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Photography & the Japanese Print

By the nineteenth century, new forms of art were emerging and artists were now searching for ways to “unite objective reality and artful perception.” Photography and East Asian art, particularly the Japanese print, were among these new forms in France. The author of this article, Deborah Johnson, goes on to explain how these two specific forms provided artists with the motivation necessary in taking the next steps in moving into the modern era.

The announcement of the invention of photography came about in Paris and London in 1839. It became widely popularized during the 1850’s through travel books and exhibitions. Photography offered many new points of interests to artists, particularly landscape artists. They made it possible to achieve more “objective” reality. One of photography’s biggest contributions was the concept of light and shadow. Landscape painters found inspiration in the light, textures, and compositions that were captured by the photograph.

There were two different types of photographs that came about. William Talbot produced photographic prints on paper from a negative base. This process is similar to the one


Another collector of Japanese art was Dr. Philip Franz von Siebold. He published books that reflected his travels in Japan. These books included many illustrations by Japanese artists such as the Nagasaki painters and ukiyo-e printmakers such as Hiroshige and Hokusai. In 1837, Siebold built a museum to display his collection of Japanese prints. His collection was made known and attracted many French visitors. By the 1850’s the art of East Asia was much discussed and respected as well.

we use today. The second was discovered by Dagguerre. Direct positives were printed on small, shiny metal plates. This style was very appealing to the painters of the Paris Salons.

The idea of humanity and nature is a concept well presented in both photography and the Japanese print. There were also concerns with reality and perception that these new forms clarified. Photography and the Japanese print go hand in hand with one another and Johnson does an excellent job expressing that. The photograph gave credibility to the print. Without photography, the Japanese print probably wouldn’t have been as popular as it was. Both also display the idea

Some topics in this essay:
East Asia, Millet Corot, Photography Japanese, Paris London, East Asian, Illustrations Japan, Salons Exhibition, Philip Franz, Deborah Johnson, Hiroshige Hokusai, japanese print, photography japanese print, photography japanese, east asian art, art particularly japanese, collection japanese, art particularly, asian art, particularly japanese, landscape artists, invention photography, particularly japanese print, johnson goes, east asian, asian art particularly,

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Approximate Word count = 780
Approximate Pages = 3 (250 words per page double spaced)


  

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