golden globes

(maxfield parrish; toshi yoshida; jowett; woodbury; tiffany)

Henri Georges Jean Isidore Meunier

"This design for Rajah coffee is a classic of Belgian Art Nouveau poster art. It was called Meunier's 'best work' and 'a masterpiece' by L'Stampe et L'Affiche in 1898. Appropriately, a strong coffee tone dominates the colour scheme"

"Henri Meunier was an artist of exceptional purity. He took flat colours in flat tints and his thick outlines from Japanese prints to construct strong and clear images: 'With two or three pure colours, he fixes an impression that penetrates and imposes itself like the truth' justly notes Demure de Beaumont."

"As a poster designer, Meunier knew how to organize well-observed detail to create an almost musical ambiance…by compositions that are gravely meditative, clean and synthetic…

The Son of Belgian engraver Jean-Baptiste Meunier and nephew of sculptor Constantin Meunier, Henri seems to have come by his artistry in a genetic fashion. After completing brilliant studies at the academy in his native Ixelles, he went on to pursue many fields: printmaker, poster designer, graphic reporter and book binder. Oostens-Wittamer characterizes his poster work as focused on bringing out opposing light and dark values within his often large, contained, flowing masses of color"

Not unlike the Maitre de L'Affiche series, L'Estampe Modern was a portfolio printed between 1897-98, published by Imprimerie Champenois, Paris, contained 24 monthly portfolios, with four original lithographs in each. Each commissioned only for this series. As well as Mucha, some of the contributing artists included Rhead, Meunier, Ibels, Steinlen, Willette and Grasset.

"Meunier was the scion of a distinguished Belgian art dynasty: his father worked in copper, and an uncle was a sculptor… His design for Starlight soap, with the artfully synthesized design of a bathing child, two or three simple colours, are all he needs to get across a definite visual impact"1

despite all of this, and besides a few postcards, these are nearly all that remain accessible of his work.

what we remember

michael often speaks about the fact that there are many wonderful artists from the past out there that just aren't known by many people at all today.












i think of his comments frequently as i go through various books, various collections. so many artists that i've never heard of, after studying this area for decades, and of whom only a tiny bit of work remains.









for many, the only work of theirs that is remembered, reprinted, is from Les Maîtres de l'Affiche. because they received a life outside of their lives as posters, they remain.










but i'm grateful that any remain at all. look at her blue eyes. see the whole collection at the nypl.


(the only remaining image i could find by alice r. glenny; the only image i could find by fred hyland; only two from otto fischer.)

hohenstein: father of the italian poster

The rise of the Italian poster is intimately tied to the opera, the only national cultural institution in Italy at the turn of the century. Ricordi, the music publisher of Verdi and Puccini, decided in 1874 to create an in-house printing operation to promote its music. It began by installing the most advanced German lithographic presses and hiring a brilliant German Art Nouveau master, Adolfo Hohenstein, to train a staff of Italian artists.

Though born in Russia of German parents, Hohenstein (1854-1928) understood the Italian spirit so thoroughly that he is often called the "Father of the Italian Poster." Hohenstein’s charming La Boheme of 1895 was his first great Italian opera poster. It revealed the artist’s absorption of French poster art, particularly Cheret, in its playful and carefree depiction of Bohemian life in Paris. Yet in its classically rich color harmonies and use of strong diagonals to build dramatic impact [ital mine], the poster showed traits which would increasingly distinguish Italian poster art from other national traditions.1

Adolfo Hohenstein was a set designer at La Scala before being engaged by the Ricordi Publishing company in 1889 as a poster and frontispiece designer. His Edgar [not found] poster was his first known work in that capacity. Opera was a national past time in Italy and Ricordi published hundreds of opera-themed postcards that the public collected and mailed with fervor. The best of their efforts were postcards from the designs of Hohenstein and Metlicovitz. The La Bohème set, attributed to Hohenstein, no doubt coincided with the premiere of Puccini's piece. One of his other postcard sets is of Mascagni's neglected masterpiece, Iris. 2

Ricordi opened an in-house lithography shop to promote its operas and sheet music business. Ricordi quickly became the leading lithographer in Italy and by 1895 was creating posters for other clients such as Campari, the Milan newspaper Corriere della Sera, and the Mele Department store of Naples. Under the tutelage of Adolfo Hohenstein, a brilliant stable of artists emerged at Ricordi. Artists including Cappiello, Caldanzano, Cavaleri, Dudovich, Laskoff, Metlicovitz and Mataloni brought Art Nouveau, known as Stile Liberty in Italy, to a world class level.3,4

(i know these little stories contradict each other and are not somehow chronological, but this is how legend is built, i'm finding. only occasionally am i willing to come up with an official version all on my own. all of the artwork is by hohenstein except for the giulio marchetti, which is by leopoldo metlicovitz, an obvious student of the master.)

japonism: beauty from the netherlands

george hendrik breitner was one of the pre-eminent dutch impressionists and devotees of japonisme. friends with van gogh, and working just at the time that japanese imports hit europe, it is easy to see how he became aware of, enthralled with, this new aesthetic.








apparently there are seven paintings of girls (and women?) in kimono, but i could only fine these five. the one in black, the one adult woman, could almost be by whistler, or maybe john singer sargent, but the rest make me very curious.










while they are really not suggestive in any way, i just wonder why he chose young girls. is this all one girl, his daughter? i wonder.... most of the websites i found for him are in dutch, and i couldn't find an online translator that really was that helpful, so perhaps the answer is out there, and it was just lost to me.

munch

In Paris, thanks to the craze known as Japonisme, Japanese prints were everywhere, and along with his first glimpses of Van Gogh, Gauguin, and the Belgian Symbolist James Ensor, they were catalysts for the style of The Scream and his other best-known works, with their strong, sinuous, flowing lines, contrasting vivid or lurid colors, and flattened or compressed space.1

the greater of the two?

i came across a very interesting article about a museum exhibition in japan:

It can only be described as culture shock of historical scope. After 300 years of virtually complete isolation, the painters of a nation with its own proud artistic traditions--refined, diverse, inspired--were suddenly confronted with paintings showing scenes of unknown lands with a realism that they had never imagined within the realm of painting, and executed in paints capable of a seemingly impossible range of nuance, even transparency.

Even if a similar culture shock was occurring on the other side of the world at about the same time, as European painters were enchanted with the intriguing perspectives and creative use of color in Japanese ukiyo-e prints, the shock of the Japanese painters must surely have been the greater of the two.(page no longer available.)

the translated version of the page about the exhibition is here.

the images here are by john william waterhouse (apparently untranslatable), a painter clearly in both the pre-raphaelite and impressionist camps, with a look clearly quite different from what the japanese artists were doing.

the second i'm afraid i can't figure out the name of the second artist, but i believe i can see influences of van gogh and even the nabis.

woman with halo

well, galliano may have gone all out in his interpretation of japonisme, but jean paul gaultier has given us a glorious revisit of mucha.

woman with halo, this is what appears in nearly every single mucha image. of course he is not the only designer who has sainted us.

our hats have often served as halo, and in japan, the greater the halo, the more prestigious the courtesan.

and then of course there's often been umbrella as halo.

but easily the most notable is halo as halo itself.1





(gaultier, mucha, gaultier, barbier, unknown, kinichika toyohara, maud tousey fangel, unknown, yoshitoshi -- i think...., fr. theodore jurievicz)

japonisme and galliano

Dior brings Japonism- and Couture- back to Paris1

Amanda Gore in Designers, Luxury, Paris, Show Reports












The magnificent couture gowns sent down the runway by John Galliano for Dior yesterday had more than a slight flavour of geisha, as models with perfectly painted white faces were swathed in folds of rich fabrics and exotic colours in outfits intricately constructed of origami pleats, kimono jackets, obi belts, and Hokusai-inspired prints.






The highly extravagant and elaborate outfits showed that the skills of couture are still very much alive, and demanded poise and grace from the models.2


(gekko ogata; helen dryden)

blue heads

who is this bird, or these birds?

it seems unlikely that there are two completely different birds both with blue heads, red breasts, and black throats.








but... the ones on the berries have longer, thinner beaks. the ones on the cherries have a white eye-stripe and an orange tail.





the ones on the berries have no eye-stripe and a black tail which appears to be shorter.





is it a case of artistic licence?












(the two top ones on the left are by ohara koson and i couldn't retrace that third one; on the right, the top and middle are sozan ito, and the bottom one is biho hirose )

scotland and japan

i have come across a number of painters of this era who are western, and who paint in a decidedly western style, but favor japanese subjects. one of these is the scottish painter edward atkinson hornel.

while some of his paintings and drawings take on the asymmetry of the japanese prints, in general his main influence was the beauty of what he saw in japan.




hornel was sent to japan with his friend george henry, by his glasgow art dealer, alexander reid, who was responsible for interesting the two painters in the new wave of japonisme, and the old one of japanese prints.1






henry as well loved painting the visions he saw in japan, but only his watercolors survived the trip home; the oils were not sufficiently dry.2









an early subscriber to the infusion of japonisme, japan anyway, into literature was the man who called himself pierre loti. his 'madame chrysanthemum'3 is considered the first japonisme novel, a precursor to 'madame butterfly.' hornel created illustrations for it.

the book is here.

(top two images are hornel; the right-hand image below them is henry; the illustration is again by hornel; the last is of hornel by bessie macnichol.)