Enchanted by Japan
Vincent bought his first Japanese prints to decorate the walls of his home. They made him cheerful. It wasn't until he lived in Paris and his painting style developed rapidly, that Vincent became increasingly impressed by the artistic qualities of the prints. Vincent's collection grew and transformed into a treasure trove of inspiration. It ignited a creative fire within him, and Vincent became enchanted by Japan, even though he had never been there.
To improve his painting style, Vincent began to replicate a Japanese print from his own collection. He was so excited about the result that he decided to create a series of ultimately three paintings inspired by Japanese prints.
In this story, you will discover how Vincent put his own spin on his Japanese inspirations. Perhaps you can find some tips and tricks to apply yourself?
Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887
Vincent van Gogh, Bridge in the Rain (after Hiroshige), 1887
Vincent van Gogh, Courtesan (after Eisen), 1887
1. Plum trees
The first Japanese woodcut that Vincent van Gogh replicated was from his own collection. Vincent admired Hiroshige's Plum Orchard at Kameido for its large color blocks.
Vincent van Gogh, Flowering Plum Orchard (after Hiroshige), 1887, Van Gogh Museum Amsterdam / Utagawa Hiroshige, The Residence with Plum Trees at Kameido, 1857, Van Gogh Museum Amsterdam
Colours
Vincent did not exactly replicate the colours of Hiroshige's print. He only chose the three primary colours (red, blue, and yellow) and the three secondary colours (purple, orange, and green). He ignored the black, gray, and white from the print because, according to modern colour theory, they were not considered colours.
Space left
Vincent used a canvas with a standard size, which was wider than Hiroshige's print. That's why he painted orange bands on the sides, where he later added Japanese characters.
2. Rain
Van Gogh admired the Japanese landscapes in his print collection, especially those by Hiroshige. Japanese printmaking paid great attention to the seasons and the weather. This brought variety to their depictions. After all, a landscape looks very different in the rain than in the snow! The weather or the season makes each landscape unique.
Vincent van Gogh, Bridge in the Rain (after Hiroshige), 1887, Van Gogh Museum Amsterdam / Utagawa Hiroshige, Sudden Evening Shower on the Great Bridge near Atake, 1857, Van Gogh Museum Amsterdam
It was likely the rain that appealed to Van Gogh in this work by Hiroshige. This time, he painted a decorative border with Japanese characters on all sides of the canvas.
3. The Courtesan
The Japanese artist Kensai Eisen was known for his prints of beautiful women. Perhaps Van Gogh also admired the fine details and rich colours of the costumes, such as the dragon in this woman's kimono.
Vincent van Gogh, Courtesan (after Eisen) 1887, Van Gogh Museum Amsterdam / Cover of Paris Illustré, 4 (1886), May, Van Gogh Museum Amsterdam
Courtesan
The woman Van Gogh chose to depict was a courtesan: a person we would nowadays call a sex worker. You can tell by her hairstyle and by the sash (obi). This is tied at the front instead of the back of her kimono.
Hidden meaning
This time, Van Gogh did not frame the image with Japanese characters but surrounded the courtesan with a pond full of water lilies, bamboo stalks, cranes, and frogs. Therein lay a hidden meaning: grue (crane) and grenouille (frog) were popular synonyms for prostitutes in France.
Japan in Southern France
Vincent hoped that in Arles, in Southern France, he would find the ‘clearness of the atmosphere and the gay colour effects’ of the Japanese prints. The prints themselves stayed behind in Paris, but he no longer needed them. Vincent had by now mastered 'the Japanese way of looking'. He often chose small details from pristine nature. In Southern France, all he had to do was open his eyes and paint what impressed him in his immediate surroundings!
The Japanese prints permanently changed Vincent's way of painting. Abrupt cutoffs of motifs in the foreground, leaving the horizon out of view, and magnifying details from nature: all of this he had learned from the prints and used many times in his paintings.
Vincent van Gogh, Sprig of Flowering Almond in a Glass, 1888
