Celebrating an era of dynamic and creative cross-pollination between Japanese design and European Art Nouveau at theturn of the last century, Le Japon Artistique features stunning floral imagery drawn from a variety of rare books held in the collection of the Museum of Fine Arts, Boston. Seldom seen outside the museum context, these lush botanical motifs are as visually enchanting as they are significant in the arc of Japanese art history. This treat for art and design lovers is the perfect pick for springtime gift giving.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This is the eighth part of a successful series which provides art historians and students with primary-source materials relating to the Western reception of Japanese arts from the late nineteenth to the early twentieth century. It is now common knowledge that art collectors in Europe around the end of the nineteenth century played a very important role in the development of Japanese influence on Western art, in particular on the Impressionists who became acquainted with Ukiyoe by Hokusai, or other Japanese artefacts, many of which were imported from Japan by art dealers for their clients in Europe. The figure who played the most important role in such a European art community is Siegfried Bing (known simply as S. Bing), a German art dealer who relocated to Paris in the mid-nineteenth century. He imported and introduced Japanese art and later opened the now famous gallery, the Maison de l'Art Nouveau, which showed works of artists of what would become known as the Art Nouveau style. In 1888, he launched a monthly magazine on Japanese art and culture simultaneously in three languages editions (French, English and German) and published 36 issues over three years (in total of 108 issues in different editions). Each issue has a beautifully decorated cover and approx. ten full colour plates of Japanese prints and other Japanese art and numerous illustrations in black and white. The leading art critics and specialists on Japanese art contributed articles which covered a wide variety of arts, including craft works, architecture and theatre. The publication was achieved by many collaborators in different countries including Antotin Proust, Edmond Goncourt, Tadamasa Hayashi, William Anderson, Paul Manz, Roger Marx etc. This fascimile edition is the first complete reproduction of all issues of all three editions (in a slightly reduced format) with all covers and plates. Although there are academic and art libraries which hold the back issues of this most important document of the history of Japanese art, the majority of such collections lack some editions or some plates or jacket.

In the winter of 1886-87, during his stay in Paris, Vincent van Gogh bought 660 Japanese prints at the art gallery of Siegfried Bing. His aim was to start dealing in them, but the exhibition he organized in the café-restaurant Le Tambourin was a total failure. However, he was now able to study his collection at ease and in close-up, and he gradually became captivated by their colourful, cheerful and unusual imagery. When he left for Arles, he took some prints with him, but the core remained in Paris with his brother Theo. Although some prints were later given away, the collection did not disperse. This book reveals new analyses of the collection, now held in the Van Gogh Museum, given as a long-term loan from the Vincent van Gogh Foundation. The authors delve into its history, and the role the prints played in Van Gogh's creative output. The book is illustrated with over 100 striking highlights from the collection.

Extraordinary collection of Japanese woodblock prints by a well-known artist features 120 plates in brilliant color. Realistic images from a rare edition include daffodils, tulips, and other familiar and unusual flowers.

After Admiral Perry broke through Japan's isolation in 1854, the current of Japanese trade flowed west again, bearing with it the colored woodcuts of Hokusai, Hiroshige, and their contemporaries. Some of the most avid collectors of these prints were the French Impressionists and Nabis, who found in them new ways to treat their own prints. In The Great Wave, Colta Feller Ives, Curator in Charge, Department of Prints and Photographs, The Metropolitan Museum of Art, recounts the phenomenal "cult of Japan" in late nineteenth-century France and reveals through direct comparisons its particular impact on the graphic work of Manet, Degas, Cassatt, Bonnard, Vuillard, Toulouse-Lautrec, and Gauguin.

Winner, 1990 Berkshire Conference Book Award Art Nouveau in Fin-de-Siecle France: Politics, Psychology, and Style explores the shift in the locus of modernity from technological monument to private interior. It examines the political, economic, social, intellectual and artistic factors, specific to late 19th century France, that interacted in the development of art nouveau.