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Liaisons between painters and depart...

Sapin, Julia Elizabeth.

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Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912./
作者:	Sapin, Julia Elizabeth.
面頁冊數:	343 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2682.
Contained By:	Dissertation Abstracts International64-08A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3102711

Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912.
Sapin, Julia Elizabeth.

Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912. - 343 p.

Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2682.

Thesis (Ph.D.)--University of Washington, 2003.

This dissertation examines the earliest relationships between painters and department stores in Japan through a study of institutional history and the biographies of representative artists of the Meiji era (1868–1912). In so doing, it probes one aspect of Japanese modernity that constitutes visual, ideological, and social structures. It asserts that the types of opportunities afforded artists, the choices they made in the department-store context, and the needs of the emerging Japanese state as well as those of different types of consumers, all conjoined to effect new forms of artistic commodification in the Meiji era by which painters and painters' practices were radically changed.Subjects--Topical Terms:

635474
Art History.

Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912.
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245 1 0 $a Liaisons between painters and department stores: Merchandising art and identity in Meiji Japan, 1868--1912.
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500 $a Source: Dissertation Abstracts International, Volume: 64-08, Section: A, page: 2682.
500 $a Chairperson: Cynthia J. Bogel.
502 $a Thesis (Ph.D.)--University of Washington, 2003.
520 $a This dissertation examines the earliest relationships between painters and department stores in Japan through a study of institutional history and the biographies of representative artists of the Meiji era (1868–1912). In so doing, it probes one aspect of Japanese modernity that constitutes visual, ideological, and social structures. It asserts that the types of opportunities afforded artists, the choices they made in the department-store context, and the needs of the emerging Japanese state as well as those of different types of consumers, all conjoined to effect new forms of artistic commodification in the Meiji era by which painters and painters' practices were radically changed.
520 $a During the Meiji era, a time of rapid change and modernization in Japan, Japanese artists discovered new venues for practicing and marketing their work. Painters working for department stores, one of these new venues, altered established painting practices. These artists made designs for atypical but familiar formats, such as kimono, and new formats, including tapestries, billboards, and posters. These design projects, part of an emergent Western-style market structure, involved painters in the merchandising of department-store goods through enhancement of the products' visual—and later social—appeal.
520 $a What is distinct about this process was not the collaboration engendered by patronage or the fact that artists were able to make a product more appealing, but that painters' work for department stores tended to involve designs for a number of different media and at a number of different stages in the merchandising process, which introduced new approaches to painting and to marketing that had previously not been aspects of the painting profession.
520 $a Painters became immersed in the commodification of Japanese culture for both domestic and international audiences through their involvement with department stores. Although the visual economy of Japan had already shifted drastically in the Edo period, from elite patronage and tastes to much more diverse patronage and influences, Meiji painters became “cultural merchants” through these liaisons, developing visual vocabularies that helped define commerce and nation in an era of imperialism and developing global exchange.
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