In 1872, French art critic Philippe Burty coined the term “Japonisme” to refer to the growing western admiration for “all things Japanese.” European and American enthusiasm for Japanese exports led, however, to the creation of entirely new categories of Japanese “art” than those recognized in Japan. Elizabeth Emery, author of Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853–1914 (Bloomsbury, 2020), will reassess the conceptual framework of Japonisme to ask: who has the right to create new aesthetic categories? Who and what do such classifications exclude? How have temporally specific cultural preferences shaped entire fields of study?
Professor Emery’s presentation will be followed by a response from Chelsea Foxwell, a specialist in modern Japanese-style (Nihonga) painting, and a moderated conversation with curator Rachel Saunders.