Ono examines cross-cultural artistic exchange between the West and Japan from the late nineteenth century to the early twentieth century.

Studies of Japonisme have been dominated by searching out relationships of influence between artworks–trying to identify which specific works influenced a particular artist. Ono argues that a more holistic understanding of ''spillover effects'' is necessary in fully comprehending the nuances of these relationships. She bases this argument on documents and works of art in the context of globalisation, looking at the relationships between James McNeill Whistler and others with their contemporaries in the Japanese artistic and literary worlds. This was a more complex two-way exchange than is often appreciated, with Western artists taking inspiration from (to them) new Japanese styles, while Japanese artists and writers were trying to craft a ''modern'', more western-influences style to reflect the modern nation of Japan emerging onto the world stage after centuries of relative isolation.

A fascinating analysis of the role of globalisation and cultural exchange in the development of new and hybrid artforms, that will be essential reading for scholars of this fascinating period in international art history.

Ono examines cross-cultural artistic exchange between the West and Japan from the late nineteenth century to the early twentieth century.

Studies of Japonisme have been dominated by searching out relationships of influence between artworks–trying to identify which specific works influenced a particular artist. Ono argues that a more holistic understanding of ''spillover effects'' is necessary in fully comprehending the nuances of these relationships. She bases this argument on documents and works of art in the context of globalisation, looking at the relationships between James McNeill Whistler and others with their contemporaries in the Japanese artistic and literary worlds. This was a more complex two-way exchange than is often appreciated, with Western artists taking inspiration from (to them) new Japanese styles, while Japanese artists and writers were trying to craft a ''modern'', more western-influences style to reflect the modern nation of Japan emerging onto the world stage after centuries of relative isolation.

A fascinating analysis of the role of globalisation and cultural exchange in the development of new and hybrid artforms, that will be essential reading for scholars of this fascinating period in international art history.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme.This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the ''Glasgow boys'' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme.This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the ''Glasgow boys'' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.

Ono examines cross-cultural artistic exchange between the West and Japan from the late nineteenth century to the early twentieth century.

Studies of Japonisme have been dominated by searching out relationships of influence between artworks–trying to identify which specific works influenced a particular artist. Ono argues that a more holistic understanding of ''spillover effects'' is necessary in fully comprehending the nuances of these relationships. She bases this argument on documents and works of art in the context of globalisation, looking at the relationships between James McNeill Whistler and others with their contemporaries in the Japanese artistic and literary worlds. This was a more complex two-way exchange than is often appreciated, with Western artists taking inspiration from (to them) new Japanese styles, while Japanese artists and writers were trying to craft a ''modern'', more western-influences style to reflect the modern nation of Japan emerging onto the world stage after centuries of relative isolation.

A fascinating analysis of the role of globalisation and cultural exchange in the development of new and hybrid artforms, that will be essential reading for scholars of this fascinating period in international art history.

Ono examines cross-cultural artistic exchange between the West and Japan from the late nineteenth century to the early twentieth century.

Studies of Japonisme have been dominated by searching out relationships of influence between artworks–trying to identify which specific works influenced a particular artist. Ono argues that a more holistic understanding of ''spillover effects'' is necessary in fully comprehending the nuances of these relationships. She bases this argument on documents and works of art in the context of globalisation, looking at the relationships between James McNeill Whistler and others with their contemporaries in the Japanese artistic and literary worlds. This was a more complex two-way exchange than is often appreciated, with Western artists taking inspiration from (to them) new Japanese styles, while Japanese artists and writers were trying to craft a ''modern'', more western-influences style to reflect the modern nation of Japan emerging onto the world stage after centuries of relative isolation.

A fascinating analysis of the role of globalisation and cultural exchange in the development of new and hybrid artforms, that will be essential reading for scholars of this fascinating period in international art history.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme.This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the ''Glasgow boys'' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.

Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme.This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the ''Glasgow boys'' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.