a critical and logistical effort that sets the ground for further study adressing head-on Foujita’s elaborate brand of hybridity.
All quotes from the catalogue are my own translations from the French or Japanese.
Kuraya Mika, “Slashing the Skin
exoticism, historicism, and women’s bodies” (p. 239). In highly eloquent prose, Cheang examines differences in the making and reception of Japanese kimonos, Chinese robes, and hybrid creations, arguing that the “fluidity” (p. 263) that characterizes such multicultural garments is to be acknowledged and
decoration, it is a decadent hybrid of Japonisme and Art Nouveau. Hiroshige’s woodblock Cranes Flying over Waves (1858) and other Japanese crane images are exhibited near these pieces but, to point out a failing that occurs often in this exhibition, the correspondence is not illuminated. The same goes for
essence, their home became a “personal museum” (p 80). As a resident curator of this collection, then, Goncourt created a catalogue that not only contained descriptive content for each object, but also served as an art historical study and an autobiography – a uniquely hybrid text. “The interior of the
originated in popular literary forms such as renga 連歌, linked poetry, and was subsequently adopted in the visual arts) and mitate 見立 (a form of visual simile by which Chinese and Japanese cultural references are invoked to comment on contemporaneous figures and situations). This hybrid playfulness is a
. These other media encouraged collaborative enterprises and hybrid styles that allowed for formal experimentation. I propose that the ceramic arts, having multiple authors and functions, became a laboratory for negotiating a common denominator for new trends set by artists and cultural entrepreneurs
first sight bear no resemblance to the Japanese prints highlighted in the exhibition. Viking ships and polar bears firmly place Daughters of the Northern Light (1889) in an ancient, mystical north. In a playful furniture set, a hybrid dragon creature devours the chair upon which it is carved, a rustic
is, I can remember our costliest gardens at home only as ignorant displays of what wealth can accomplish in the creation of incongruities that violate nature. 30 Considering Hearn’s commentary as a backdrop to Bradstreet’s undertakings at the Craftshouse provides useful insight into the hybrid