Visual Arts Extended Essay:

Edo Period Japanese Art and its Impact on Gustav Klimt’s Secession Pieces.

Research Question: To what extent did Japanese art influence Gustav Klimt and his
pieces?

Word Count: 3795

The Rise of Japonisme in Western Art………………………………………………….……2

Traditional Japanese Culture……………………………………………………………………3

The Function of Traditional Japanese Art………………………………………………………5

The Purpose of Japanese Art……………………………………………………………………5

Japanese Formal Elements……………………………………………...………………………6

Japanese Principles of Design…………………………………………………………………..9

How Traditional Japanese Culture Impacted Austrian Culture………………………………...11

The Function of Klimt’s Japanese Inspired Pieces……………………………………………..12

The Purpose of Klimt’s Japanese Inspired Art…………………………………………………15

The Elements of Art In Klimt’s Inspired Pieces………………………………………………..16

The Japanese Principles of Design in Klimt’s Art………………………………………...……19

Conclusion………………………………………………………………………………...…...22

Bibliography………………………………………………………………………...…………24
 The Rise of Japonisme in Western Art

Imagine cultures from two opposite sides of the world colliding, creating an entirely new

branch of art history. This collision sparked in an exposition, catching the eye of a particular

group that will expand the ideology of art. The Vienna Secession emerged as a protest to the

moderation of museums and conventions in the Austrian capital. The group contains five main

members: Joseph Maria Olbrich, Koloman Moser, Joseff Hoffman, and Gustav Klimt. At the

beginning of the 19th century, Vienna Secessionists began introducing Japanese elements into

their work. This inspiration is taken from the Japanese displays at world fairs throughout the last

half of the nineteenth century such as Vienna’s 1873 Weltausstelung, an International Exposition.

These elements include rich primary colors, composition, intricate patterns and human positions

that portray life, death, and class. Patterns among Japanese art heavily influence the Vienna

Secessionists by their prescribed meaning in Japanese culture, as well. They are typically

associated with wealth, power, and life, usually with rich colors and respected animals among

ancient Japanese tales. This specific type of Japanese art that inspired the Vienna Secessionists

originates during the Edo period (1615-1868) including Ukiyo-e and Rinpa School. Gustav

Klimt, already internationally known and pronounced president, like the other members of the

group, was heavily inspired by this style of Japanese art. This proposes the question, “To what

extent did Japanese art influence Gustav Klimt and his pieces?” Common subjects in Klimt’s

pieces include couples in love and portraits of women. Women are often dressed in thick,

colorful layers of cloth to mimic kimonos as well as the style surrounding sleeves and length.

This connects to Ukiyo-e prints that depicted coronations and marriages during the Edo period

and traditional Japanese culture. His murals are influenced by the patterns and symbols that are

heavily used and respected in Japanese culture. Symbols including animals, flowers and colors
direct the patterns associated with characteristics that range from strength to elegance. Slim, tall

figures represent a long healthy life according to Japanese tales. Klimt incorporates this work in

his pieces reflecting the fixation of Christianity in Austrian society. Using the association from

Japanese culture of slim, healthy, and beautiful, he often uses this description for young, strong

humans associating with Christ. The connection between cultures is relevant because of how

much humans connect through illustrations on canvas without physical interaction. This is an

example of how artists can change each other culture through art. The term for Japanese art

gaining popularity among Western culture is called Japonisme, a French word sparking in the

late 19th century. Klimt is heavily influenced by Japonisme as he uses it to portray many scenes

including erotica, nostalgia, the progression of Europe during the turn of the century, personal

grief and the fear of morality. Japonism can be both classified as a movement and branch of a

movement as it takes formal elements of one culture and pushes it to another without generally

changing aspects of design. Klimt has been inspired by Japonimse since the International

Exposition of 1873 and incorporates it into several art pieces both visually and metaphorically.

By analyzing these pieces, I will be using primary sources, some of which I have captured

images myself at the Ronin Gallery, the Museum of Modern Art, and the Neue Gallery all

located in New York City.

Traditional Japanese Culture

Ukiyo-e prints were popular during the Edo period (1615-1868) of Japan. Ukiyo-e is

directly translated to “pictures of the floating world”, “floating world” referring to the brothel

and theater districts of Japan’s largest cities.1 Kabuki (a form of traditional Japanese theater)

1
V&A Museum Editors. “Japanese Woodblock Prints.” Victoria and Albert Museum, 2020,
www.vam.ac.uk/articles/japanese-woodblock-prints-ukiyo-e#:~:text=Produced%20in%20
their%20many%20 thousands,pictures%20of%20the%20 floating%20world’.
 Henander-Harris, Iris “Photograph of Kabuki Actor Nakamura Shikan,

Sadagusa c. 1835” Ronin Gallery. Captured 2023.

actors and courtesans were most commonly depicted because of the fashion representation which

spread to the public through inexpensive woodblocking, allowing them to be mass produced for

commerce and trade. These art styles depicted colorful scenes of Japanese tales and other

classics.

The glorification of beauty in Japanese culture is prominent throughout Ukiyo-E and

Rinpa School. In both male and females, pale skin and long, slender bodies were the ideal, being

the reason empresses and princesses are depicted with flawless, paper white skin. Large warriors

were not seen as muscled figures like in Western art. Feelings of strength and power derived

from length rather than width, in Japanese culture. Dragons are extremely common when

representing power, wisdom, and being “reborn”. They’re usually shaded in with bright, opaque

tones of red and blue, contrasting between them and the background to highlight their power.
The Function of Traditional Japanese Art

During this time, courtesans, actors, models, and entertainers were the main subjects in

Ukiyo-E prints. Japan has a rich tradition of fairytales and folklore, so naturally these depict

myths and heroic scenes. Models dressed in new fabrics and patterns spread trends around the

country via print. Prints containing landscapes were also in high demand. Some have scenes of

flourishing greenery, oceana, mountains, or species of animals. They were produced on a large

scale with little cost, therefore cheap souvenirs and decorations as the period continued. Other

prints contain courtesans portraying mannerisms, as consideration of others and honor are two

highly valued traits in Japanese culture. Lastly, these prints also depicted erotic scenes of couples

as homosexuality among young females were common, normalized, and encouraged.

The Purpose of Traditional Japanese Art

While printmaking was typically inexpensive, they were often commissioned by the

wealthier class. Courtesans and emperors commissioned self portraits to honor the current or

previous monarchy. Scenes of erotica were flourishing during this time, as well. Either depicting

the couple commissioning the piece themselves or randomly selected people. Erotic prints were

for personal use among couples and education for teenagers. Landscape prints were decorative, a

form of luxury when displayed in a home. Some prints were doused with gold2 and placed on

large wooden screens, this is called Rinpa School. Other times, landscapes were used as cheap,

small prints for easy money. Illustrating landscapes was much easier than obtaining models and

Kabuki actors.

2
Imprey, Oliver. The Art of the Japanese Folding Screen. Weatherhill, 1997.
Japanese Formal Elements

Henander-Harris, Iris “Photograph of Henander-Harris, Iris “Photograph of

Emperor Koko Shurosho, Shunsho c. 1775” Shiba I Chutatsu, Kuniyoshi c. 1834”

Ronin Gallery. Captured 2023. Ronin Gallery. Captured 2023.

When printmaking, the most common scenes portray power, respect and love. Power is

associated with emperors, either solo or fighting with a strong mythical creature. When

analyzing the elements of power, it is usually depicted through color. In Shunsho’s Emperor

Koko Shurosho and Kuniyoshi’s Shiba I Chutatsu, there remains a palette of primary colors

connecting to Japanese culture. In Emperor Koko Shurosho, red and green are doused throughout

the painting. Red depicts strength and might to highlight his powerful position while deep green

represents eternity, two colors to represent a long ruling3. In Shiba I Chutatsu, there is a
3
Dunkin, E, “Japanese Colors” Busuu. 2022.
https://blog.busuu.com/japanese-colors/#:~:text=Red%20in%20Japanese%20(Aka)&text=Red%20is%20
said%20to%20scare,and%20red%20and%20white%20curtains.
prominent use of blue. Here, blue represents stability and security, two characteristics warriors

are often portrayed with in a fight. Linework is also prominent and indicates the outcome as

Henander-Harris, Iris “Photograph of Kabuki Actor Bando Mitsugoro

as Hige no Ikyu, Kunisada c. 1828” Ronin Gallery. Captured 2023.

unpredictable. The strokes are not smooth and parallel portraying steadiness, but rather chaos as

it is illustrating a fight scene. The amount of respect is based on how much space they take up in

a print. If the subject is higher class, like courts and royals, they wear traditional formalwear

called Junihitoe. The Junihitoe consists of loose, multilayered fabrics that drape across the body.

Because it is thicker than most traditional Japanese wear, it symbolizes royalty, which can be

seen in Kabuki Actor Bando Mitsugoro as Hige no Ikyu, by Kunisada. As stated previously,

Kabuki actors were highly respected4. Here, Bando Mitsugoro is wearing a thick, multi-layered

kimono nearing the sides of the print. Because these prints were generally around

4
Kamachi, Noriko. Culture and Customs of Japan. Culture and Customs of Asia, 1999.
Henander-Harris, Iris “Photograph of Summer Utamaro, Kitawaga “True Feelings

Lantern, unknown artist c. 1920” Ronin Gallery. Compared” Museum of Fine Arts. 1799.

Captured 2023.

10” x 15”, it was important to have the subject solo and center to allow dominance of the space

around them5. The more space they took up, the more honor they obtained. This contrasts to the

print Summer Lantern by an unknown artist, a piece with no definable purpose. The woman in

the middle of the print is not relevant nor has an important role. This is suggested through the

lack of material in her kimono as it is thinly layered, allowing emptiness to fill around her. There

is no need for her to take up space, the artist depicts her as a common citizen who isn’t relevant

in any court, entertainment, or war-honoring purpose. Lastly, couples and scenes of love are

extremely common. Besides erotic scenes, love is depicted through color and space.

5
Ronin Gallery. “Decoding Ukiyo-e: Standard Sizes” 2016.
https://www.roningallery.com/blog/decoding-ukiyo-e-standard-sizes-2#:~:text=STANDARD%20PRINT%20
SIZES,-Oban&text=Measuring%20 roughly%2015%22%20by%2010,1804
Representing love is a vibrant orange, portraying a thriving, blooming connection between the

two6. In Kitawaga Utamaro’s True Feelings Compared, a heterosexual relationship where both

the man and woman are wearing bright orange to symbolize their beaming love for each other.

Orange wraps around the woman’s neck throughout her kimono, as well as orange stripes glide

through the man’s hakama. Not only color, but the lack of space in between the two subjects is

also a key factor. The man almost directly in front of the woman indicates that the relationship is

strong and both are comfortably loving towards each other.

Japanese Principles of Design

Henander-Harris, Iris “Photograph of Chibi Henander-Harris, Iris “Photograph of

I Chutatsu, Kuniyoshi c. 1834” Ronin Gallery Makibashira, Kuniyoshi c. 1855” Ronin

Captured 2023. Gallery. Captured 2023.

6
Dunkin, E, “Japanese Colors” Busuu. 2022.
https://blog.busuu.com/japanese-colors/#:~:text=Red%20in%20Japanese%20(Aka)&text=Red%20is%20
said%20to%20scare,and%20red%20and%20white%20curtains.
 Traditional Japanese artists used the principles of design to emphasize the tone

specifically through dominance, composition, and balance. Kuniyoshi’s Shiba I Chutatsu and

Makibashira both use composition to depict dominance. There is a vertical triangular

composition in each piece portraying both warriors dominating the animals by being physically

on top of them. In Makibashira, the head of the serpent is below the warrior’s torso, the warrior

Kuniyoshi “Ogiya uchi Hanaogi” British Utamaro, Kitawaga “True Feelings Compared”

Museum. Date: unknown. Museum of Fine Arts. 1799

gains control by seizing the serpent’s jaw. Due to the contrasting positions, the warrior has

dominated the serpent by remaining above it. In addition to composition, repetition is another

way artists express respect, for example in Ogiya uchi Hanaogi, a young, fresh courtesan is

doused in multiple repeating patterns throughout her Junihitoe. This print depicts a

formally-dressed female Japanese courtesan, as she is wearing thick layers of blue and white
draped across her body horizontally. Two patterns consisting of flowers and birds are scattered

across the fabric. The floral pattern is of two different types of flowers, symbolizing beauty and

youth of the young newly courted female7. The pattern of the birds represent longevity and

prosperity, referring to the hopeful long life this new leader will obtain. The indication of hope

comes from either the artist, those who commissioned or both. Lastly, love uses a great deal of

principles when portraying a caring, equal relationship such as harmony, balance, and unity. In

True Feelings Compared by Kitawaga Utamaro, both partners in the relationship cling together

touching each other. The horizontal balance between both their bodies and their heads allows a

sense of unity in the print, especially since both of them are looking in the same direction. As

they both look to the left, it indicates they both share similar goals in their relationship. The two

meet together in the middle of the piece, providing a sense of harmony. While the man is taking

up more space in the print, the balance remains relatively equal as the woman rests her chin on

his shoulder, bringing her face and body closer to the front.

How Traditional Japanese Culture Impacted Austrian Culture

Japanese art gained popularity in Western culture through France in the late 19th century.

This is how the term Japonisme or Japonism came from. In Austria, Japanese art was

popularized during Vienna’s 1873 Weltausstellung, an international exposition of art. In the

Japanese pavilion of this exposition, many objects were obtained from the Tokyo Sasei School

(now University of Tokyo) including objects such as ceramics, lacquerware and textiles8.

7
Sandman, N. “Unlocking the Secrets of Japanese Art.” Stone and Gray, 2023.
https://stoneandgray.co.za/blogs/news/unlocking-the-secrets-of-japanese-art-exploring-symbols-and-mea
nings-in-traditional-masterpieces.
8
Rosenman, R. “The Vienna Secession: A History.” The Vienna Secession, 2017.
https://www.theviennasecession.com/vienna-secession/
Secessionists were drawn to the simplicity of Japanese art with its use of hand-made, natural

materials and the portrayal of value. The Secessionists appreciate this idea to such an extent, that

they make the Secession exhibit of 1903 dedicated specifically to Japanese art.

In Japan’s exhibition in Vienna, no specific artist displayed their pieces, rather the

Japanese government built shrines and gardens. The exhibits in the industrial pavilion contained

the Kinshachi (great dolphins) of Nagoya Castle, a model of great Buddha Kamakura, a temple,

and a lantern9. Two Secessionists were greatly inspired by this exhibit during this time: Gustav

Klimt and Emil Orlik. Orlik’s Japanese work experiments with the form, balance, color, pattern

and its stylistic influence eventually trickles down to Klimt by interaction through the

Secessionists. Graphic design and painting techniques that derive from Ukiyo-e woodblock

prints specifically caught Klimt’s eye. The bold colors and line work cooperating with negative

space were just the beginning of this transition from Japanese art to Japonisme. Long slender

women with boldly patterned, flowy dresses and hairstyles in updos became extremely popular

portrait styles in the 19th century originating from Ukiyo-e portraits or courtesans and

princesses. Not only the subject but the lack of objects around the subject, allowing them to have

the focus on them is a sign of respect that emanates from Japanese culture and mannerisms to

Klimt’s pieces.

9
Pantzer, Peter. “The World Exposition in Vienna in 1873,” 2018.