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Adelaide-born Mortimer Menpes was an important Australian expatriate artist who worked in Britain in the late 19th and early 20th centuries. He is most renowned as a close associate of Whistler from 1880 until 1888, a time when he was influenced by Whistler's Japanese-inspired aestheticism and acknowledged Whistler as his 'master'. However, Menpes's most prolific and successful period as an artist, post-dates his Whistlerian years. From the late 1880s and throughout the 1890s Menpes's paintings and etchings, inspired by his first-hand experience of visiting Japan (and other 'exotic' locations) were enthusiastically received by a London audience eagerly embracing Japonisme. Menpes also achieved acclaim as a portraitist, with leading actors, artists, politicians and society figures flocking to his famous Japanese-inspired house to have their portraits painted or etched. This publication is the first to consider Menpes' whole oeuvre and contribution to British art. It presents new scholarship from leading Menpes' scholars from around the world and illustrates key works from public and private collections in Britain, the United States and Australia together for the first time.
Japan held a profound fascination for western artists in the latter half of the nineteenth century and the influence of Japonisme on western art was pervasive. Paradoxically, just as western artists were beginning to find inspiration in Japan and Japanese art, Japan was opening to the western world and beginning a process of thorough modernisation, some have said westernisation. The mastery of western art was included in the programme. This book examines the nineteenth century art world against this background and explores Japanese influences on four artists working in Britain in particular: the American James McNeill Whistler, the Australian Mortimer Menpes, and the 'Glasgow boys' George Henry and Edward Atkinson Hornel. Japonisme in Britian is richly illustrated throughout.
Nachdruck der englischsprachigen Originalausgabe aus dem Jahr 1909 mit 75 farbigen Abbildungen.
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The book examines the interactions between Britain and India during the Raj in relation to issues of empire and visual culture. It explores the impact of the Anglo-Indian colonial encounter on the arts and aesthetic traditions of both cultures. Presenting a unique overview that ranges from painting, print-making and photography to architecture, exhibitions and Indian crafts, the book considers the art of urban elites and princely states alongside popular arts. The book highlights the key role of art in forging British colonial ideology. It offers accessible discussions of issues such as Orientalism and (post)colonialism and presents current approaches to questions of British art and empire. It is structured around visual examples which include early nineteenth-century British views of India, Indian negotiations of Western aesthetics represented by Company painting, Kalighat art, and the rise of Indian national art. It covers the display of Indian crafts both in India and at international exhibitions in Britain, as well as the place of India in the British Arts and Crafts movement. The role of the market and items of fashion such as the Kashmir shawl are also discussed, along with the role of photography in representing the colony and questions around national and imperial architecture. The book is aimed at students but will also be relevant to members of the general public with an interest in questions of art, visual culture and empire in relation to Britain and British India.