Lena Rivera
There are several paintings of girls or women in kimonos in museums around the world. For instance, Katsukawa Shunshō's Woman in a Black Kimono from the Edo period is exhibited at the Metropolitan Museum of Art. Another painting, La Japonaise, by Monet, features his wife Camille Doncieux in a red kimono and is currently exhibited at the Museum of Fine Arts in Boston. This painting has sparked controversy due to its appropriation of Japanese culture. Additionally, William Merritt Chase's A Girl in Japanese Gown. The Kimono is displayed at the Museo Nacional Thyssen-Bornemisza, and a yarn painting titled Galina Zhiganova - A woman cuts the hem of a kimono so as not to wake a cat can be found on Reddit's r/museum.
| Characteristics | Values |
|---|---|
| Artist | Galina Zhiganova |
| Title | A Woman Cuts the Hem of a Kimono so as not to Wake a Cat |
| Year | 2007 |
| Medium | Yarn |
| Dimensions | 45x45cm |
| Collection | Museo Thyssen-Bornemisza |
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What You'll Learn
La Japonaise by Monet
La Japonaise, or "the Japanese woman" in French, is an 1876 oil painting by Claude Monet, a French Impressionist painter. The painting is a full-length portrait of Monet's first wife, Camille Doncieux, wearing a red uchikake kimono. The kimono, which belonged to a famous Japanese actor, was borrowed from a friend. The painting also depicts Camille standing on a Japanese-style tatami mat and in front of a wall decorated with Japanese uchiwa fans. Notably, Camille, who naturally had dark hair, wears a blonde wig in the painting, emphasising her European identity and setting her apart from the exotic objects that surround her.
The painting was first exhibited at the Impressionists' second exhibition in 1876, where it attracted both praise and ridicule. While some critics described the work as a virtuoso display of brilliant colour, others were less favourable, with one critic calling the figure a ""great doll, with nothing human about her face". Monet himself did not have a high opinion of the work, describing it as "a piece of junk". However, he may have been more committed to the subject matter than these comments suggest, as he wrote to a famous art critic and collector of Japanese artworks that it was "superb" to paint the heavily detailed kimono.
La Japonaise was created during a period of financial difficulty for Monet. He hoped to sell the painting at a high price to ease his monetary troubles, given the popularity of Japonisme in France at the time. The painting was sent to Durand-Ruel's gallery in 1876, along with 18 other paintings, including the famous "Woman with a Parasol - Madame Monet and Her Son". In 1918, art dealers Georges Bernheim and René Gimpel informed Monet that La Japonaise had sold for a decent price. However, Monet expressed shame at having painted the work simply to please the market.
Today, La Japonaise is exhibited at the Museum of Fine Arts in Boston. In 2015, the museum held a special programme called "Kimono Wednesdays", where visitors were invited to pose in front of the painting while wearing a replica of the kimono. This event drew criticism from protesters who described it as an example of Orientalism and cultural appropriation. As a result of the criticism, the museum stopped allowing visitors to wear the kimono.
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Orientalism and white supremacy
The painting "La Japonaise" by Monet features his wife, Camille Doncieux, posing in a red kimono. It was first exhibited in 1876 and is now on display at the Museum of Fine Arts in Boston. The painting has received criticism for its sexual suggestiveness and has been accused of being "a piece of junk" by Monet himself. The painting's presence in the museum has sparked debates about Orientalism and white supremacy, with protesters arguing that the museum has not adequately addressed the painting's post-colonial legacy.
Orientalism, popularized by Edward W. Said, refers to the way the West perceives and defines the East. It is one of the pillars of white supremacy, which is a system of logics and institutions that uphold a violent structure. Specifically, Orientalism anchors war and contributes to the perception of the East as an inferior, foreign threat to the West. This belief system justifies American imperialism and constant warfare.
In the context of "La Japonaise," the painting can be seen as a form of cultural appropriation. The depiction of a European woman in a kimono, against a backdrop of Japanese fans and a Japanese woman in a traditional kimono, emphasizes the contrast between the cultures. The painting's setting is not an authentic Japanese environment but rather a faux-cultural one. This contrast underscores the notion of the East as "the Other," which is a fundamental aspect of Orientalism.
The criticism of the Museum of Fine Arts' handling of "La Japonaise" highlights the ongoing struggle to address the legacy of colonialism and the pervasive influence of Orientalism in Western institutions. The protest, "Decolonize Our Museums," specifically called out the museum's power to represent and dominate other ethnic and cultural groups. This power dynamic is intrinsic to white supremacy and colonialism, where the West claims superiority and moral righteousness over the East.
To address these issues, it is crucial to recognize the harmful impact of Orientalism and actively work towards decolonizing museums and cultural institutions. This includes critically examining the ways in which Western societies have benefited from the marginalization and exploitation of Eastern cultures. By acknowledging and rectifying these power structures, we can move towards a more inclusive and equitable representation of diverse cultures.
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Japonisme in European art
Japonisme, the French interpretation of Japanese aesthetics, had a profound influence on European art in the late 19th century, particularly Impressionism. The term "Japonism" was coined by French art critic Philippe Burty in 1872 to describe the study of Japanese art and artistic talent. This movement was sparked by the reopening of Japanese ports to trade with the West in 1853, which led to a surge of Japanese imports into Europe, including woodcut prints, fans, kimonos, lacquers, bronzes, and silks.
One notable example of Japonisme in European art is the painting "La Japonaise" by Claude Monet, which depicts his wife, Camille Doncieux, wearing a red uchikake kimono in front of a backdrop of Japanese uchiwa fans. Monet created this painting to appeal to the contemporary fascination with Japanese culture and hoped to sell it at a high price. Another artist who embraced Japonisme was William Merritt Chase, who produced a series of "kimono portraits" in the 1880s, including "A Girl in Japanese Gown" (also known as "The Kimono"). Chase was influenced by James Abbott McNeill Whistler, who had discovered Japanese prints in London and incorporated Oriental styles into his own work.
The appeal of Japonisme extended beyond the visual arts, impacting literature, fashion, and design. For instance, Émile Hermès, the grandson of the founder of the luxury brand Hermès, collected Japanese art and artefacts, and the brand's artisans created leather handbags embossed with Japanese floral motifs in 1925. Additionally, the Japanese concept of elevating utilitarian objects to the status of art influenced a radical shift in how the French perceived and valued art.
While Japonisme initially captivated European artists and designers, the movement eventually lost momentum due to commercialisation and the export of inferior products that diluted the craftsmanship and grace inherent in traditional Japanese arts. Nonetheless, the influence of Japonisme on European art and design was profound and transformative, demonstrating the cross-cultural exchange of ideas and aesthetics between East and West.
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Katsukawa Shunshō's Woman in a Black Kimono
Katsukawa Shunshō's "Woman in a Black Kimono" is a hanging scroll painting from Japan's Edo period (1615–1868). It is currently housed in the Metropolitan Museum of Art in New York, USA. The painting is done on silk using ink, colour, and gold, and its dimensions are 33 1/2 × 11 1/4 inches (85.1 × 28.6 cm) without the mounting. With mounting, its dimensions are 67 11/16 × 15 7/8 inches (172 × 40.4 cm). The painting is likely dated to the mid to late 1780s, specifically between 1783 and 1789, based on the use of the artist's distinctive handwritten seal or "kaō" with an upward stroke.
The painting depicts a pensive woman, her head tilted slightly, with her left hand tucked into her obi. She is dressed in a black kimono with subtle grey hues, adorned with delicate white spring flower motifs. The undergarment adds a bright splash of colour with its red cuffs and hems. The woman is believed to be the daughter or young wife of a wealthy merchant, a mature and understated figure in contrast to the younger, more exuberant courtesans commonly depicted in paintings of the pleasure district.
Katsukawa Shunshō (1726–1792) was a Japanese artist known primarily for his dramatic prints of actors, which he started producing around 1765. He also created paintings of women, which he began quite late in his career, around 1780. Shunshō used his personal seal exclusively on his paintings, and changes in his seals and signatures over time have helped establish a chronological framework for his works.
"Woman in a Black Kimono" is an example of Shunshō's later style, with more slender and refined figures compared to his earlier, somewhat squat portrayals. The painting showcases his evolution as an artist, reflecting his interest in portraying women in a refined and mature light, capturing their beauty with meticulous detail.
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William Merritt Chase's A Girl in Japanese Gown
William Merritt Chase was an American painter who, in the 1880s, produced a series of "kimono portraits" of his relatives and friends. One such painting is "A Girl in Japanese Gown", also known as "Girl in a Japanese Costume", which is currently housed in the Museo Nacional Thyssen-Bornemisza.
Chase's interest in Oriental styles and Japonisme was influenced by the Japanese-inspired paintings of James Whistler, whom he met in London in 1885. Chase's "A Girl in Japanese Gown" is notably similar to Whistler's "Caprice in Purple and Gold no. 2: The Golden Screen", painted over twenty years earlier. In this painting, a female figure is depicted wearing a silk kimono and seated on a low bamboo chair in front of an Oriental screen, studying a series of sheets with Japanese drawings. The ascending perspective and asymmetry of the composition reflect the influence of both Whistler and photography.
The vogue for Japonisme in European art during the 19th century was sparked by the opening-up of Japan and the expansion of trade routes, with artists adopting compositional features of Japanese engravings and elements of Oriental styles in their work. Chase's use of objects such as screens, kimonos, and magazine stands in his compositions reflects this influence.
"A Girl in Japanese Gown" showcases Chase's concern for creating a mysterious, contemplative atmosphere, as well as his skill in modulating light and loose brushwork, earning him the title of pioneer of American Impressionism. The painting's dimensions are 62.5 x 39.8 cm, and it is executed in oil on canvas.
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Frequently asked questions
I could not find information on a painting of a girl in a kimono in the High Museum. However, I found references to a painting of a girl in a kimono by Galina Zhiganova in 2007.
Galina Zhiganova's painting is titled "A Woman Cuts the Hem of a Kimono so as not to Wake a Cat". The painting is a yarn painting measuring 45x45cm.
The painting was displayed in a museum as part of a subreddit for sharing crafts.
La Japonaise is a painting by Monet of his wife, Camille Doncieux, wearing a red kimono. It was first exhibited in 1876 and is now exhibited at the Museum of Fine Arts, Boston.
A Girl in Japanese Gown. The Kimono is a painting by William Merritt Chase. It is exhibited at the Museo Nacional Thyssen-Bornemisza.
