The Influence of Japanese Figure Conventions on French Art of the Late Nineteenth Century

Japanese ukiyo-e prints influenced the treatment of figures in French art during the second half of the nineteenth century. While this topic has been addressed by scholars of japonisme, I did not find a work in English focused solely on it. Herein, I analyze the transfer of Japanese figure conventions to French art by compiling Gabriel Weisberg, Colta Feller Ives, and Jay Martin observations, and comparing French and Japanese art to information from scholars such Kloner, presenting my support my argument. Works by major artists Edouard Manet, Edgar Degas, and Mary as own Cassatt are discussed. I chose these artists because their works span the second half of the nineteenth century; they shared similar artistic principles connected with the Impressionist movement; and they influenced each other. This thesis is organized into five chapters, the first explaining the cultural context of French specifically, why Japanese art became a significant part of the French art world. The second chapter discusses Manef s japonisme regarding figures. The third and fourth chapters discuss Degas and Cassatt respectively. Each chapter treats each artist’s known encounters with Japanese prints and compares certain French works with Japanese prints. Often, works by the French artists are compared to specific Japanese prints when it has been documented that an artist owned or saw the related 111 ukiyo-e print and copied it in one of his or her pieces. If a piece by a French artist appears to have Asian influence, and Japanese prints containing the same characteristics are example from ukiyo-e is given with the understanding that the French artist may have seen prints like it, not necessarily that specific print. In the concluding chapter, the argument is summarized, and several opportunities for expanding upon the topic are suggested