Guillaume Apollinaire, “Henri Matisse,” in La Phalange 11, 18 (December 1907), 484; English translation in Jack Flam, Matisse on Art (Berkeley/Los Angeles: University of California Press, 1995), p. 29.

 Guillaume Apollinaire, “Henri Matisse,” in La Phalange 11, 18 (December 1907), 484; English translation in Jack Flam, Matisse on Art (Berkeley/Los Angeles: University of California Press, 1995), p. 29. )| false
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 See Ellen P. Conant, ed., Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art (Honolulu: University of Hawai’i Press, 2006), Introduction, p. 16.

 See Ellen P. Conant, ed., Challenging Past and Present: The Metamorphosis of Nineteenth-Century Japanese Art (Honolulu: University of Hawai’i Press, 2006), Introduction, p. 16.)| false
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 Greg M. Thomas, “The Looting of Yuanming and the Translation of Chinese Art in Europe,” in Nineteenth-Century Art Worldwide 7, 2 (autumn 2008): <http://www.19thc-artworldwide.org/index.php/autumn08/93-the-looting-of-yuanming-and-the-translation-of-chinese-art-in-europe>.

 Greg M. Thomas, “The Looting of Yuanming and the Translation of Chinese Art in Europe,” in Nineteenth-Century Art Worldwide 7, 2 (autumn 2008): <http://www.19thc-artworldwide.org/index.php/autumn08/93-the-looting-of-yuanming-and-the-translation-of-chinese-art-in-europe>.)| false
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 Arif Dirlik, “Chinese History and the Question of Orientalism,” in History and Theory 35, 4 (December 1996), pp. 96–118. See also Jane C. Ju, “Why Were There No Great Chinese Paintings in American Museums before the Twentieth Century?” in Curator: The Museum Journal 57, 1 (January 2014), pp. 61–80. Both Dirlik and Ju write specifically about China, but their arguments can be extended to all of the Far East, including Japan and Korea.

 Arif Dirlik, “Chinese History and the Question of Orientalism,” in History and Theory 35, 4 (December 1996), pp. 96–118. See also Jane C. Ju, “Why Were There No Great Chinese Paintings in American Museums before the Twentieth Century?” in Curator: The Museum Journal 57, 1 (January 2014), pp. 61–80. Both Dirlik and Ju write specifically about China, but their arguments can be extended to all of the Far East, including Japan and Korea.)| false
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 Anonymous, “Popularity of Chinese Paintings,” Kokka XXII, 254 (July 1911), pp. 3–4.

 Anonymous, “Popularity of Chinese Paintings,” Kokka XXII, 254 (July 1911), pp. 3–4.)| false
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 Anonymous, “Popularity of Chinese Paintings,” Kokka XXII, 254 (July 1911), pp. 5.

 Anonymous, “Popularity of Chinese Paintings,” Kokka XXII, 254 (July 1911), pp. 5.)| false
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 Osvald Sirén, The Chinese on the Art of Painting (New York: Schocken Books, 1963), p. 1.

 Osvald Sirén, The Chinese on the Art of Painting (New York: Schocken Books, 1963), p. 1.)| false
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 London: John Murray, 1911.

 See Flam, Matisse on Art, p. 80.

 See Flam, Matisse on Art, p. 80.)| false
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 Flam 1995, 273, note 22.

 Flam 1995, p. 149.

 Georges Duthuit, Chinese Mysticism and Modern Painting (London: Zwemmer, 1936), p. 35.

 Georges Duthuit, Chinese Mysticism and Modern Painting (London: Zwemmer, 1936), p. 35.)| false
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 Duthuit 1936, p. 36.

 Duthuit 1936, p. 36.

 Flam 1995, pp. 38–39.

 Todd Cronan, Against Affective Formalism: Matisse, Bergson, Modernism (Minneapolis: University of Minnesota Press, 2013), passim.

 Todd Cronan, Against Affective Formalism: Matisse, Bergson, Modernism (Minneapolis: University of Minnesota Press, 2013), passim.)| false
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