Japonisme, the 19th-century fascination for Japanese art, has generated
an enormous body of scholarship since the beginning of the 21st-first
century, but most of it neglects the women who acquired objects from the
Far East and sold them to clients or displayed them in their homes
before bequeathing them to museums. The stories of women shopkeepers,
collectors, and artists rarely appear in memoirs left by those
associated with the japoniste movement.
This volume brings to light the culturally important, yet largely
forgotten activities of women such as Clémence d'Ennery (1823-98), who
began collecting Japanese and Chinese chimeras in the 1840s, built and
decorated a house for them in the 1870s, and bequeathed the "Musée
d'Ennery" to the state as a free public museum in 1893. A friend of the
Goncourt brothers and a 50-year patron of Parisian dealers of Asian art,
d'Ennery's struggles to gain recognition as a collector and curator
serve as a lens through which to examine the collecting and display
practices of other women of her day.
Travelers to Japan such as the Duchesse de Persigny, Isabella Stewart
Gardner, and Laure Durand-Fardel returned with souvenirs that they
shared with friends and family. Salon hostesses including Juliette Adam,
Louise Cahen d'Anvers, Princesse Mathilde, and Marguerite Charpentier
provided venues for the discussion and examination of Japanese art
objects, as did well-known art dealers Madame Desoye, Madame Malinet,
Madame Hatty, and Madame Langweil. Writers, actresses, and
artists-Judith Gautier, Thérèse Bentzon, Sarah Bernhardt, and Mary
Cassatt, to name just a few- took inspiration from the Japanese material
in circulation to create their own unique works of art.
Largely absent from the history of Japonisme, these women-and many
others-actively collected Japanese art, interacted with auction houses
and art dealers, and formed collections now at the heart of museums such
as the Louvre, the Musée Guimet, the Musée Cernuschi, the Musée
Unterlinden, and the Metropolitan Museum of Art.