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Netherlandish art testifies in various ways to the interconnectedness of the Early Modern world. New trade routes, the international Catholic mission, and a thriving publishing industry turned Antwerp and Amsterdam into capitals of global exchange. Netherlandish prints found a worldwide public. At home, everyday lives changed as foreign luxuries, and local copies, became widely available. Eventually, Dutch imitations of Chinese porcelain found their way to colonists in Surinam. This volume of the Netherlands Yearbook for History of Art breaks new ground in applying the aims and approaches of global art history to the Low Countries, with essays ranging from Greenland to South Africa and Mexico to Sri Lanka. The Netherlands, as a fringe area of the Habsburg Empire marked by internal fault lines, demonstrated remarkable artistic flexibility and productivity in the first period of intensive exchange between Europe and the rest of the world.

The Influence of Japanese Sexual Imagery on Western Art
Author:
At its height in the late nineteenth and early twentieth centuries, Japonisme had a tremendous impact on Western art. In this publication, author Ricard Bru approaches the cultural phenomenon of Japonisme from an innovative standpoint. He presents an in-depth discussion of the influence of Japanese printed erotic imagery by ukiyo-e masters such as Kitagawa Utamaro, Katsushika Hokusai, and Utagawa Hiroshige on European artists, including Edgar Degas, Auguste Rodin, Henri de Toulouse-Lautrec, Gustav Klimt and Pablo Picasso, as well as writers, critics, and collectors, such as Edmond de Goncourt, Joris-Karl Huysmans, and Émile Zola. With over 160 color illustrations sourced from public and private collections, Erotic Japonisme demonstrates the rich artistic dialogue that existed between Europe and Japan.
Chinese Wartime Literature, Art, and Film, 1937-49
In Fragmenting Modernisms, Carolyn FitzGerald traces the evolution of Chinese modernism during the War of Resistance against Japan (1937-45) and Chinese Civil War (1945-49) through a series of close readings of works of fiction, poetry, film, and visual art, produced in various locations throughout wartime China.

Showing that the culture of this period was characterized by a high degree of formal looseness, she argues that such aesthetic fluidity was created in response to historical conditions of violence and widespread displacement. Moreover, she illustrates how the innovative formal experiments of uprooted writers and artists expanded the geographic and aesthetic boundaries of Chinese modernism far beyond the coastal cities of Shanghai and Beijing.
In: Fragmenting Modernisms
In: Fragmenting Modernisms
In: Fragmenting Modernisms
In: Fragmenting Modernisms
In: Fragmenting Modernisms
In: Fragmenting Modernisms
In: Fragmenting Modernisms