Dufwa Jacques (6 results)

Cartonato in tela. Condition: fine. English Text.Atlantic Highlands, 1981; hardbound, pp. 222, b/w ill., cm 17x24. Libro.

Condition: Good. From the Library of John Russell Taylor.

222 s. Illustrated. Publisher's hardcover. A very good copy. (Stockholm Studies in History of Art 34).

Brossura. Condition: ottime. Testo inglese. Cm.24x17. Pg.224. Brossura editoriale. Con 164 illustrazioni nel testo. "Akademisk avhandling som för avläggande av filosofie doktorsexamen vid Stockholms Universitet offentligen försvaras i Sal F, Norrtullsgatan 2, Stockholm fredagen den 4 december 1981 kl.10.00". Collana "Acta Universitatis Stockholmiensis", nº34. 600 gr.

Publisher's boards, as new. Stockholm, Almqvist & Wiksell, 1981. Diss. 8:o. 224 pp. + Abstract leaf. Illustrated. (Abstract:) - - - "The purpose of this work has been to trace the origins of the Japonisme that in the 1860s stimulated painting in the West to a radical renewal. A new trend had begun with Delacroix, but the decisive spark was provided by Japanese colour prints - reproductions of ink paintings to which planes of colour have been added. The fact that ink painting has its roots in Zen Buddhist aesthetics makes the latter of fundamental importance to Japanese prints. - - - This thesis commences by outlining the distinguishing characteristics of Japanese painting and follows its development from Yamato-e to Ukiyo-e. Orientalism in European art is then traced from the Chinoiseries of the Rococo period to the Japonisme of the 1860's. Public interest in Japanese art awoke first in London but it was in Paris that Japanese influence really took root. The importance of Bracquemond, Astruc and others as pioneers of Japonisme is affirmed. - - - The main section of the thesis is devoted to a study of European pictorial art from the time Japanese influence is first discernible in certain works by Manet, Degas, Monet and Whistler up to 1886. I have analysed selected works in order to show how these artists were influenced by the Japanese prints. Their differing temperaments and aspirations were of decisive importance in their relationship to Japanese art. This is characteristic of all four artists - of Manet as a lyricist in colour, of Degas as an innovator of form, of Monet as the spontaneous worshipper of nature and of Whistler, the advocate of pure art." - - - (Acta universitatis Stockholmiensis / Stockholm Studies in History of Art, 34.).

Sewn as issued, printed wrappers. Very fine. Provenance: Hans Eklund. Stockholm, Almqvist & Wiksell, 1981. Diss. 8:o. 224 pp. + Abstract leaf. Illustrated. (Abstract:) - - - "The purpose of this work has been to trace the origins of the Japonisme that in the 1860s stimulated painting in the West to a radical renewal. A new trend had begun with Delacroix, but the decisive spark was provided by Japanese colour prints - reproductions of ink paintings to which planes of colour have been added. The fact that ink painting has its roots in Zen Buddhist aesthetics makes the latter of fundamental importance to Japanese prints. - - - This thesis commences by outlining the distinguishing characteristics of Japanese painting and follows its development from Yamato-e to Ukiyo-e. Orientalism in European art is then traced from the Chinoiseries of the Rococo period to the Japonisme of the 1860's. Public interest in Japanese art awoke first in London but it was in Paris that Japanese influence really took root. The importance of Bracquemond, Astruc and others as pioneers of Japonisme is affirmed. - - - The main section of the thesis is devoted to a study of European pictorial art from the time Japanese influence is first discernible in certain works by Manet, Degas, Monet and Whistler up to 1886. I have analysed selected works in order to show how these artists were influenced by the Japanese prints. Their differing temperaments and aspirations were of decisive importance in their relationship to Japanese art. This is characteristic of all four artists - of Manet as a lyricist in colour, of Degas as an innovator of form, of Monet as the spontaneous worshipper of nature and of Whistler, the advocate of pure art." - - - (Acta universitatis Stockholmiensis / Stockholm Studies in History of Art, 34.).