Eastern Wind, Northern Sky
Japanese Art and Culture in a Danish Optic in the Latter Half of the 19th and the Early 20th Centuries
In: Journal of JaponismeSearch for other papers by Malene Wagner in
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Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
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Bodelsen Merete 1939 Copenhagen Fischers Forlag Karl Madsen Bibliografi
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Gelfer-Jørgensen Mirjam 2014 Copenhagen Det Kongelige Danske Videnskabernes Selskab Pietro Krohn – Danmarks Kunstneriske Puls: Kunst, Teater, Museum
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Krog Arnold 1910 Copenhagen Den Kongelige Porcelainsfabrik Den Kgl. Danske Porcelainsfabriks Historie 1795–1909
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Krohn Pietro Japanske Sværdprydelser i det danske Kunstindustrimuseum 1893 Tidsskrift for Kunstindustri
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Krohn Pietro Verdensudstillingen i Paris Aar 1900 1900 Tidsskrift for Industri
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Krohn Pietro Om Japansk Kunst og Kunstindustri, 1902 Tidsskrift for Industri
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Looström Ludv 1897 Stockholm Officiel Berättelse Allmänna Konst- och Industriutställningen i Stockholm 1897
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Madsen Karl De Japanesiske Billeders Æmner og Karakter 1882 September Ude og Hjemme
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Madsen Karl 1885 Copenhagen P.G. Philipsens Forlag Japansk Malerkunst
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Madsen Karl Udstillingen af kinesisk og japansk Kunstindustri 1886 November Særtryk af Industriforeningens Tidsskrift
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Madsen Karl Kjøbenhavns Porcellæn og Utterslev Pottemageri 1887 Tidsskrift for Kunstindustri
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Madsen Karl Hr. S. Bing og den japanske Samling 1888 Kunstbladet
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Madsen Karl 1889 Copenhagen J. Jørgensen & Co. Japanske Billeder Udstillede i Kunstforeningen
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Madsen Karl Le Japon artistique 1891 Tidsskrift for Kunstindustri
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Meier F.J. Noget om Dansk Keramik paa Udstillingen 1888 Tidsskrift for Kunstindustri
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Nottleman Steen 2000 Copenhagen Nyt Nordisk Forlag Royal Copenhagen Porcelain 1775–2000
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Nyrop Camillus 1877 Copenhagen Gyldendalske Boghandels Forlag Om Kunstindustri og kunstindustrielle Museer
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Nyrop Camillus 1889 Copenhagen Nielsen & Lydiche Et Indtryk fra Verdensudstillingen i Paris: Fransk og Dansk Kunstindustris Fremme
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Ogasawara Nobuo 1983 Tokyo Kodansha Sword guards and fittings from Japan: The collection of the Museum of Decorative Art, Copenhagen : bequest of Dr. Hugo Halberstadt
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Pollard Clare 2002 New York Oxford University Press Master Potter of Meiji Japan: Makuzu Kozan (1842–1916) and his workshop
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Schou-Christensen Jørgen 1991 Copenhagen Kunstindustrimuseet Japan-Fascination: En Samling gennem 100 år
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Schultz Sigurd 1931 Year 4 Nyt Tidsskrift for Kunstindustri
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Slomann Vilhelm Den kongelige danske Porcelains Fabrik 1948 special edition Før og nu: Historisk, topografisk tidsskrift og illustrationsværk
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Wagner Malene 2010 University of Copenhagen Japan at the World Exhibitions 1873–1900: The construction of a national and cultural identity through the arts, MA thesis
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Weisberg Gabriel P. On Understanding Artistic Japan 1986 vol. 1 (Spring The Journal of Decorative and Propaganda Arts
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Worsaae J.J.A Om et Industrimuseum i Kjøbenhavn 1885 Tidsskrift for Kunstindustri
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1
Pietro Krohn, “Japanske Sværdprydelser i det danske Kunstindustrimuseum,” Tidsskrift for Kunstindustri (1893), pp. 5–6. Translated from Danish.
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2
See Karl Madsen, “De Japanesiske Billeders Æmner og Karakter,” Ude og Hjemme (September, 1882), pp. 585–588 and pp. 598–602.
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8
Karl Jensen visited Paris in 1889, the year of the Exposition Universelle, where he was able to experience a significant selection of Japanese art.
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9
Prior to the 1880s, the Japanese collection at the Danish Royal Ethnographical Museum already included a range of objects from Arita ware, netsuke, lacquer, to armour, woodblock prints and books, the latter including Hokusai’s Manga, of which some volumes had been donated to the museum from the Siebold Collection in Leiden. See Madsen 1885, p. 112. Several of Hokusai’s Manga were also part of the Royal Copenhagen Porcelain Manufactory’s former collection, now at CLAY, Museum of Ceramic Art, Denmark.
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14
Arnold Krog, Den Kgl. Danske Porcelainsfabriks Historie 1795–1909 (Copenhagen: Den Kongelige Porcelainsfabrik, 1910), p. 704.
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19
Karl Madsen, “Kjøbenhavns Porcellæn og Utterslev Pottemageri,” in Tidsskrift for Kunstindustri (1887), p. 72.
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22
See Malene Wagner, Japan at the World Exhibitions 1873–1900: The construction of a national and cultural identity through the arts, MA thesis, University of Copenhagen, 2010, p. 26.
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23
See Gabriel P. Weisberg, “On Understanding Artistic Japan,” in The Journal of Decorative and Propaganda Arts, vol. 1 (Spring, 1986), p. 13.
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25
From the 1880s, promoted by art critic Okakura Kakuzō (1832–1913) and American art enthusiast Ernest Fenollosa (1853–1908), a shift took place, and the Japanese government now looked to the traditional and classical art and culture of Japan for a more ‘authentic’ national and cultural Japanese identity. See Wagner, Japan at the World Exhibitions, pp. 39–44.
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27
Madsen, “Udstillingen af kinesisk og japansk Kunstindustri,” p. 3.
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31
Nyrop (ed.) 1888, pp. 274–275.
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33
Karl Madsen, “Hr. S. Bing og den japanske Samling,” in Kunstbladet (1888), p. 119.
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36
Karl Madsen, “Le Japon artistique,” in Tidsskrift for Kunstindustri (1891), p. 65.
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41
F.J. Meier, “Noget om Dansk Keramik paa Udstillingen,” in Tidsskrift for Kunstindustri (1888), p. 80.
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42
Nyrop (ed.) 1888, pp. 284–285.
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43
Vilhelm Slomann, “The Royal Danish Porcelain Manufactory,” in Før og nu: Historisk, topografisk tidsskrift og illustrationsværk (special edition, 1948), p. 261. Translated from Danish.
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46
Already in May 1860, a museum of similar character, Museet for Sculptur og Kunstflid, was established, the collection of which was a mix of national and foreign, new and old objects, the remains of the former Kunstkammer. It existed for only seven years as the mixed and deficient collection did not catch the interest of the Danish public. J.J.A. Worsaae, “Om et Industrimuseum i Kjøbenhavn,” in Tidsskrift for Kunstindustri (1885), p. 1.
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47
See Camillus Nyrop, Om Kunstindustri og kunstindustrielle Museer (Copenhagen: Gyldendalske Boghandels Forlag, 1877).
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48
Camillus Nyrop, Et Indtryk fra Verdensudstillingen i Paris: Fransk og Dansk Kunstindustris Fremme (Copenhagen: Nielsen & Lydiche, 1889), pp. 34–36.
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54
Quoted in Ogasawara, Nobuo, Sword guards and fittings from Japan : The collection of the Museum of Decorative Art, Copenhagen : bequest of Dr. Hugo Halberstadt (Tokyo: Kodansha, 1983), p. 31.
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59
Pietro Krohn, “Verdensudstillingen i Paris Aar 1900,” in Tidsskrift for Industri (1900), p. 10. Translated from Danish.
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60
Pietro Krohn, “Om Japansk Kunst og Kunstindustri,” in Tidsskrift for Industri (1902), pp. 143–164.
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62
Krohn, “Verdensudstillingen i Paris Aar 1900,” pp. 687–688. Translated from Danish.
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Eastern Wind, Northern Sky
Japanese Art and Culture in a Danish Optic in the Latter Half of the 19th and the Early 20th Centuries
In: Journal of JaponismeSearch for other papers by Malene Wagner in
Current site
Google Scholar
PubMed
Among countries like Germany, France and England, Denmark took part in the ‘japanomania’ that swept the West in the second half of the nineteenth and early twentieth centuries. Key figures in promoting Japanese art were art historian Karl Madsen and artist and museum director Pietro Krohn. Both played a significant role in trying to establish Denmark in the field of Japanese art on a par with serious international art collectors and connoisseurs. Their connections to Justus Brinckmann in Hamburg and Siegfried Bing in Paris enabled them to put on exhibitions that would introduce to a Danish audience a, so far, relatively unknown and ‘exotic’ art and culture. Often perceived in the West as expressing an innate understanding of nature, Japanese art became a source of inspiration for Danish artists and designers, such as Arnold Krog, who would create a synthesis between the Nordic and Japanese in his porcelain works.
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 469 | 26 | 5 |
| Full Text Views | 285 | 3 | 0 |
| PDF Views & Downloads | 57 | 15 | 0 |