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P
Part 4
The Influence of Japonisme on Painters
Japanese prints were talked about a lot in a major Paris exhibition in 1878, making a
discuss
and made
deep impression on painters at the time. Since then, Paris has been the European center
深い感銘を与える
Pily of
**
取り入れる
of all things Japanese. Many of these artists borrowed colors, compositional elements,
構図
日本的な物
and motifs from Japanese prints.
要素
They influenced the works of many, including Henri de Toulouse-Lautrec, Edgar Degas,
作品 多くの人の
and Mary Cassatt. Clearly the impact of Japanese prints can
be seen
in
Toulouse-Lautrec's Divan Japonais, where he used flat, unshaded forms and bright bold
先行詞
in which
colors. Degas's In a Café clearly shows the influence of Japonisme by borrowing both the
ukiyo-e compositional devices of having a cut-off object in the foreground and making an
仕かけ 同格
前景
asymmetrical composition. In Europe at the time, a subject should have been positioned
非対称の構図=a diag nal
~すべきたったのに
at the center.
line
Kitagawa Utamaro, whose works were shown at the 1890 exhibit, influenced Mary
Cassatt, an American living in Paris. Utamaro used images of beautiful women in
everyday settings. His influence on Cassatt can be seen in many of her paintings,
including The Letter. The motif of The Letter is similar to that of Utamaro: an attractive
~に似ている
woman in an everyday activity. In addition, the choice of colors in The Letter - bold
さらに
blues - and the flat, unshaded forms are influenced by Japanese woodblock prints. This
19th century cross-cultural exchange of artistic ideas changed the way (that many
western artists viewed and represented the world.
S
世の見方
表現の仕方
Sがしする方法

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Part 3
Monet and Ukiyo-e
doo
will be
e of t
5/6
e left
th
O
73歳
S
Ukiyo-e had a great effect on Claude Monet, one of the most famous painters of French
影響を与える
Impressionism. In 1856, when he was 16, he discovered Japan when he bought his first
印象主義
P.P.
ukiyo-e prints. He found them in a shop that sold things brought back by foreign
travelers,
~を持ち帰る
Perhaps the greatest gift Japan gave Monet and Impressionism was a fascination with
F
魅惑
現実世界でのあり方
the way SV
light and shadow, the balance of colors, and the curve of a line. Not the way it is in real
light and shadon
the balance of colors
Aではなく
life, but the way it looks in the artist's imagination. the curve of a line
芸術家の想像の中でのあり方
Sが✓する方法
"I have learned the structure of birds, animals, insects and fish, and the nature of
grass and trees. Therefore, when I am 80, I will have made more progress," Hokusai
未来完了形 進歩する
wrote sixteen years before his death at age 89. "At 90, I will master the secrets of things,
he died
and at 100, I will have reached a marvelous stage. When I am 110, everything I draw,
whether one dot or one line, will be living."
Aであれ Bであれ)
未来進行形
That
S
When Monet created a water garden, it was Japanese-inspired - it too was a 'floating
影響を受けた
I
world.' The green, curved bridge over the water lily pond (The Water-Lily Pond, 1900)
水道
seems to have been influenced by Hiroshige's woodblock print (Inside Kameido Tenjin
to have been
完了不定詞
受動態
+P.P.
Shrine Japan, Edo period, 1856). Monet spent the last years of his life painting water
晩年
spend 時間
lilies. He painted them again and again, until he lost his sight. He was searching for
~ing
~して時間を過ごす
~を探す
・求める
perfection.
It
seems
that the bridge
was influenced.
おります