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45-686: Jeddo may refer to: Jeddo, Japan Jeddo, Michigan , a populated place in St. Clair County Jeddo, Missouri , an unincorporated community Jeddo, Pennsylvania , a borough in Luzerne County Jeddo, Texas , a populated place in Bastrop County See also [ edit ] Yeddo, Indiana , a populated place in Fountain County [REDACTED] Topics referred to by

90-536: A craze for collecting Japanese art, particularly ukiyo-e . Some of the first samples of ukiyo-e were seen in Paris. During this time, European artists were seeking alternatives to the strict European academic methodologies. Around 1856, the French artist Félix Bracquemond encountered a copy of the sketch book Hokusai Manga at the workshop of his printer, Auguste Delâtre. In the years following this discovery, there

135-541: A few select points such as the bridge or the lilies, he was influenced by traditional Japanese visual methods found in ukiyo-e prints, of which he had a large collection . He also planted a large number of native Japanese species to give it a more exotic feeling. In the United States, the fascination with Japanese art extended to collectors and museums creating significant collections which still exist and have influenced many generations of artists. The epicenter

180-507: A growth of appreciation of Japanese culture in Europe and the United States known as Japonism . This increase in interest was reflected in naming in America of new places with the names of "Jeddo" or "Yeddo". Preference of Americans for "Jeddo" over "Yedo" (or "Yeddo") may be inferred from the fact that ten places in the United States bear the name "Jeddo", but only one town bears a variant of

225-409: A reliable source for the artistic practices and everyday scenes of Japanese life. Beginning in 1885, Van Gogh switched from collecting magazine illustrations, such as Régamey, to collecting ukiyo-e prints which could be bought in small Parisian shops. He shared these prints with his contemporaries and organized a Japanese print exhibition in Paris in 1887. Van Gogh's Portrait of Père Tanguy (1887)

270-654: A source of inspiration for many Western artists. These prints were created for the commercial market in Japan. Although a percentage of prints were brought to the West through Dutch trade merchants, it was not until the 1860s that ukiyo-e prints gained popularity in Europe. Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions. Japanese decorative arts , including ceramics , enamels, metalwork, and lacquerware , were as influential in

315-453: A succession of world's fairs displayed Japanese decorative art to millions, and it was picked up by galleries and fashionable stores. Writings by critics, collectors, and artists expressed considerable excitement about this "new" art. Collectors including Siegfried Bing and Christopher Dresser displayed and wrote about these works. Thus Japanese styles and themes reappeared in the work of Western artists and craftsmen. During most of

360-491: A treatise, with his own ukiyo-e styled paintings. The primary Japanese exports were initially silver, which was prohibited after 1668, and gold, mostly in the form of oval coins, which was prohibited after 1763, and later copper in the form of copper bars. Japanese exports eventually decreased and shifted to craftwork such as ceramics, hand fans, paper, furniture, swords, armors, mother-of-pearl objects, folding screens , and lacquerware, which were already being exported. During

405-577: A wide array of sources for inspiration. Among prints shown to Degas was a copy of Hokusai 's Manga , which Bracquemond had purchased after seeing it in Delâtre's workshop. The estimated date of Degas' adoption of japonismes into his prints is 1875, and it can be seen in his choice to divide individual scenes by placing barriers vertically, diagonally, and horizontally. Similar to many Japanese artists, Degas' prints focus on women and their daily routines. The atypical positioning of his female figures and

450-590: Is a portrait of his color merchant, Julien Tanguy. Van Gogh created two versions of this portrait. Both versions feature backdrops of Japanese prints by identifiable artists like Hiroshige and Kunisada . Inspired by Japanese woodblock prints and their colorful palettes, Van Gogh incorporated a similar vibrancy into his own works. He filled the portrait of Tanguy with vibrant colors as he believed that buyers were no longer interested in grey-toned Dutch paintings and that paintings with many colors would be considered modern and desirable. The Belgian painter Alfred Stevens

495-516: Is different from Wikidata All article disambiguation pages All disambiguation pages Jeddo, Japan Jeddo and Yedo are called anglicizations , because they are a rendering into the English language of the verbal sound of the name of the town of Edo, Japan . Edo was the site of Edo Castle , which was the base for the Tokugawa shogunate (also known as the Tokugawa bakufu and

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540-472: Is of the woman leaning on a closed umbrella, which is borrowed directly from Hokusai's Manga . Japanese art was exhibited in Britain beginning in the early 1850s. These exhibitions featured various Japanese objects, including maps, letters, textiles, and objects from everyday life. These exhibitions served as a source of national pride for Britain and served to create a separate Japanese identity apart from

585-652: The Edo bakufu ), a feudal regime that ruled Japan from 1603 to 1868, in the name of the Japanese emperor who resided in Kyoto castle. In 1868, the shogunate was abolished during the Meiji Restoration , after which the name of Edo was changed to Tokyo. When visited by Commodore Matthew Perry , Edo (literally meaning "bay-entrance" or " estuary ") had grown to a sophisticated urban city of roughly one million people, and

630-419: The Edo period (1603–1867), Japan was in a time of seclusion and only one international port remained active. Tokugawa Iemitsu ordered that an island, Dejima , be built off the shores of Nagasaki from which Japan could receive imports. The Dutch were the only Westerners able to engage in trade with the Japanese, yet this small amount of contact still allowed for Japanese art to influence the West. Every year

675-503: The International Exposition of 1867 in Paris, where Japanese art and objects appeared for the first time. From the mid-1860's, Japonisme became a fundamental element in many of Stevens' paintings. One of his most famous Japonisme-influenced works is La parisienne japonaise (1872). He realized several portraits of young women dressed in kimono , and Japanese elements feature in many other paintings of his, such as

720-557: The Irish National Stud . Samuel Newsom's Japanese Garden Construction (1939) offered Japanese aesthetics as a corrective in the construction of rock gardens , which owed their quite separate origins in the West to the mid-19th century desire to grow alpines in an approximation of Alpine scree . According to the Garden History Society , Japanese landscape gardener Seyemon Kusumoto was involved in

765-510: The Kaei era (1848–1854), after more than 200 years of seclusion , foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as

810-493: The China Seas and Japan . In that text, Commodore Perry referred to the port of Edo, as well as Edo Bay, using the romanized name of "Yedo". Later Books about Pery's expedition used both Yedo and Jeddo for Edo. References to Jeddo by English speakers increasingly appear during and after the 1850s, continuing for several decades, followed by a slow reduction of usage after the transfer of power in Japan in 1868 resulted in

855-505: The Dutch arrived in Japan with fleets of ships filled with Western goods for trade. The cargo included many Dutch treatises on painting and a number of Dutch prints. Shiba Kōkan (1747–1818) was one of the Japanese artists who studied the imports. Kōkan created one of the first etchings in Japan which was a technique he had learned from one of the imported treatises. Kōkan combined the technique of linear perspective , which he learned from

900-940: The Kabuki revolving stage in 1896 and ten years later Max Reinhardt employed it in the premiere of Frühlings Erwachen by Frank Wedekind . Soon this revolving stage was a trend in Berlin . Another adaptation of the Kabuki stage popular among German directors was the Blumensteg, a jutting extension of the stage into the audience. The European acquaintance with Kabuki came either from travels in Japan or from texts, but also from Japanese troupes touring Europe. In 1893, Kawakami Otojiro and his troupe of actors arrived in Paris, returning again in 1900 and playing in Berlin in 1902. Kawakami's troop performed two pieces, Kesa and Shogun, both of which were westernized and were performed without music and with

945-513: The West as the graphic arts. During the Meiji era (1868–1912), Japanese pottery was exported around the world. From a long history of making weapons for samurai , Japanese metalworkers had achieved an expressive range of colours by combining and finishing metal alloys. Japanese cloissoné enamel reached its "golden age" from 1890 to 1910, producing items more advanced than ever before. These items were widely visible in nineteenth-century Europe:

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990-446: The capital of Japan. Today the use of the words "Jeddo" and "Yedo" or "Yeddo" is very rare among English speakers or in print. The visits by Perry to Japan, as described in his three-volume account, resulted in an increase in popular interest in America about Japan. Japan's previous isolation, the new opportunities for profitable trade, and the revelations of the sophistication of the Japanese in arts, aesthetics and manner resulted in

1035-479: The change of name from Edo to Tokyo. The reference to Jeddo is thus most commonly found in English publications after the mid-1850s. An article dated March 15, 1856 refers to an earthquake in Jeddo, Japan. Another New York Times article from 1861 refers to Edo as Jeddo, in an article about ministers of European powers fleeing Edo after violence there. Books on travel to Japan in the 1850s and 1860s refer to Jeddo as

1080-512: The dedication to reality in his prints aligned him with Japanese printmakers such as Hokusai, Utamaro , and Sukenobu . In Degas' print Mary Cassatt at the Louvre: The Etruscan Gallery (1879–80), the artist uses of two figures, one seated and one standing, which is a common composition in Japanese prints. Degas also continued to use lines to create depth and separate space within the scene. His most clear appropriation

1125-837: The development of around 200 gardens in the UK. In 1937, he exhibited a rock garden at the Chelsea Flower Show , and worked on the Burngreave Estate at Bognor Regis, a Japanese garden at Cottered in Hertfordshire, and courtyards at Du Cane Court in London. The impressionist painter Claude Monet modelled parts of his garden in Giverny after Japanese elements, such as the bridge over the lily pond, which he painted numerous times. In this series , by detailing just on

1170-455: The early La Dame en Rose (1866), which combines a view of a fashionably dressed woman in an interior with a detailed examination of Japanese objects, and The Psyché (1871), wherein on a chair there sit Japanese prints, indicating his artistic passion. In the 1860s, Edgar Degas began to collect Japanese prints from La Porte Chinoise and other small print shops in Paris. His contemporaries had begun to collect prints as well, which gave him

1215-604: The era of seclusion, Japanese goods remained a luxury sought after by European elites. The production of Japanese porcelain increased in the seventeenth century, after Korean potters were brought to the Kyushu area. The immigrants, their descendants, and Japanese counterparts unearthed kaolin clay mines and began to make high quality pottery. The blend of traditions evolved into a distinct Japanese industry with styles such as Imari ware and Kakiemon . They would later influence European and Chinese potters. The exporting of porcelain

1260-412: The exotic wares, but the ownership of a few pieces was possible for a wide and increasing social range of the middle class. Marie Antoinette  and  Maria Theresa  are known collectors of Japanese lacquerware, and their collections are often exhibited in the Louvre and the Palace of Versailles. The European imitation of Asian lacquerwork is referred to as Japanning . During

1305-468: The gardens of any country, teaching, as it does, how to convert into a poem or picture a composition, which, with all its variety of detail, otherwise lacks unity and intent. Tassa (Saburo) Eida created several influential gardens, two for the Japan–British Exhibition in London in 1910 and one built over four years for William Walker, 1st Baron Wavertree . The latter can still be visited at

1350-564: The geisha was reduced to the level of other objects signifying Japan in the drama, Japanese performers in Germany served German play wrights in their quest to renew the German drama. Just as ukiyo-e had proven useful in France, severed from any understanding of Japan, the troupes of Japanese actors and dancers that toured Europe provided materials for "a new way of dramatizing" on stage. Ironically,

1395-730: The generalized "Orient" cultural identity. James Abbott McNeill Whistler was an American artist who worked primarily in Britain. During the late 19th century, Whistler began to reject the Realist style of painting that his contemporaries favored. Instead, he found simplicity and technicality in the Japanese aesthetic. Rather than copying specific artists and artworks, Whistler was influenced by general Japanese methods of articulation and composition, which he integrated into his works. The first popular stagings of Asia were depictions of Japan from England . The comic opera Kosiki (originally titled The Mikado but renamed after protest from Japan)

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1440-437: The majority of the dialogue eliminated. This being the case, these performances tended toward pantomime and dance. Dramatists and critics quickly latched on to what they saw as a “re-theatricalization of the theater.” Among the actors in these plays was Sada Yacco , first Japanese star in Europe, who influenced pioneers of modern dance such as Loie Fuller and Isadora Duncan ; she performed for Queen Victoria in 1900, and enjoyed

1485-443: The name of "Yedo", There are ten places named Jeddo, or a variant, in the United States. These are: There is one town using a variant of Yedo as a place name: Japonism Japonisme is a French term that refers to the popularity and influence of Japanese art and design among a number of Western European artists in the nineteenth century following the forced reopening of foreign trade with Japan in 1858. Japonisme

1530-411: The opera brought on a slew of Madame Something or Others, including Madames Cherry, Espirit, Flott, Flirt, Wig-Wag, Leichtsinn, and Tip Top, all of whom appeared around 1904 and disappeared relatively quickly. They were not without lasting effect, however, and the geisha had established herself among the scrolls, jade, and images of Mount Fuji that signified Japan to the West. Much as this human figure of

1575-600: The popularity and influence of these Japanese dramas had a great deal to do with the westernization of the Japanese theater in general and of the pieces performed in Europe in particular. Invented for the Kabuki theatre in Japan in the 18th century, the revolving stage was introduced into Western theater at the Residenz theatre in Munich in 1896 under the influence of japonism fever. The Japanese influence on German drama first appeared in stage design. Karl Lautenschlager adopted

1620-422: The same term This disambiguation page lists articles about distinct geographical locations with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Jeddo&oldid=745791516 " Category : Place name disambiguation pages Hidden categories: Short description

1665-799: The spread of information regarding Japanese art and techniques. Ukiyo-e prints were one of the main Japanese influences on Western art. Western artists were inspired by the different uses of compositional space, flattening of planes, and abstract approaches to color. An emphasis on diagonals, asymmetry, and negative space can be seen in the works of Western artists who were influenced by this style. Vincent van Gogh 's interest in Japanese prints began when he discovered illustrations by Félix Régamey featured in The Illustrated London News and Le Monde Illustré . Régamey created woodblock prints, followed Japanese techniques, and often depicted scenes of Japanese life. Van Gogh used Régamey as

1710-523: The status of a European star. The aesthetic of Japanese gardens was introduced to the English-speaking world by Josiah Conder 's Landscape Gardening in Japan ( Kelly & Walsh , 1893), which sparked the first Japanese gardens in the West. A second edition was published in 1912. Conder's principles have sometimes proved hard to follow: Robbed of its local garb and mannerisms, the Japanese method reveals aesthetic principles applicable to

1755-467: The title character to the stock characters representing Japan, the figure of the geisha belongs to the "objects" which in and of themselves meant Japan in Germany and throughout the West. The period from 1904 to 1918 saw a European boom in geisha dramas. The most famous of these was, Puccini 's opera Madama Butterfly . In 1900, Puccini saw a staging of David Belasco 's play of the same name and reportedly found it so moving that he wept. The popularity of

1800-561: Was a busy port at the upper end of Edo bay. This large bay was the venue for Perry's early contact and later negotiations with the Japanese Tokugawa shogunate based at Edo in 1852, 1853, and 1854, which resulted in treaties in 1856 opening Japan to trade with the United States and other countries. Perry published a three-volume account of the expedition in 1856, entitled Narrative of the Expedition of an American Squadron to

1845-426: Was an increase of interest in Japanese prints. They were sold in curiosity shops, tea warehouses, and larger shops. Shops such as La Porte Chinoise specialized in the sale of Japanese and Chinese imports. La Porte Chinoise, in particular, attracted artists James Abbott McNeill Whistler, Édouard Manet , and Edgar Degas who drew inspiration from the prints. It and other shops organized gatherings which facilitated

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1890-411: Was first described by French art critic and collector Philippe Burty in 1872. While the effects of the trend were likely most pronounced in the visual arts, they extended to architecture, landscaping and gardening, and clothing. Even the performing arts were affected; Gilbert & Sullivan's The Mikado is perhaps the best example. From the 1860s, ukiyo-e , Japanese woodblock prints , became

1935-557: Was further boosted by the effects of the Ming-Qing transition , which immobilized the center of Chinese porcelain production in Jingdezhen for several decades. Japanese potters filled the void making porcelain for European tastes. Porcelain and lacquered objects became the main exports from Japan to Europe. An extravagant way to display porcelain in a home was to create a porcelain room with shelves placed throughout to show off

1980-415: Was one of the earliest collectors and enthusiasts of Japanese art in Paris. Objects from Stevens' studio illustrate his fascination with Japanese and exotic knick-knacks and furniture. Stevens was close with Manet and to James McNeill Whistler , with whom he shared this interest early on. Many of his contemporaries were similarly enthused, especially after the 1862 International Exhibition in London and

2025-707: Was written in 1876. In 1885, Gilbert and Sullivan , apparently less concerned about Japanese perceptions, premiered their Mikado . This comic opera enjoyed immense popularity throughout Europe where seventeen companies performed it 9,000 times within two years of its premiere. Translated into German in 1887, The Mikado remained the most popular drama in Germany throughout the 1890s. In the wake of this popularity, comedies set in Asia and featuring comic Asian figures appeared in rapid succession, both in comic opera and drama. The successor to The Mikado as Europe's most popular Japan drama, Sidney Jones' opera The Geisha (1896) added

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