Japonisme: How Japanese Art Inspired Monet, Degas, and many more!

You probably know about the Impressionists including Monet, Degas, and Van Gogh, but let's look closer at the influence of Japanese art on their work.

In the late 19th century, Japan (reluctantly) opened to international trade after 200+ years of isolation. Their foreign contact had been limited to trade with China, Korea, and the Ryukyu Islands (now Okinawa). There was one trading post called Dejima, by Nagasaki, used for limited contact with the Dutch - the only European traders during isolation.

From the mid-19th century on once Japan opened up, there was a phenomenon known as japonisme in the West - a taste for Japanese goods including lacquerware, bronzes, kimono, and woodblock prints.

After the forced trade agreements in 1854, how Japan modernized in 50 years during the Meiji period is unprecedented and fascinating, but I'll have to leave that to another time.

Claude Monet, Madame Monet en Costume Japonais, 1875.

Why was Japanese art so popular? 

It was fresh, new, and an entirely different aesthetic than what was available in Europe at the time! (On a personal note, I can relate with wanting some new or exciting positive inspiration, especially this year!)

Some distinct characteristics that made the Japanese prints stand out:

• flattened space

• bold use of color

• stylized figures

• dramatic, cropped compositions

What is a woodblock print?  

A cheap print popular among the urban middle class in Edo (now Tokyo). Each is made of several woodcuts. Each color on the final paper is a separate woodcut, only cut to the shape of that color.
They are often made in series, like TheGreat Wave off Kanagawa by Hokusai, is part of a series called Thirty-Six Views of Mt. Fuji.

Explained: The Traditional Process of Japanese Woodblock Printing (including photos of tools and 4 min video)

The woodblock prints were collected in Japan and in Europe since they were as cheap as a bowl of noodles. Some cost more depending on the artist, but the average was accessible enough to collect many of them.

There was a limit to how many reproductions could be completed from one woodblock set to maintain crisp lines, but they could carve another set of woodblocks to produce the same image if needed.

What are they about?   

Anything of interest for the urban class (commoners) in Edo (Tokyo)!
They include portraits of kabuki actors, landscapes of real places, scenes of urban life, scenes of the pleasure quarters and geisha, and stories in history. 

They're under the genre of ukiyo-e 浮世絵 which translates to floating world pictures. It originates from a Buddhist term ukiyo referring to the floating world = the transitory, fleeting nature of experience. With the understanding of the brief, fleeting experience of life, there was a pursuit of pleasure especially in Edo (Tokyo).

The popularity of the prints in Europe amongst the urban middle class may come from somewhat shared interests in everyday life events and scenes, rather than subjects like classic literature, poetry, or religious images.

Monet & Hiroshige

Monet is one of the artists that was influenced by Japanese woodblock prints. He, like many others, collected many woodblock prints since the prints were cheap and widely available. Let's look at his Seacoast at Trouville, 1881.

There are some obvious similarities like

• color palette

• subject (landscape, tree, water)

• unusual composition (tree in center, water in background)

Left: Yokkaichi: Mie River from the series Fifty-three Stations of the Tokaido Road, about 1833-1834. Utagawa Hiroshige (Japanese, 1797-1858). Woodblock print, 9 15/16 x 14 9x16 in.

Right: Seacoast at Trouville, 1881. Claude Monet (French, 1840-1926). Oil on canvas, 23 7/8 x 32 in.

But the more interesting part is the subtle influence of recording a fleeting moment in time. 

European landscapes were usually scenes of a place that seemed unchanging, receding into the distance. However here we have a tree blocking that distant view, blown by the gusty wind. The painting is as much a depiction of the strong wind that is distinctive of a seacoast as it is a painting of a a tree and land. It's a momentary impression.

We can see the effect of the wind similarly in the woodblock print, Yokkaichi: Mie River from the series Fifty-three Stations of the Tokaido Road by Utagawa Hiroshige. 

• A hat blown off with a man chasing after it on the left

• A robe blown in the wind on the right

• All the grass flowing in one direction

• Tree branches flowing to the left

Technically it's a scene showing one of the 53 stops along the Tokaido Road (one of the major roads connecting Edo and Kyoto in Japan), but it's also an image of a sudden gust of wind!

Here’s another depiction of a sudden wind! It's easy to relate with these figures holding on to garments, hats, and other possessions.

Ejiri in Suruga Province from the series Thirty-six Views of Mount Fuji, ca. 1830-1832. Katsushika Hokusai (Japanese, 1760-1849). Woodblock print, 9 7/8 x 14 3/4 in.

Some of the more well-known paintings by Monet that show a direct connection from Japanese prints include those from his garden.
He painted 250 oil paintings of his water lilies, sometimes with the Japanese style footbridge.

Monet's bridge in his garden (left image, and painted in the center) was based on Japanese bridges like this one on the right in Edo (now Tokyo)

Center: Bridge over a Pond of Water Lilies, 1899.
One of many paintings by Monet in his garden with a water-lily pond, designed with influence from Japanese gardens and bridges.

Right: Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Inside Kameido Tenjin Shrine (Kameido Tenjin Keidai), No. 65 from One Hundred Famous Views of Edo, 7th month of 1856. Woodblock print, Image: 13 7/16 x 8 3/4 in.

More on Monet's garden, from the MET Museum here.

Water Lilies, 1919. Claude Monet. Oil on canvas, 39 3/4 x 78 3/4 in.

Another artist influenced by Japanese art in more subtle ways: Degas

Degas & Japonisme

Degas is known for his paintings of dancers. He captured candid moments often in practice or backstage. He studied and was influenced by Japanese woodblock prints. (Though it's worth mentioning that as any artist, his influence was broad and not limited to Japanese art.)

His influence from Japanese art does not include Japanese imagery, but rather is evident in his compositions and unexpected vantage points.

Edgar Degas, Dance Class, 1874. Oil on canvas, 32 7/8 x 30 3/8 in.

This diagonal line from front to back, with a field of color on the top half and another on the bottom, is a repeated composition in his paintings.

The composition with a larger subject in the front and repeated similar forms receding back is seen in Japanese woodblock prints also.

Utagawa Hiroshige (Ando) (Japanese, 1797-1858). Moonlight View of Tsukuda with Lady on a Balcony, from the series Fashionable Genji, 1853, 11th month. Woodblock color print, Sheet of a: 14 1/2 x 10 1/8 in.

Edgar Degas, Dancers Practicing at the Barre, 1877. Mixed media on canvas, 29 3/4 x 32 in.

The watering can and dancers repeat the same silhouette. Repetition of form like this to create a rhythm is seen also in the famous Great Wave.

In Hokusai's composition, the wave in front of the large wave mimics the shape of Mount Fuji in the background.

The edges of the waves as they break are curled over like claws and repeat over and over across the left side, carrying your eye across from right to left. Japanese writing is traditionally right to left so that is a natural flow of the eye when looking at this print.

In summary, Japonisme is broad, referring to the popularity of Japanese goods during the late 19th century. It was evident in a variety of ways for Western artists of that time, including collecting or painting Japanese objects, or subtle influences such as color and composition.

That wraps up our mini lesson.

I hope you enjoyed reading about Japonisme!

This is only a glimpse of two artists, but if you do some more reading on Japonisme you'll come across many others, and a hundred fascinating rabbit trails.

If there are any other topics you're curious about, please comment and let me know!

Sharaku's Prints of Kabuki Actors

The latest addition to my compilation painting of Japanese historical figures is the bottom left figure with a menacing expression and hands aggressively pointing forward.

In progress 22x30” sumi ink on Arches paper

This is from a woodblock print by Tōshūsai Sharaku 東洲斎写楽 (usually known as Sharaku) from the late Edo period. He was known for portraits of kabuki actors, and this is one of the most well-known. The full title is Ōtani Oniji III in the Role of the Servant Edobei in the play The Colored Reins of a Loving Wife 恋女房染分手綱.

Let’s unpack that:

• Ōtani Oniji III = name of actor

• Servant Edobei = name of character in play

• The Colored Reins of a Loving Wife = title of play

It’s a tragic love story full of plot twists, evil characters, a loyal wife fulfilling her duties. Here’s the detailed plot in English.

Original: Woodblock print; ink, color, white mica on paper; 15 x 9 7/8”

What is kabuki?

Popular theater in Japan that started about 400 years ago. The name kabuki 歌舞伎 describes it well: singing歌, dancing舞, acting伎. It was popular among city people, commoners, but not the higher class. The actors were like celebrities in our day in popularity and portraits of them were sought after by fans.

Who was the artist?

Sharaku was a woodblock print artist known for portraits of kabuki actors. He produced almost 150 different prints in only 10 months! Not much is known about him or what happened after that successful year.

First theory: he may have been a Noh (older form of Japanese theater) actor from a daimyo (lord) family so he wouldn’t have had to continue his art career for a living. As part of that family, he would have been trained in calligraphy, which helps explain his incredible skill with the brush and draftsmanship without any record of apprenticeship before his 10-month career. Some say as a performer, he would have had a unique perspective of telling a story visually, though from a different theater tradition.

Another theory that I find fascinating is that Sharaku is actually Hokusai (the artist known for the Great Wave woodblock print). Hokusai’s artist name before “Hokusai” was “Shunro” after his teacher Katsukawa Shunso. He produced many actor prints and illustrated books leading up to 1794 when “Sharaku” was active for less than a year, and “Shunro” produced no actor prints during that time.

I included the reference information to this article explaining the theory included at the end. The art historian goes through the details of comparing lines, dramatic kabuki poses apparent in both, even down to how a demon is depicted by both—all visual evidence that I find quite convincing!

His most well-known prints are dramatic close-ups. The hands and faces are key to telling the audience who the character is. He also clues in the viewer by including the family crest of the actor on the garment.

He had a way of capturing the core character of the role the actor played as well as distinct, recognizable features of the kabuki actors. In a time when it was more common to have idealized or generalized features, it was an unusual style to see recognizable, even exaggerated features without attempting any idealization

Why does the figure (below) look menacing?

• The character this actor is playing is the bad guy Edobei 江戸兵衛

• Edobei is the servant (like a henchman) of the evil character in the play

Sharaku’s work is some of the most well-known in woodblock prints, but it was new information to me that his career was so short (though prolific)! I’m also intrigued by this theory about Sharaku’s identity as Hokusai - just a glimpse into the abundant treasure hunts and mysteries to solve in art history!

I’ll keep sharing some peeks into Japanese history as I continue filling this painting with figures.

Article referenced: Tanaka, Hidemichi. "Sharaku Is Hokusai: On Warrior Prints and Shunrô's (Hokusai's) Actor Prints." Artibus Et Historiae 20, no. 39 (1999): 157-90.

Shop Launch: 6 New Prints!

I’m excited to announce that the shop is LIVE and I’m launching with 6 new prints!

6 new pieces I painted this year are now ready to order as giclee prints through Monday, August 17, 2020.

I painted these imagining them living side by side in sets of 3 like this above, but they stand strong by themselves too!

FIRST, the process and behind-the-scenes stories:

The animal paintings started in my sketchbook with just a few sea creatures and moved to the final draft.

I don’t use pencil for underdrawing, but paint directly onto blank paper so I use sticky notes for placement - they have the shape and name of the creatures on them.

JAPANESE BIRDS

These all live in Japan - some native, some not - all recorded on a document if you’d like to know the names!

This project began with my daughter’s (2 years old) interest in birds. We started visiting ducks and geese close to our house. On walks by one neighbor’s home, she would stop, sit, and watch the birds. That was good indication that it was time to get a bird feeder at home.

We got one for finches and one for hummingbirds. Part of daily life now during quarantine is admiring birds, observing the local varieties, and shooing squirrels away from stealing the bird food.

Fun fact: the bottom right bird unintentionally is an exact portrait of my daughter’s expression when she furrows her brows.

JAPANESE SEA CREATURES

These all live in Japan - some native, some not - all recorded on a document if you’d like to know the names!

If I could pick one animal I’m always drawn to in print or paintings, it would be sea creatures - mostly fish. That includes the Japanese fish scale pattern that I want to add on everything I own.

This painting was the first of my series of 3. I wondered which are around Japan, and sketched how they’d look together. Once I painted a few in my sketchbook, I had to keep going. I could have covered a wall with my list of Japanese sea creatures I wanted to paint, but I narrowed it down to a variety of distinct shapes in an 11x14” painting. I’m sure I’ll revisit painting fish in the future.

JAPANESE REPTILES & AMPHIBIANS

These all live in Japan - some native, some not - all recorded on a document if you’d like to know the names!

This was the final painting in my series of 3. I’ve been working a project called the 100 Day Project, painting animals that express pandemic-related feelings/experiences, and the first of the 100 was a turtle. A few days later I painted a frog. That piqued my interest to learn more, and it was time to start this piece dedicated to reptiles and amphibians in Japan.

Much like the birds and fish, there were far more than I could possibly include in one painting so I chose a variety that stood out while researching.

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OUT OF WORDS 1, 2, 3

My other series came from thinking about news and the range of responses to the deep issues of prejudice this year that we faced in a more direct way. The responses include learning, thinking, protesting, speaking, conversing, giving, questioning, grieving, dismissing…only to name a few.

This year has been surprising, to say the least. Sometimes when I can’t put my experiences or thoughts into words, I paint. I’m mourning and longing, but always with hope. The flowers as center points of the compositions point to new life and to hope.

1 Camellias (far left): one of the meanings (varies by color) is longing in Japanese “hanakotoba” (“flower words” = language of flowers). I, just like almost everyone else, am longing for peace and justice, even if I don’t immediately know how to respond or where to change.

2 Dahlias (center): one of the meanings (also varies by color) is dignity. In a time I didn’t know what action to take, one thing I knew without a doubt was the dignity of every human being regardless of ability, experience, or appearance.

3 Morning glories (right): one of the meanings is united. There are divisions everywhere we look, and some of those have become more apparent this year. This is another thing I long for, to be united to stand for the God-given dignity of every person.

OUT OF WORDS 1

If you look closely by the expressions, you’ll see little bodies attached. These are the body language of a variety of responses that I observed and some that I felt, but couldn’t necessarily put into words.

OUT OF WORDS 2

OUT OF WORDS 3

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ABOUT THE PRINTS: 

All prints are the highest quality giclee reproductions, professionally printed in the Bay Area. They are on archival, matte, acid-free 340gsm 100% cotton fiber material with a watercolor paper texture. The paper is exactly like the original cold press watercolor paper I painted them on!

Dimensions: 11x14”

The measurements include the white edge so they can be framed with or without a mat/mount. The prints are standard sizes (11x14”) so framing options are plentiful. Feel free to contact me with framing questions, but I included some suggestions at the end. I will post separately with more detail about framing options and ideas! 

Side-by-side with original:

In a previous print release of Japanese tea bowls, I placed the original and the print side-by-side and was astonished at the perfect capture and print quality. It’s hard to tell which is the original painting except for the deckled edge on the original watercolor paper.

FREE SHIPPING (domestic): To celebrate the shop launch, I’m offering free shipping!

The print will be packaged in a clear sleeve and will be sealed, laying flat with hard backing in a rigid mailer to ensure it reaches you in perfect condition. Please contact me for a quote for international shipping!

ORDERING: The SHOP is LIVE and the print orders will close on Monday, August 17, 2020 11:59pm. Once orders are received, they will be shipped within 7-10 days.
*Please contact me if you'd prefer to pick up.

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FRAMING TIPS:

Option 1: Professional

Since this is a standard size, you could purchase a pre-made frame and have the framer assemble it. Standard size pre-made frames are significantly less expensive than custom orders.

Framers have specific tools and this option will ensure the framing is done safely, correctly, and with good alignment. You can select different glass options and mat colors (I recommend white that matches the paper white).

Option 2: Semi-DIY with mat

If framing it myself, I would include a mat because I like that space between the painting and the frame.

A good rule of thumb is for the mat to be around 3” wider/taller than the painting. For 11x14” you would need:

• 1 mat (16x20”) with 11x14” opening

• 1 acid-free backing board (16x20”)

• 1 frame (16x20”)

Option 3: Semi-DIY without mat

If space doesn’t allow, I’d go for a simple 11x14” frame. I paint these with this option in mind so there is space between the edge of the painting and the animals. Without a mat, since the frame will be close to the painting, I like the soft look of natural wood close to black ink to keep the painting as the focal point rather than the frame, but it depends on your space!

I call 2 and 3 Semi-DIY because complete DIY would start with cutting the mat yourself using a mat cutter that most don’t have lying around.

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Thank you for browsing! If you enjoyed these paintings, please share with anyone else who may also like to see them.

To get studio updates in your inbox, subscribe at the footer of this page. You’ll be the first to know about more print releases coming this year!

New Prints Available through Tuesday!

Print reproductions of recent work are ready and the pre-orders are in! I'm printing a limited number so email subscribers got the first updates. BUT if you didn’t get a chance to subscribe before the email went out and would still like to order, I’m opening up orders for 2 more days.

ABOUT THE PRINTS: All prints are the highest quality giclee reproductions, professionally printed in the Bay Area. They are on archival, matte, acid-free 340gsm 100% cotton fiber material with a watercolor paper texture. The paper is exactly like the original cold press watercolor paper I painted them on!
The measurements include the white edge so they can be framed with or without a mat/mount. The prints are standard sizes (11x14 or 16x20) so framing options are plentiful. Feel free to contact me with framing questions! 
 

FREE SHIPPING (domestic): The print will be packaged in a cellophane slip for protection. For shipping, the prints will be packaged and sealed between flat multilayered boards to ensure it reaches you in perfect condition. Please contact me for a quote for international shipping!

ORDERING: Here's what I need from you by email or the contact form on the site by end of day Tuesday, October 8!

• Title of the piece you'd like (or titles)

• Shipping name & address*

• Email & phone number for tracking

• Payment via Venmo @emakubo or Paypal to ema.k.roberson@gmail.com

Once I get this info from you (by 10/8/19), the print will be secured for you and ship out shortly!

*Contact me if you'd prefer to pick up.

I painted these imagining them living side by side in sets of 2-3 like this:
 

JAPANESE FOOD

35 each of some favorite things: Nigiri, Wagashi, and Yasai - all recorded on a document if you’d like to know the names! 11x14”

COLLECTIONS

Left: 70 Japanese traditional tea bowls // Right: Japanese characters starting from the top right, corresponding to animal names. 16x20”

BACKYARD BLOOMS

Each one painted looking at real flowers from my parents’ garden. 16x20”

HYDRANGEA PATTERNS

Visited Japan this year during hydrangea season and these were some of my favorites from a hydrangea festival at a local shrine. 11x14”

Here are the 11 available prints including dimensions, prices, and brief descriptions:

• Ochawan [16x20" - $95] giclee print of an original 16x20" watercolor painting of 70 types of Japanese tea bowls of various regions.

Ochawan [16x20" - $95] giclee print of an original 16x20" watercolor painting of 70 types of Japanese tea bowls of various regions.

• Nigiri [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of nigiri sushi.

Nigiri [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of nigiri sushi.

• Wagashi [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of traditional Japanese confections.

Wagashi [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of traditional Japanese confections.

• Yasai [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of Japanese vegetables.

Yasai [11x14" - $80] giclee print of an original 11x14" watercolor painting of 35 types of Japanese vegetables.

• Hiragana Animals [16x20" - $95] giclee print of an original 16x20" Japanese sumi ink painting of animals that correspond with Japanese letters (hiragana).

Hiragana Animals [16x20" - $95] giclee print of an original 16x20" Japanese sumi ink painting of animals that correspond with Japanese letters (hiragana).

• Hydrangea 1 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

Hydrangea 1 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

• Hydrangea 2 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

Hydrangea 2 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

• Hydrangea 3 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

Hydrangea 3 [11x14" - $80] giclee print of an original 12x16" sumi ink and watercolor painting of hydrangeas in late spring in Tokyo.

• Peony [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting of a backyard peony.

Peony [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting of a backyard peony.

• Blush Peony [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting of a backyard peony.

Blush Peony [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting of a backyard peony.

• Rhododendron [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting featuring a front yard peony.

Rhododendron [16x20" - $95] giclee print of an original 16x20" sumi ink and watercolor painting featuring a front yard peony.

Thank you for your time if you made it through this far! If you enjoyed browsing these paintings, share with anyone else who may also like to see them.

To get studio updates in your inbox, you can subscribe at the footer of this page! Coming soon will be a brief (and long overdue) studio/life recap and upcoming show news!

The Birth of a Painting

In case you missed it from my last post, we're expecting baby girl in 8(ish) weeks. With pregnancy and delivery on my mind, I've noticed the many similarities with stages of when I make a painting. Neither are spontaneously produced on a whim!

Preparation takes longer than the final step.

Learning is a long step that never ends.

And there are disappointing days in between when everything goes wrong and it feels like "dark night of the soul" (see graph at the end of this post).

Experiencing the steps of either (art/pregnancy) can be challenging. I finally have a much higher base level of admiration for ALL moms.

The stages of how my paintings are born, by trimester:

Beginning

• Think of an idea or theme, often related to a recent experience or ongoing interest.

1st

• Sketch something and hope that it will make it through the next stages.

2nd

• Research for contextual reference materials: writing, history, photographs of locations, etc. If you haven't already, definitely watch the movie Silence by Martin Scorsese. 
• Research for stylistic reference materials: other artists' work to see drapery on clothes, landscape paintings, etc. (a few pages from a book on Kawanabe Kyosai below)
• Practice necessary sections many times - people, drapery, brushstrokes. 

3rd

• Prepare materials: paper and ink.
• Paint with ink and washes.
• Prepare more materials: colors.
• Add color.

A small part of my gathered mess waiting to be cleaned

End

• Let it sit for a day. If needed, revisit #6-9.
• Add my name as a sign of approval (though often with a disappointed sigh).
• Clean up the mess.
• Photograph.
• Edit photograph to make sure colors match the original.
• Post it online. 

If it's signed, that means I've accepted that it's the best I could do now.

There it is - a glimpse into my mind and process of the life of a painting from conception to birth. Then what do I do? I repeat it all over again and again because there's much more to be said.

In broader terms, this cycle is summarized perfectly in Austin Kleon's book Steal Like an Artist:

Lastly, for more on the artist Kawanabe Kyosai whose work is pictured in the book above, this is a nice summary of his work from the site Spoon & Tamago. I subscribe to their (not-too-frequent) newsletter that covers "Japanese design from fine art and architecture to product and graphic design" in a very clear and succinct way. I highly recommend the newsletter - or just browse the site for your viewing pleasure!

Next up on my journal: the story behind this painting.

When West Meets East & Falls in Love: "Looking East" Exhibit {Monet, Van Gogh & Japan}

The sunrise this morning took my breath away.  (I mean I actually forgot to breathe...) I chose not to photograph it because my iPhone camera couldn't possibly do a vast expanse of color wash in the sky any sort of appropriate justice!

Anyways, back on topic: my solo field trip. Sunday was the last day of "Looking East" at the Asian Art Museum about how Japanese art influenced western artists like Monet, Van Gogh, and others. It was also the week of SuperBowl City so SF was extra busy. I went to work extra early to get off in time to make it before the 5pm closing time at the museum. I really wish museums had hours outside of 10am-5pm so they would be more accessible to working people. To be fair, some are adding an evening event day including the Asian art museum (but only during warmer seasons?)

Clearly thrilled about starting the exhibit and my audio guide... I didn't notice that "Asian" lanyard until I saw the photo later— maybe not the best choice for a lanyard label. I assume they were thinking "deYoung" or another one-word museum name, but in this case "AAM" or "Asian Art Museum" probably would have been better. 

Since Japan had an isolation policy for 200 years, when it was opened to the West in mid-1850s, there was a huge influx of Japanese art and craft in the West. In many ways the goods were used out of context, like a formal kimono becoming a sexy lounging gown with a plunging neckline. 
This topic —the love of Japanese things in the 19th century—is well-studied and is called Japonisme. Since the east to west study is so common, for my Japanese Saint painting series, I took the opposite approach and used western art compositions for my Japanese ink paintings. Perhaps I keep coming back to this topic in some way or another because I relate with it. For grad school, I studied the Japan-Europe interaction (mostly focusing on Catholicism) before the seclusion, about 3 centuries earlier. I'm somewhat caught in between, tied to both but can't clearly define which culture influenced what part of me.
And now I'm a translator/Japanese copywriter working on making an American brand successful in Japan.

The exhibit was interesting, pointing out how Japanese art compositions at the time were very different than western paintings. Van Gogh painted the most directly from the woodblock prints, replicating them with oil paints and his unique Van Gogh hand. Other artists like Monet were less direct, like Monet's Japanese garden with the bridge or his haystack series looking like prints of Japanese rest stops (top right two drawings below)

Quick sketches while looking around

I wish I had more than 1 hour but I'm really glad I got that one hour! It's inspiring and refreshing to see different perspectives through artists and history. It never gets old.

Happy Friday! 

Stollen Bread? {12 Days of Christmas Traditions Explained Quickly}

Why do we eat Stollen at Christmas? All I can say is tradition...because my mom makes it every year...? There must be some background.

First, what is Stollen? Stollen, or Christstollen, is a German formed bread-like fruit cake. It's filled with dried fruits, nuts, and spices covered in powdered sugar. 

Now time travel six centuries ago to Europe! Stollen started (or was recorded) as far back as 14th century Germany. The shape of Stollen-- this fold-over dough with a white top layer-- is symbolic of baby Jesus wrapped in swaddling cloths.  It started as a fasting cake made during Advent when people couldn't use butter, milk, or fruits (due to fasting rules) so it started as a very plain bread. After special appeal to the papacy in the 15th century, butter and milk were added, and the cake started looking more like it does today. Winter merriment started in Germany around the Winter Solstice before Christianity spread there, and the ingredients like rare spices and fruits were a treat for these special festivities, naturally also used in Christstollen.

"A must for breakfast."

All I knew of Stollen was that it was from Germany and my mom made a healthier version for my dad every year. She's an amazing baker, making more breads than I knew existed. She makes Japanese breads, Chinese special starter breads, naturally fermented starters for rustic breads, brick oven-baked bread... I could fill a book describing them all.  When I attempt yeasted breads I anxiously stare at my yeast dissolving, hoping it will activate and bubble instead of get scorched-- meanwhile my master baker mom makes her starter from scratch without any granulated shortcuts. There's no comparison to the flavor and texture of her bread- no matter what I bake it's mediocre because I've gotten used to hers. 

The etegami Christmas series wouldn't be complete without Christmas bread because our Christmas day wouldn't be the same without the sweet feast. 

This year I attempted baking 3 of the 10+ breads: 2 yeasted: Polish Poppyseed Walnut Bread, Swedish Marzipan Filled Coffee Bread, & 1 quick bread: Cranberry Orange Bread. I still have a long way to go but I hope to carry on the tradition. 

Christmas Cookies? {12 Days of Christmas Traditions Explained Quickly}

Christmas cookies tradition started from holiday biscuits in Medieval Europe. They included spices and dried nuts, like many of our Christmas cookies today. Apparently there were strict baking laws (presumably for safety reasons) but the holidays were an exception.

Some say that giving cookies to Santa started around the Great Depression to teach kids generosity. I know someone who was taught all along that Santa actually doesn't like cookies, he likes pizza and beer, so he grew up leaving pizza and beer out for Santa on Christmas Eve. Clever!

We haven't decided about Santa and kids but I wonder what the Santa who comes to our home would prefer... maybe brownies. Edge pieces only-- extra special gifts for corner pieces. 

When did St. Nick move to the North Pole? {12 Days of Christmas}

The background of St. Nick is somewhat known- the monk St. Nicholas born in 280AD was known for giving away his inherited wealth and helping many people. St. Nicholas day was celebrated December 6th, when people feasted and gave gifts. Stories about St. Nicholas giving gifts continued on for centuries.

The name? A quick overview:

• Saint Nicholas
• Sint Nikolaas (Dutch)
• Sinter Klaas (shortened, Dutch)
• Santa Claus

Now the main question: when did he move to the North Pole?

In 1890, political cartoonist Thomas Nast drew what is now our image of Santa Claus in the North Pole. He was positioned there most likely because the arctic was seen as a mysterious fantasy land that no one had been to (yet), plus Christmas was associated with snow. So this mysterious, jolly, kind gift giver came from the land of the arctic, the North Pole. 

It says: "Oh look, there's Santa."

[another bubble burster: apparently there are no penguins in the North Pole...]

Poinsettia? {12 Days of Christmas Traditions Explained Quickly : Day 5}

First of all, the pronunciation: poinsett-ee-a? poinsett-a?

I wish they were around more than at Christmas since they're one of the few flowers I can keep alive! And to find out they are barely flowers... (the flowers are the tiny little yellow buds). I'm bursting my own bubble of festivity. 

DAY 5: POINSETTIA.

We're back to the Aztecs in modern-day Mexico where the plants originated (see post here about hot chocolate from Mexico). They grew in the wild in the winter and were used in important ceremonies. Fast forward to 16th century Mexico, when a little girl wanted to celebrate Jesus' birthday by taking him a gift but had nothing. An angel told her to take weeds which then turned into beautiful poinsettias at the church altar. The church continued to use poinsettias at Christmas, and they are now associated with the holiday because of the season they grow and because of this legend.

The name Poinsettia is from the American ambassador, Poinsett, who brought them back from Mexico to his greenhouse in South Carolina in the 1800s. 

Now back to pronunciation...

Poin-set-ya. 

But that's a little hard to pronounce so some regions developed into poinsett-ee-uh, and some to poin-set-uh. I can't ignore the i so I'm going to stick with poinsett-ee-uh.

Nutcracker? {12 Days of Christmas Traditions Explained Quickly : Day 4}

As strange as it sounds and for no good reason, those funny little nutcrackers are my favorite Christmas decorations. Yet I have no idea where they came from or why they are around only at Christmas. If it's trendy to have a gold rhino on your stack of books as a paper weight, why can't it be a nutcracker?

"I wonder if it really cracks?"

Day 4: NUTCRACKER.

How did nut-cracking pliers become a home decoration? The history goes back (at least) 300 years to a woodworking town in Germany. Dolls were given for good luck, and the same woodworkers made soldier dolls as well as nut-cracking tools, so the two were combined into one as a practical gift for good luck. The connection with Christmas may come from eating around this time since nuts are harvested in the fall and keep well.

Especially after Tchaikovsky's ballet, The Nutcracker Suite, premiered in St. Petersburg in 1892 the little figurines grew in popularity. They became common in America only since the 1950s after soldiers in WWII brought them back from Christmas fairs in Germany (which I would LOVE to go to someday).

My favorite random fact that I've gathered from reading about nutcrackers is "Nutcrack Night" also known as Halloween. In Scottish and Northern English tradition, October 31 was the night to sit around a fire and crack freshly harvested hazelnuts and chestnuts. Maybe our nutcrackers should come out on Nutcrack Night and stay through Christmas!

Wreaths? {12 Days of Christmas Traditions Explained Quickly : Day 3}

Why have I been making wreaths from Christmas tree branches the past two Christmas seasons? Why did we hang one on our door growing up? Tradition, I suppose...

DAY 3: WREATHS.

Christmas wreaths can be traced back to Ancient Greeks and Persians, who wore them as a symbol of status or victory. They may have been hung in the home or on the door as souvenirs. Wreaths were also hung on doors as symbols of the home to distinguish one home from another.

The specific use of evergreens most likely stems from celebrating Winter Solstice. Evergreens were chosen since they stay green year-round; a symbol of life overcoming- again, a victory. 

In the Christian tradition the circular shape represents eternal life- perhaps using evergreens as a symbol of victory over death.

Which reminded me of:

"Death is swallowed up in victory. Oh death, where is your victory? Oh death, where is your sting?...but thanks be to God who gave us victory through our Lord Jesus Christ. Therefore, my beloved brothers, be steadfast, immovable, always abounding in the work of the Lord, knowing that in the Lord your labor is not in vain." (1 Cor. 15:55-57)

Wreaths are a much more powerful symbol than I had expected... it gives me more motivation to form those branches sitting on the balcony into a symbol to remember Christ's victory over death.

Mexican Hot Chocolate? {12 Days of Christmas Traditions Explained Quickly : Day 2}

Mexican Hot Chocolate? No, it's not a twist on hot chocolate. It's the other way around! The modern sugary-chocolatey-milky indulgence is a distant adaption of the original.

DAY 2: MEXICAN HOT CHOCOLATE.

Let's time travel back 2500 years to the Maya. They made a bitter chocolate drink made of ground cocoa seeds, water, chiles, and other spices. When the Spaniards came in the 16th century, it was still this bitter and spicy cocoa drink taken for its health benefits. 

After it was introduced in Europe, sugar was eventually added in the 17th century. It was an expensive drink since all ingredients were imported. Later in the same century, a British gentleman added milk. Of course.

It wasn't until the 19th century that the Dutch processed the beans into cocoa powder (and eventually to bar chocolate, hallelujah). I always buy "dutch process" cocoa powder because of the wonderful, smooth flavor but never thought about the name. The Dutch were the first to separate cocoa butter and cacao seeds, and the name stuck.

Fast forward a couple centuries:

Have you tried hot chocolate in Italy or Spain? I was shocked the first time I tried "hot chocolate" in Italy, after growing up with American instant powdered hot chocolate. The best way to describe it is an espresso cup of rich chocolate pudding. In Spain it's also a rich chocolate pudding (plus churros for dunking).

My cooking, traveling, and painting worlds collide- my favorite moments!

心もあたたまる："Also warms your heart"

I suppose my Christmas drink, my "Mexican hot chocolate" (a concoction of almond milk + dutch process cocoa powder + cinnamon stick) has little to do with the original form, but I'll keep stirring my cinnamon stick now as an ode to times long ago. 

Now with this wealth of hot cocoa knowledge, continue on with this merry December and enjoy the health benefits of good cocoa.

I meant my "hallelujah" very literally: 

And also that every man should eat and drink, and enjoy the good of all his labour, it IS the gift of God. (Ecclesiastes 3:13)

Mistletoe? {12 Days of Christmas Traditions Explained Quickly : Day 1}

We don't do a lot of Christmas decorating but we still have some basics including mistletoe, poinsettia, Christmas tree, branches for a wreath, nutcrackers... but if you ask me why? My best answer is: "It's festive (*add a big smile*)." So, here's my 12-day exploration featuring etegami to look at where these traditions came from!

Day 1: Mistletoe.

Why kiss under a mistletoe? Why not a holly? 

First, what is mistletoe: The name originated as "mistel"+"tan"= dung + stick

It's a parasite that is spread through bird poop. How romantic. 

Now a brief overview of the tradition: It symbolized love and friendship in European folklore, then in the Middle Ages was hung in homes for good luck and protection against evil spirits.

Kissing under it began in England, since mistletoe was attached to "Kissing Boughs"(basically a spherical version of a wreath) around wintertime . 

From England, the tradition migrated with people to America. Then fast forward hundreds of years, I'm giddy this year to discover preserved mistletoe at Trader Joe's! My first mistletoe! 

Hang your mistletoe, erase "dung stick" from your mind, and enjoy the tradition of love and friendship.

27/50 : Learning to Teach

This painting is from my last etegami workshop in November. It has taken that long to get back to writing! Since my translation and copywriting work is in the retail business, Christmas is the busiest season and it has felt like I'm just barely hanging on. In the middle of that, I got selected on a jury for jury duty! It was surprisingly very interesting, and for short cases I'd say it's a worthwhile experience (even though I was grumbling the whole time).

I daydream about painting these days as I walk to and from the stations on my commute. Since I'm explaining how I paint when I do workshops or demonstrations, I think more step-by-step. There's a lot that's just second nature now- when to apply more pressure, when to lift the brush, where to leave space white, where to add pops of color. I'm now having to trace my steps back to how I decide. 

"Autumn is the season for pumpkin pie"

Some things I've learned that I can now explain:

• To get better at composition, look at good photographs. 
• Practice your writing style and perfect your signature. 
• Boldly mess up. Those confident mistakes often turn into something great.
• No more than 2 layers of watercolor...let the paper breathe!
• Variety of strokes, color intensity and values is key to get eyes glued on the piece.

Things I'm trying to teach myself, talking to myself:

• Stop comparing. (You'll never paint like them, and no one paints like you.)
• Keep painting. (It's getting better.)
• Be patient. (You've already passed the Michelangelo/Mozart prodigy age.)

I'm glued in the psalms during this busy season. I particularly connected with:

And I say, "Oh, that I had wings like a dove! I would fly away and be at rest;
yes, I would wander far away; I would lodge in the wilderness; I would hurry to find a shelter from the raging wind and tempest." (Psalm 55:6-8)

How comforting to know that there are others that want to fly away and become a hermit sometimes. BUT right after in the same psalm:

"Cast your burden on the Lord, and he will sustain you; he will never permit the righteous to be moved." (Psalm 55:22)

26/50 : Unitasking this Holiday Season

Happy belated Thanksgiving! Now that my stomach is full of several meals of turkey... I can sit down and write. 

How can we uni-task in the busiest time of year? I'll start with what I know. 

I like to multi-task because I feel productive and then proud of that productivity. My mind says, "Look how much you accomplished, self!" I rely on myself and feed my pride. However, I do know that I can't multi-task that effectively. One of the two or three things isn't done well.   

If I blow dry my hair and fill in my eyebrows at the same time, I either have caterpillars on my forehead or frizzy and tangled hair. Both accomplished, maybe saved 5 minutes, but neither were done well and probably more energy spent than necessary.

A friend from Japan stayed with us for about 9 days and she taught me how to do one thing at a time, and what that communicates to another person. When you stop, sit, and talk, it shows that you care, you are listening, that they are worth your time. Of course this isn't always possible, but in my case I'm the one that gets in the way more than external interruptions. The dishes don't HAVE to be done now. That spill doesn't HAVE to be cleaned now. Instagram doesn't NEED me to check it.

It's really hard to undo multi-tasking. At times it can be fine, sometimes necessary. But not always. People are more important than tasks. I tend to forget this when I'm on a mission, but in the busiest time of year, I want to try to uni-task when it comes to people. My friend is teaching me, just by being with her, that one's presence and stillness speaks volumes about caring for and valuing someone.

Be devoted to one another in brotherly love; give preference to one another in honor. (Romans 12:10)

So, while I feast on Thanksgiving leftovers and look forward to more holiday festivities, I hope to get better at unitasking. How to do it? Some tips that help me:

• Spend time with someone who is good at it. Get antsy and uncomfortable through it.
• Leave your phone in a different room (with the volume up if needed for emergencies).
• Practice yoga for a few minutes a day. It teaches "mindfulness" in details of each task.
• Rest your hands and turn your body towards whoever you are talking to. 
• Pray: for patience and trust to rely on God to accomplish what needs to be done.

Some additional reading: 12 Reasons to Stop Multitasking according to Huffington Post.

 Happy unitasking!