha 1987)
Halen Widar (1990). Christopher Dresser. Phaidon.
thesis: Edo print art and its Western interpretations (PDF)
External links[edit]
Wikimedia Commons has media related to Japonism.
"Japonisme" from the Metropolitan Museum of Art Timeline of Art History
Influence on Vincent van Gogh under header "An overview"
"Orientalism, Absence, and Quick~Firing Guns:The Emergence of Japan as a Western Text"
"Japonisme: Exploration and Celebration"
"Japonism" from the Museu Picasso Barcelona
"Exhibition: Secret Images. Picasso and japanese erotic prints" from the Museu Picasso Barcelona's blog
Marc Maison's Gallery specialized in Japonism
The Private Collection of Edgar Degas, fully digitized text from The Metropolitan Museum of Art libraries; contains essay Degas, Japanese Prints, and Japonisme (pgs 247-260)
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