PARIS.- On May 23rd, Artcurial will host the auction of an exceptional collection of eighteenth and nineteenth century Japanese prints, as well as seven shinhanga prints illustrating the pictorial renewal of the early twentieth century. The collection was gathered in the 19th century, while Japan opened its doors to the world and its artistic production starts spreading to Europe. Named "Japonism”, this far Eastern art form deeply influenced French and western artists, launching an influx of collections.

The compilations offered by Artcurial comprise of 50 pieces which have remained in the same family since the end of the 19th century. Originaly, the collection included over 150 pieces.

The main Japanese artists who influenced their European counterparts at this time are represented, such as Kitagawa Utamaro, with twelve prints including a fine example on mica background representing Buste d’une jeune femme arrangeant ses cheveux à l’aide d’une épingle (estimate: €30,000 – 40,000 / $33,000 - 44,000) and Toshusai Sharaku with a rare set of six portraits of actors. Artists Suzuki Harunobu, one of the most famous creators of Ukiyo-e colour prints, Utagawa Hiroshige, and the Katsukawa school are also part of the selection.

« As 2018 marked the 160th anniversary of the diplomatic relations between Japan and France including the Japonism 2018 cultural season, we are delighted to highlight this event during our dedicated auction. » --Isabelle Bresset, deputy director Asian Art department, Artcurial

Japanese artist ennobled by Japonisme
The 50 Japanese prints presented by Artcurial illustrate the Ukiyo-e, the artistic movement of Japan in the Edo period (1603-1868), introducing a popular and original painted narrative engraved on wood. Widely distributed in the West in the Meiji era at the end of the nineteenth century, they become a new source of inspiration for European impressionist painters, followed by Art Nouveau Artists.

The main Japanese artists who influenced their European counterparts such as Utamaro, Hiroshige or Hokusai were not recognised in Japan at the time. Their art was considered lightweight and common by the Japanese elites of the time. Japonism thus helped safeguard works doomed to be forgotten and contribute to the development of a new path for Japanese art.

In these works, French and Europeans artists discovered original outlooks in these in the field of colour, drawings, layout, perspective and format, which, combined with other influences (including nascent photography), would produce radical changes in their visual order.

These mass-produced, cheap and easily transportable prints were attractive and interesting for western artists, creating instant fascination, named Japonism. Their aesthetic, framing, compositions, design, solid colours, perspective, the way to apprehend reality and sensitivity, all contributed to the change the artists actual vision.

Japonism’s influence extended throughout many generations: from Degas to Toulouse-Lautrec, Manet to Monet, Van Gogh to Gauguin and of course, Whistler. Then Nabis in Paris and Klimt in Vienna, while Japonism will express itself in gardens, interior designs, and architecture with Frank Lloyd Wright at the turn of the 20th century as its best example.