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NOTES

1.SiegfriedWichmann,Japonisme:TheJapaneseInfluenceonWestern Artsince1858(NewYork:ThamesandHudson,2001),12.

Siegfried Wichmann"s bookJaponismeprovides an excellent overall view of the Japanese impact on Western culture during the

late nineteenth and early twentieth centuries.

2.ExamplesincludeMonet"sportraitofhis wifewearingakimonoagainst abackgroundofJapanesefans,andWhistler"s painting

of a kimono-clad woman in front of a Japanese folding screen looking at woodblock prints.

pressionists Mary Cassatt, Seurat, Signac, Gauguin, Lautrec, and Van Gogh, among others. Cassatt, in particular, developed a

new printmaking technique inspired by Japanese woodblock prints.

4.Bogomila Welsh-Ovcharov, ed.,Van Gogh in Perspective(Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1974), 170.

5.Ibid.

6.Irving Stone and Jean Stone, eds.,Dear Theo: The Autobiography of Vincent Van Gogh(New York: Signet Books, 1969), 290;

Ronald de Leeuw, ed., and Arnold Pomerans, tr.,The Letters of Vincent Van Gogh(London: Penguin Books, 1997), 290-292.

in relation to Van Gogh"s work is the depiction of "a reality that transcended the everyday." See: Wichmann, 10-11. Also see

below, note 10.

8.This tilting is of Japanese origin.

9.Stone, 383; de Leeuw, 399.

depicted Van Gogh"s chair, humble in aspect with his pipe and tobacco pouch on its seat. The other was Gauguin"s chair, so-

phisticated in style with books and a lit candle on its seat. The first is painted yellow, a color that for Van Gogh stood for love,

warmth, and friendship. The main colors in Gauguin"s chair are red and green. These two works indicate that Van Gogh had

turned once more to color symbolism.

11. For example, he met Pissarro, Gauguin, Seurat, Signac, Lautrec, and Bernard among others. HisFactories at Asnieres Seen from

the Quai de Clichy, 1887, is Impressionist in style;A Restaurant Interior, 1887, is pointillist.

12. Welsh-Ovcharov, 170.

13. Though the bright colors did appeal to him, Van Gogh"s own palette became even brighter while at Arles.

14. Wichmann, 12.

15. Ibid, 40.

16. Ibid, 57.

17. Ibid, 52.

through Project Gutenberg at http://www.gutenberg.org/etext/3995.

19. Wichmann, 58

20. Loti

21. Wichmann, 42. Synonyms for the term "synthetic" include artificial, false, fake, mock, or unnatural.

22. Ibid, 52-53.

23.Ibid, 42.

24. Ibid, 42.

25. This letter has traditionally been considered as the last one van Gogh wrote before committing suicide. As de Leeuw has indi-

cated, this was a short note to Theo dated July 24, 1890, which was not posted and which Van Gogh had with him July 29. See:

The Letters of Vincent Van Gogh

, 501-502. Van Gogh"s emotional and financial dependence on Theo is a recurring theme

throughout his letters. A very readable translation is the collection of letters to Theo edited by Irving Stone; a highly recom-

mended and newer translation is de Leeuw"sThe Letters of Vincent Van Gogh.

ILEANAB.LEAVENS

conferences. She has contributed to EAA twice previously. Her research interests include the application of the transculturation

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1.SiegfriedWichmann,Japonisme:TheJapaneseInfluenceonWestern Artsince1858(NewYork:ThamesandHudson,2001),12.

2.ExamplesincludeMonet"sportraitofhis wifewearingakimonoagainst abackgroundofJapanesefans,andWhistler"s painting

4.Bogomila Welsh-Ovcharov, ed.,Van Gogh in Perspective(Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1974), 170.

5.Ibid.

6.Irving Stone and Jean Stone, eds.,Dear Theo: The Autobiography of Vincent Van Gogh(New York: Signet Books, 1969), 290;

8.This tilting is of Japanese origin.

9.Stone, 383; de Leeuw, 399.

11. For example, he met Pissarro, Gauguin, Seurat, Signac, Lautrec, and Bernard among others. HisFactories at Asnieres Seen from

12. Welsh-Ovcharov, 170.

13. Though the bright colors did appeal to him, Van Gogh"s own palette became even brighter while at Arles.

14. Wichmann, 12.

15. Ibid, 40.

16. Ibid, 57.

17. Ibid, 52.

19. Wichmann, 58

20. Loti

21. Wichmann, 42. Synonyms for the term "synthetic" include artificial, false, fake, mock, or unnatural.

22. Ibid, 52-53.

23.Ibid, 42.

24. Ibid, 42.

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