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Marià Fortuny and Japanese Art
In: Journal of JaponismeMarià Fortuny, a painter in the forefront of the European avant-garde of the early 1870s, is also considered a key figure in the introduction of Japonisme in Spain and Italy. This study aims to offer a comprehensive analysis of Marià Fortuny’s links to Japanese art and the phenomenon of Japonisme. To this end, the article provides new information about Fortuny’s collection of Japanese art and considers the influence that these pieces had on the Catalan painter’s own work.
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1
Camille Mauclair, “Un grand oublié: Fortuny,” in Revue Bleue, Politique et Littéraire (July–December 1903), p. 749.
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6
Geneviève Lacambre, Le Japonisme (Paris: Galeries nationales du Grand Palais, 1988); Toshio Watanabe, High Victorian Japonisme (Bern: Peter Lang, 1991).
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12
Geneviève Lacambre, “Gustave Moreau et le Japon,” in Revue de l’art 85 (1989), pp. 66–67.
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13
Walther Fol, “Fortuny (2ème et dernier article),” in Gazette des Beaux Arts (April 1875), p. 362.
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16
Rosa Vives, Fortuny, gravador. Estudi crític i catàleg raonat (Reus: Associació d’estudis reusencs, 1991), p. 61.
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19
Bru, Japonisme. La fascinació per l’art japonès, pp. 63–81; Javier Barón, El paisajista Martín Rico (1833–1908) (Madrid: Museo Nacional del Prado, 2012), pp. 68, 288.
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20
Davillier, Fortuny: sa vie, son oeuvre, sa correspondance, p. 48; Cristina Mendoza i Francesc Quílez, “El col·leccionista d’estampes,” in Fortuny (Barcelona: Museu Nacional d’Art de Catalunya, 2003), pp. 152–159.
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24
Between 1869 and 1870, Giuseppe de Nittis painted several works in which the interest of Fortuny is evident, especially in the painting entitled De Nittis e Fortuny nello studio di Meissonier (1869). See Manuela Moscatiello, Le japonisme de Giuseppe De Nittis. Un peintre italien en France à la fin du XIXè siècle (Bern: Peter Lang, 2011), p. 155.
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30
From February 1900, the magazine Yorozu chōhō 萬朝報 featured a novel entitled Tsuiraku 墜落, publishing it in instalments. In 1906 it was published in four volumes under the titles Eshi no koi (vols 1–2) and Jibō jiki 自暴自棄 (vols 3–4). The novel was based on real characters and, according to the artist himself, featured Kawamura Kiyoo as the main protagonist. Eshi no koi (A Painter’s Love) presented a Japanese painter’s affair with the widow of a great artist of the time. It was based on a real story that may have been the reason Kawamura returned to Japan. We may never know whether Fortuny’s widow was the woman behind the main female character. Takashina and Miwa, Kawamura Kiyoo Kenkyū, p. 49.
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36
Carlos G. Navarro, “Testamentaría e inventario de bienes de Mariano Fortuny en Roma,” in Locus Amoenus (2007–2009), p. 338.
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43
Francisco Miquel y Badía, “Apuntes biográfico-críticos sobre Fortuny,” in Acta de la sesión pública celebrada por la Academia de Bellas Artes de Barcelona el día 29 de diciembre de 1882 dedicada a la memoria de Mariano Fortuny (Barcelona: Tipo-litografía de Celestino Verdaguer, 1883); p. 27. Ch. de Chassiron, Notes sur le Japon, la Chine et l’Inde (Paris: E. Dentu, Ch. Reinwald, 1861), pp. 114–115, 192–193.
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45
Geneviève Lacambre, “Gustave Moreau et le Japon,” in Revue de l’art, 85 (1989), p. 66.
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46
Walther Fol, “Fortuny (2ème et dernier article),” in Gazette des Beaux Arts (April 1875), p. 362; Josep Güell Mercader “Fortuny y sus cuadros,” in Revista contemporánea (15 March 1877), p. 44.
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49
Carlos G. Navarro, “Testamentaría e inventario de bienes de Mariano Fortuny en Roma”, in Locus Amo enus (2007–2009), pp. 342–345.
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53
F. Miquel y Badia, Fortuny. Su vida y obras. Estudio biográfico-crítico (Barcelona: Centro Editorial Artístico de Torres y Seguí, 1887), pp. 46, 56.
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57
Ricard Bru, Erotic Japonisme. The Influence of Japanese Sexual Imagery on Western Artists (Leiden: Hotei Publishing, 2013), pp. 10–21.
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58
González and Martí, Mariano Fortuny Marsal, p. 30 (VA-0.01.72); Victoria Combalía, Jean-Jacques Lebel, Jardí d’eros (Barcelona: Ajuntament de Barcelona, 1999), p. 60.
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61
Santiago Alcolea, “Fortuny i el modelat cromàtic,” in Fortuny, el mite (Reus: Ajuntament de Reus, 2013), p. 78; Rosa Vives, “Apunts sobre els elements avantguardistes en l’obra de Fortuny,” in Fortuny (Barcelona: Museu Nacional d’Art de Catalunya, 2003), pp. 377–385.
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63
Luis Alfonso, “La pintura española y la pintura extranjera en nuestros días,” in Revista Contemporánea 16 (1880), p. 75.
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64
Joaquim Ciervo, Fortuny (Barcelona: Els quaderns d’art, 1935), p. 92. Alfons Maseras also mentions this interest in visiting Japan in his biography, Alfons Maseras, El pintor Fortuny (Barcelona: Editorial Barcino, 1938), pp. 34–35.
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66
Cristina Mendoza, “La senyora Agrassot,” in Fortuny (Barcelona: Museu Nacional d’Art de Catalunya, 2003), pp. 306–309.
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68
Cristina Mendoza, “Els fills del pintor en un saló japonès,” in Fortuny (Barcelona, Museu Nacional d’Art de Catalunya, 2003), pp. 320–323.
| All Time | Past Year | Past 30 Days | |
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Marià Fortuny, a painter in the forefront of the European avant-garde of the early 1870s, is also considered a key figure in the introduction of Japonisme in Spain and Italy. This study aims to offer a comprehensive analysis of Marià Fortuny’s links to Japanese art and the phenomenon of Japonisme. To this end, the article provides new information about Fortuny’s collection of Japanese art and considers the influence that these pieces had on the Catalan painter’s own work.
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 1061 | 152 | 8 |
| Full Text Views | 356 | 4 | 0 |
| PDF Views & Downloads | 73 | 17 | 3 |