#relacoespublicas #rp #rpmoda #pr #publicrelations » 2015 » Fevereiro » 14 » Discovering Japanese Art: American Collectors and the Met
12:20 Discovering Japanese Art: American Collectors and the Met | |
 The 100th anniversary in 2015 of the Department of Asian Art at The Metropolitan Museum of Art offers an ideal opportunity to explore the history of the Museum’s collection of Japanese art. Showcasing more than 200 masterworks in a variety of media, Discovering Japanese Art: American Collectors and the Met will tell the story of how the Museum built its comprehensive collection of Japanese art beginning in the early 1880s, when the Museum owned just a small, eclectic array of Japanese decorative arts. Works on view include the world-renowned Great Wave by Hokusai and brilliantly colored screen paintings such as Irises at Yatsuhashi by Ogata Kōrin and Morning Glories by Suzuki Kiitsu. For the first time in over a decade, magnificent sliding-door paintings that once belonged to the Zen monastery Ryōanji in Kyoto will be on display. Spanning ancient to modern times, the exhibition will explore the trends that shaped art collecting and the reception of Japanese art in the United States. Moreover, it will shed light on key American collectors and curators whose passion for Japanese art helped the Museum build its now world-renowned collection. About 70 works will be rotated into the exhibition in June. The exhibition is made possible by The Miriam and Ira D. Wallach Foundation Fund. Early American Collectors of Japanese Art [Gallery 223] The story of collecting Japanese art in America only began after the Japan-U.S. “Treaty of Peace and Amity” was signed in 1854, when wealthy art lovers could begin to travel to Japan and have direct access to the traditional culture and decorative arts of the long-isolated country. The opening room of the exhibition thus focuses on collections formed by the pioneer American travelers and artists who visited Japan. The 1870s was also a decade of growing interest in the Japanese decorative arts in America, engendered in part by the Centennial Exhibition of 1876, the first official World’s Fair in the United States, held in Philadelphia. Louis Comfort Tiffany (1848–1933) himself had a collection of Asian art to provide models of techniques and designs for sumptuous goods for New York’s social elite. Similarly, Tiffany & Co.’s artistic director of silver manufacturing Edward C. Moore (1827–1891) and Mr. Tiffany’s associate Samuel Colman (1832–1920) both became dedicated collectors of Japanese decorative arts and patrons of the Museum. Highlights of the Moore collection, including metal ware and bamboo baskets, will be featured in this section. The first official bequest to the Museum, in 1881, was the collection of Stephen Whitney Phoenix (1839–1881), son of a wealthy New York merchant and political family. On view will be a handful of the finest Japanese lacquers that had already been put on loan to the Museum in 1873–74, when the Met’s fledgling collections were first displayed in the Douglas Mansion at 128 West 14th Street. Other Americans who honeymooned and did “curio” shopping in Japan played a major role in augmenting the Museum’s collections. Charles Stewart Smith (1832–1909), a Trustee of the Met, was involved in the dry goods business and primarily collected European paintings. Yet while on honeymoon with his third wife in Japan in 1892, he became enamored of Japanese paintings and ceramics. Highlights of the large Smith bequest that will be on display include highly refined Nabeshima porcelains, the hyper-meticulous Peacock and Peonies hanging scroll by Tani Bunchō (1763–1840), and an impressive array of ink paintings on bird-and-flower subjects by Kawanabe Kyōsai (1831–1889), one of the greatest traditional painters of the Meiji period. A section of the first gallery will also be devoted to a display of netsuke, the small sculptural ivory toggles used to attach lacquer inrō (portable medicine case) to men’s kimono sashes. Most of them were part of a donation of 2,500 netsuke in 1910 by Mrs. Russell Sage (Margaret Olivia Slocum Sage, 1828–1918), an enlightened philanthropist of New York. mage Caption: Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as the Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Katsushika Hokusai Japan, Edo period (1615–1868), ca. 1830–32 Polychrome woodblock print; ink and color on paper 10 1/8 x 14 15/16 in. (25.7 x 37.9 cm) The Metropolitan Museum of Art, H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 #The Metropolitan Museum of Art | |
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