Impressionism – The Influence of Japonisme

Mary Cassatt, Woman Bathing  c. 1890–91
Mary Cassatt, Woman Bathing c. 1890–91

A major influence on Impressionism was Japanese art prints (Japonisme).

The term Japonisme was coined by the French journalist and art critic Philippe Burty in an article published in 1876 to describe the strong interest for Japanese artworks and decorative items.

After Japanese ports reopened to trade with the West in 1854, shiploads of  oriental bric-a brac began pouring into France.  In 1862, a Far Eastern curio shop called Le Porte Chinoise opened near the Louvre Museum, attracting artists visiting the gallery. It sold fans, kimonos, lacquered boxes, hanging scrolls, ceramics, bronze statuary and other items.

In 1867,  Japan held its first formal arts and crafts exhibition at the Paris Exposition Universelle. The exhibition attracted a great deal of interest and resulted in all things Japanese becoming stylish and fashionable. Shops selling Japanese woodblock prints, kimonos, fans and antiquities popped up in Paris like mushrooms.

In the images below, you’ll see paintings by Edouard Manet and James Tissot, indicating that artists visited the 1867 and later expositions, as well as the shops selling Japanese items.

Siegried Bing, who is known as the founder of L’Art Nouveau, began collecting Oriental art and design from the mid 1870s and by the 1880s, after a year long visit to the Orient, he was running no less that three stores in Paris and had become one of the most influential dealers of Japanese art in Europe. In 1890 he organised an exhibition of Japanese woodcuts.

Bing also published a richly illustrated journal, Le Japon Artistique, between 1888 and 1891 which was intended to promote the principles of Japanese design amongst European artists.  He argued that the art of the two nations was united by “ a bond of kinship born of the same love of beauty“*.   Louis Gonse had already published a comprehensive study of Japanese art in two volumes entitled L’Art Japonais in 1883.


These and other similar publications increased the knowledge and interest in Japanese art.

On the crest of this wave of interest in all things Japanese were woodcut prints by masters of the Ukiyo-e  ‘Floating World’ school of printmaking. The subject matter of the Ukiyo-e in 18th and 19th Centuries was drawn from everyday life, it celebrated the non-heroic and was based on the idea that all is transient. These prints were mass-produced as woodcuts and were cheap enough for the average Japanese person (or Parisian) to afford. Three master printmakers from the period were Utamaro, Hiroshige and Hokusai.


The key features of Ukiyo-e prints were that they:

  • had limited depth (flattened picture plane)
  • emphasised shapes
  • used a dark outline
  • generally had asymmetrical composition
  • used flat areas of colour (ie, not modulated or varied)
  • had little or no use of strong contrasts between light and dark (chiaroscuro)
  • could have unusual viewpoints
  • often used a diagonal emphasis in composition
  • focused on everyday subject matter
  • often includes calligraphy
  • were identified by the artist’s stamp
  • had quite large production runs (100+)

Examples of Impressionist and Post Impressionist paintings and prints.

Many of the Impressionists and Post-Impressionists experimented with Japanese techniques in painting and  printmaking, with a number of artists emulating the Ukiyo-e style.

For example,  Claude Monet painted a number of bridges over ponds in his Waterlily series. He praised the quality of Japanese art that “evokes presence by means of shadow, the whole by means of a fragment“.

Mary Cassatt was particularly interested in print making, often using women and children as her subjects. Edgar Degas reflected many of the compositional styles in his drawings and pastels. Van Gogh was also highly influenced by Japanse design and  both Gauguin and Toulouse-Lautrec are renowned for their large areas of flat colour.

In the painting by Manet below, you can see the Japanese prints and screen in the background. To him, these prints brought proof that you could dispense with perspective and limit yourself to flat colours and lines and still do justice to subject matter – even to subject matter drawn from contemporary life. Manet was amongst a number of the artists of the time who collected Japanese prints and other items for their personal appreciation.


Artists such as Toulouse Lautrec saw the value in printmaking and posters not just in terms of composition, but also as a way to create multiple copies of works at a reasonably inexpensive cost.

Like photography, the style of these prints also contributed significantly to the “snapshot” angles and unconventional compositions which would become characteristic of this movement.

Japonisme transformed Impressionist art by demonstrating that simple, transitory, everyday subjects could be presented in appealingly decorative ways. The Impressionists, and Post-Impressionists, admired the use of flat, decorative shapes, bright colours, and asymmetrical compositions which assisted them in exploring new ways of painting and printmaking.

*  S Bing, in Salon Annuel  des  Japonais, Premiere Anee, 1883

 This blog is just a short excerpt from my art history e-course, Introduction to Modern European Art  which is designed for adult learners and students of art history.

This interactive program covers the period from Romanticism right through to Abstract Art, with sections on the Bauhaus and School of Paris,  key Paris exhibitions, both favourite and less well known artists and their work, and information about colour theory and key art terms. Lots of interesting stories, videos and opportunities to undertake exercises throughout the program.

You’ll also find many French works on paper and beautiful fashion plates from the early 1900s by visiting the gallery.

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Impressionism – The transition from Realism in the 1860s.

Berthe Morisot On the Balcony 1872
Berthe Morisot On the Balcony 1872

Impressionism, which can be considered to be the first of the Modern Art movements, had its immediate roots in the traditions of Realism. Realist painters such as Courbet, Millet and Corot were capturing scenes from the ‘natural’ world and people going about their everyday lives, particularly in the countryside.

The Impressionists  also developed an interest in contemporary subject matter, but of an informal and pleasurable kind, especially aspects of the social life of Paris and its surrounds.

A key difference in style between the Realists and Impressionists was that whilst the Realists focused more on the detail of their subject matter, the Impressionists were intent on capturing the most fleeting aspects of nature – especially the changing light of the sun. Most Realist artists made sketches or studies to be completed back in the studio, and often used models and other props to help them finalise their works. The Impressionists also went out into the countryside but chose to paint outdoors (en plein air), often returning to the same spot on several occasions, at the same time of the day, to complete their work. This was made possible because of the increasing number of train routes from Paris to the nearby countryside, and new inventions such as portable and collapsible easels, paint in tubes, a greater range of colours and paintbrushes which were  stronger and thicker.

Other artists who influenced the Impressionist style included Édouard Manet, Eugéne Delacroix and  English painter J. M. W. Turner.

Édouard Manet’s was developing a new approach to painting, with innovations in both colour and brushwork.

Traditionally artists had begun painting their canvases with a layer of dark paint and then built lighter layers of paint on top, waiting for each layer to dry before adding the next one. Finally, they glazed the painting to give the surface a smooth finish. The whole process could take weeks or months.

Manet preferred to complete his portraiture paintings in one sitting whilst his models were sitting in front of him. He did this by painting in  a single layer and leaving the final product unglazed. When he made a mistake, he scraped off the paint down to the bare canvas, and then repainted that area.

Manet also painted in patches of colour to make sharper contrasts. Instead of painting a range of progressively lighter or darker shades of an object to indicate how close it was to a light source, he would simply apply a patch of pure colour.

The Impressionists adopted and modified Manet’s alla prima (at once) painting technique to enable them to capture the shifting effects of light, and also modified his method of applying colour patches by breaking them up into much tinier patches, flecks, and dabs of colour. Impressionists  also “loaded” the paint on the surface, when the accepted tradition of the time was to paint shadows thinly. They also used white, or very lightly tinted colours, to add to brilliance of colour and luminosity to their work.

The Impressionists were also indebted to Romanticist Eugéne Delacroix for his use of  intense colours and pure undiluted pigment. He also began placing pure colours next to each other noticing they would mix in the eye.

J.M.H. Turner’s abstract portrayal of light and the elemental forces of nature also laid the ground work for impressionism.

Impressionism can be identified by the following features:

  • Contemporary social life of a middle class in the cities and suburbs usually at leisure as the main subject;
  • Painting in the evening to get effets de soir – the shadowy effects of the light in the evening or twilight.
  • The composition implies a glimpse or fleeting impression of a scene;
  • Painters experimented with varying  elements such as light and viewpoint;
  • Painters observed nature in natural light;
  • Figures and objects have no outlines, contrast of colour and value create shapes instead;
  • Compositions are cropped, partial figures, unusual  points of view above or below the scene, awkward poses suggesting imminent movement;
  • In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness and openness that was not captured in painting previously. (Blue shadows on snow inspired the technique.)
  • The Impressionists relaxed the boundary between subject and background so that the effect of an Impressionist painting often resembles a snapshot, a part of a larger reality captured as if by chance.
  • Short, thick strokes of paint are used to quickly capture the essence of the subject, rather than its details. The paint is often applied impasto. (Paint is laid on an area of the surface (or the entire canvas) very thickly, usually thickly enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture, the paint coming out of the canvas.)
  • Colours are applied side-by-side with as little mixing as possible, creating a vibrant surface. The optical mixing of colours occurs in the eye of the viewer.
  • Grays and dark tones are produced by mixing complementary colours. In pure Impressionism the use of black paint is avoided.
  • Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and an intermingling of colour.
  • Impressionist paintings do not exploit the transparency of thin paint films (glazes) which earlier artists built up carefully to produce effects. The surface of an Impressionist painting is typically opaque.
  • The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object.

Consider the images in the gallery below. The first three paintings are by Manet, Turner and Delacroix. Can you see how they may have influenced the brushwork and colouring of the following Impressionist works?

In my next blog, I’ll talk some more about the Impressionist style and introduce a few of the key artists; Claude Monet, Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Edgar Degas, and Mary Cassatt.

This is an excerpt from my online modern art appreciation program