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Van Gogh admired the techniques of Japanese artists. [12]Characteristic features of ukiyo-e prints include their ordinary subject matter, the distinctive cropping of their compositions, bold and assertive outlines, absent or unusual perspective, flat regions of uniform colour, uniform lighting, absence of chiaroscuro, and their emphasis on decorative patterns.
The art of woodblock printing in Japan was of great influence for Van Gogh as he was a big collector of many Japanese pieces. [18] Throughout his lifetime, he had collected hundreds of Japanese prints, [19] including Geishas in a Landscape by Torakiyo Sato, which was then used as inspiration for the copy in the background of this portrait. [20]
Vincent van Gogh was a collector of Japanese prints, [14] decorating his studio with them. He was heavily influenced by these prints, particularly those by Hiroshige, and in 1887 painted copies of two of the One Hundred Famous Views of Edo, Sudden Shower over Shin-Ōhashi bridge and Atake and Plum Park. [5]
Vincent van Gogh's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré. [31] Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. [ 31 ]
The source was a woodcut (27.3 x 21.9 cm) by Jean-Baptise Millet after his brother Jean-François Millet. Its strong contour line was the inspiration for Vincent van Gogh's Sorrow. [55] Woman Spinning 1889 Collection Sara and Moshe Mayer, Tel Aviv Museum of Art, Israel (F696) Winter: The Plain of Chailly 1862 Osterreichische Gallerie, Vienna
La Mousmé also known as La Mousmé, Sitting in a Cane Chair, Half-Figure (with a branch of oleander) was painted by Vincent van Gogh in 1888 while living in Arles, which van Gogh dubbed "the Japan of the south". Retreating from the city, he hoped that his time in Arles would evoke in his work the simple, yet dramatic expression of Japanese art ...
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